Troy Stetina - Heavy Metal Lead Guitar Volume 2

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....HEAVY METALLEAD GUITARVolume 2by Troy StetinaCONTENTSAbout the Author 2Foreword 2PART VIINotes on the third and fourth strings 3The modes 4The phrygian mode 6The Spanish flamenco scale . . . . . . . . . . . . . . . . . . . . 7Thirty-second notes . . . . . . . . . . . . . . . . . . . . . . . . . .. 8Speed exercises for "Mystic Places" 8MYSTIC PLACES (Solo #7) 9PART VIIITheory: keys and scale structures 10Scale relationshipsmajor key, minor key, other modes as keys . . 11Arpeggios 14Soloing over each chord 15Choosing scales for soloing and improvisation 17Using the chromatic scale 18Rhythmic patterns 19Speed exercises for "Drastic Measures" 20DRASTIC MEASURES (Solo #8) 21PART IXNotes on the First and Second Strings 22Relative major and minor 23Soloing in a major key 24Intervals 25Harmony 27NEW LANDS (Solo #9) 28PHOTOS 29PART XThe harmonic minor scale 32Special picking mechanics for arpeggios 34Diminished 7th arpeggios 35Speed exercises for "Lightning's Edge" 36LIGHTNING'S EDGE (Solo # 10) 37PART XIExtended scale patterns 38Resolution .41Right hand fretting - arpeggios .43Speed exercises for "Batt le To Victory" .45BATTLE TOVICTORY (Solo #11) .46PART XIIIntroduction to "Babylon" .47First verse 48First chorus 49Second verse 49Second chorus 50Bridge to third verse 51Third verse 51Bridge to finale 52Finale 52Creative Soloing 55Theory, complexity, and expression 55Copyri ght 1987 HALLEONARD PUBLISHING CORPORATIONInternational Copyright Secured ALL RIGHTS RESERVED Print ed in the U.S.A.Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.Infringers are liable und er the law./ triogEPART VIINOTES ON THE THIRD ANDFOURTH STRINGSTo learn the names of the notes on the third and fourth strings, we will make useof the octave. The notes below are one octave apart.5 7Since notes an octave apart have the same letter name, both of the above notesare A's. This works all the way up and down the fretboard. So, since you alreadyknow the notes on the sixth string, you can now memorize them on the fourthstring.repeat\ / ,.. A n ,.. ... e- r A n ,...,- .,- ./ ./ ./ ./ ./ -- ./ ./ ,/ ./ ./ ./ ,/ v V n V n V ,/ ,... v V n V V ....

- -\3 5 7 9 12 15 17 19 21I triogAMemorize the notes on the third string in the same way.repeat\ In ,.. n .. ,.. A n ,.. ... .. ...

,/ ,/ ./ ..,,/ -,/./ ../ ../ -./ - ../ - ./c-: n V n V r- ,/

,/A V n V .... V v,... 1,.../ 3 5 7 9 12 15 17 19 21Below, write the name of each note in the blank space provided.I I 12 9 5 6 1112 5 3 197 431)_ 2)_ 3)_ 4)- 5)- 6)_ 7)_ 8) _ _ 9)_ 10)- 11)_ 12)_V ZIqn 010 #J Oilqa .10 #:J 01qa ao #:J 63: t3: of:a zn 1:S.l.UiSUY........,nt :bemeyh ~ .12.'1212121212129999999777777755555553333333begins on 6th(same as naturalminor scale)begins on 7thbegins on 3rdbegins on 5thbegins on 4thbegins on 2ndbegins on 1st(same as major scale)MixolydianLocrianAeolianLydianPhrygianDorianIonianOriginating in early Christian chants and hymns, the modes were the predecessors of our currescale system of major/minor tonality. About 400 years ago, the modal system slowly began toreplaced, but it was not completely abandoned.In music today, use of the modes is reappearing, but in an expanded way that incorporates theinto our current scale system. Although the function of the modes today is different than when thformed the foundation of music, they are still called by their original Greek names.Modes are displaced scales. Below, the modes of the C major scale are shown. Notice that eacmode uses the same notes; only the root changes.THE MODESFor comparison, each mode will begin on the same note, below. On the cassette, a short melo-dy is played using each mode. Listen for a mood or feeling to associate with each one. Withpractice you can eventually learn to recognize each mode just by sound. This will enable youto learn by ear much faster as well as more accurately.1 Listen to the bright, happy mood of the Ionianmode (same as the major scale).2 3Listen to a melody using the Dorian mode. Do-rian is minor and sounds basically dark, butbrighter than natural minor.GIonian - ... .:::: . .. .. ..GDorian -.. ,;... x ...- II'"3 5 7 3 5 73 Listen to the dark, "Spanish" sound of thePhrygian mode.Listen to the lost, or mysterious sound of theLydian mode.GPhrygian ... ..II. .. ,.:I' ... 1':':v vGLydian ,. ... ..;:; ,, ;' ... . ...Listen to a melody in the Mixolydian mode.Mixolydian is like the major scale, but less tri-umphant and conclusive; more "easygoing."6 Listen to the dark, heavy, and medieval soundof the Aeolian mode (same as the naturalminor scale).5 3 5 7 3 5 7GMixo-lydian... v ,;.... -;: ;:;..GAeolian ... .II:. p.-:0 ;:; 1';:;- 11"3 5 7 3 5 7GLocrianLocrian combines the mysterious sound ofLydian with the dark, Spanish sound ofPhrygian.- .v-.. 1';:; 1';:;11- II'"The Ionian and Aeolian modes are the sameas the major and natural minor scales, respec-tively. The modal names are only used withinthe context of other modes.3 5 7Beloware the modes derived from Gmajor. Memorize the patterns and the sequence and useit as a warm-up exercise. Howthe modes are used in songs and solos will be covered in PARTVIII.8 G Ionian A Dorian 8 Phrygian C Lydian- ::--- ;;::--.--- ......- -"'!"!"-3 5 5 7 7 9 7 9D Mixolydian E Aeolian F# Locrian G Ionian-.... - .-.. .. -- .. -.-...9 12 12 155--...;;;..- ...-15 17-..-- ......-..15 17THE PHRYGIAN MODEAs you have just learned in the previous section, the Phrygian mode (or scale) is the same as thenatural minor except for the second degree. The tones of the Phrygian are 1, b2, b3, 4, 5, b6, b7, 1.A Phrygian- -::: .. -= .. - :::0'.3 5 7 9 12Not only does the Phrygian mode sound dark and heavy, but the flatted second degree pullsstrongly down to the root and gives a "Spanish" sound, characteristic of flamenco guitar.Beloware the Phrygian patterns with the roots on the sixth and fifth strings. Notice the similarityto the natural minor scale.A Phrygian..[ l ~- - ..= .. ::: .. IV.. ":: ~ .... - - 0'.v-3 5 7 9 12 15 17 19 215JI 5 6 8I~ 5 6 85 75 7 95 7 95 6 9ngering_ 1 2 4 1 3 4 1 3 4 3 2 4 1 2 4The following riffs use the Phrygian mode.12 13 15113 1512 14 1612 14 1612 19 152 4 1 3 4 3 4 2 4 2 4231323132231( ~ 3 Em (Phrygian) V il 3 3 il VOf--j - _ Ei=f---Ingering_ 0 3 0 2 3 0 2 0 2 3 2 0 2Em (Phrygian)1~ ;~ il!:L pV il V il V ilp il V il V il V..-.. MI.... I"'" - .- ..-...- 6 .~I .. ~.~ ._- ------ . ~ . ", ' . ~ \."yJ I I I I I11 ~ ....- I J ~I-- .....-ngering- 121414212131312363(2)THE SPANISH-FLAMENCO SCALEThe Spanish-flamenco scale is the same as the Phrygian except for the third degree. The tonesof the Spanish-flamenco scale are 1, b2, 3, 4, 5, b6, b7, 1.A Spanish-flamenco.. - -.. ~- -3 5 7 9 12As in the Phrygian mode, the flatted second degree pulls strongly down to the root giving itscharacteristic flamenco sound. However, the Spanish-flamenco scale is not as dark soundingand the three-fret interval between the second and third degree gives an even more dramaticsound. The major third gives this scale a stronger and brighter sound than the Phrygian scale.Below are the patterns for the Spanish-flamenco scale.A Spanish-flamenco- .. - .. :::- ~- ~ :::.. .... .. ....= :::.. - ;::;- - --3 5 7 9 12 15 17 19 21wJ121 5 6 9I 12 13 1615 6 B 14 156 7 12 14 155 7 B 11 12 14 154 5 7 B 12 135 8fingering - 2 3 1 -1 3 4 1 3 4 2 3 2 4 2 4 2 3 1-1 3 4 1 3 4 3 4 2 4Play the following riffs, noting where the major third of the Spanish-flamenco scale is used.A (Spanish-flamenco)~ ~ I V V V131 ~ , Ifinger ing- 3(2) 1 2 1 3 2 3 2 3 1 2 1 3 4 2 1 2 3 1 3~~ \! ~ .. !'! V 1'"1 V 1'"11'"1 V 1'"1 V 1'"1 V 1'"1 V~ 1'"1 1'"1 ..~ I'"1P 1'"1 1'"1i ~ ~ I"'"I . ~ 'v ... .. ..--.. ~- .- W'~ i""" ,......, ... ... ~ .#0& I .1. I ,.,I., - I I~-- --A (Spanish-flamenco)~ ~ ~ V14f ingering- 3(2) 2 1 3 1 2 4 3 1 1 1 1 1 3 3 3 37--,ITHIRTY-SECOND NOTESThirty-second notes are twice the speed of sixteenth notes. There are eight notes per beat, orfour on the downbeat and four on the upbeat. Learn the pattern below, then try tapping yourfoot with the beat very slowly.Emiunt - 1 & 2 & 3 & 4 &SPEED EXERCISES FOR "MYSTIC PLACES"You may want to practice the exercises below as if they were written in sixteenth notes first.After you have the notes down, try getting the feel of the thirty-second notes (just tap your foothalf as fast).EE3 1"'1 V 1"'1 V 1"'1 V 1"'11"'1 V 1"'1 V 1"'1 V 1"'1 V1"'1 V 1"'1I ~ I I . . ~ .~ .:.. .... #0& ,- 1...- .','.~ .