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....

HEAVY METAL

LEADVolume GUITAR 2 by Troy Stetina

CONTENTS About the Author Foreword

2 2

PART VII Notes on the third and fourth strings The modes The phrygian mode The Spanish flamenco scale . . . . . . . . . . . . . . . . . . . . Thirty-second notes . . . . . . . . . . . . . . . . . . . . . . . . . .. Speed exercises for "Mystic Places" MYSTIC PLACES (Solo #7)

3 4 6 7 8 8 9

PHOTOS

29

PART X The harmonic minor scale Special picking mechanics for arpeggios Diminished 7th arpeggios Speed exercises for "Lightning's Edge" LIGHTNING'S EDGE (Solo # 10)

32 34 35 36 37

PART XI PART VIII Theory: keys and scale structures 10 Scale relationships major key, minor key, other modes as keys . . 11 Arpeggios 14 15 Soloing over each chord 17 Choosing scales for soloing and improvisation Using the chromatic scale 18 Rhythmic patterns 19 Speed exercises for "Drastic Measures" 20 DRASTIC MEASURES (Solo #8) 21

PART IX Notes on the First and Second Strings Relative major and minor Soloing in a major key Intervals Harmony NEW LANDS (Solo #9)

22 23 24 25 27 28

Extended scale patterns Resolution Right hand fretting - arpeggios Speed exercises for "Battle To Victory" BATTLE TO VICTORY (Solo #11)

38 .41 .43 .45 .46

PART XII Introduction to "Babylon" First verse First chorus Second verse Second chorus Bridge to third verse Third verse Bridge to finale Finale Creative Soloing Theory, complexity, and expression

Copyri ght © 1987 HAL LEONARD PUBLISH ING CORPORATION Print ed in the U.S.A. International Cop yright Secured ALL RIGHTS RESERVED Unauthorized copying, arrang ing, adapting, recording or public pe rfo rmance is an infringement of copyright. Infringers are liable und er th e law.

.47 48 49 49 50 51 51 52 52 55 55

PART VII NOTES ON THE THIRD AND FOURTH STRINGS To learn the names of the notes on the third and fourth strings, we will make use of the octave. The notes below are one octave apart.

5

7

Since notes an octave apart have the same letter name, both of the above notes are A's. This works all the way up and down the fretboard . So, since you already know the notes on the sixth string, you can now memorize them on the fourth string. repeat

\ /

/ 4th~D

triog

.,-

E

,/~

~

.,-

,/

,..

~

~

v

V

./ ~

n

./

./

V

n

~

7

5

3

--...

,..

n

A

./

./

\

V

~

./

~

A

,/

,...

,/

~

r»

e./

v

V

n

V

~

./

-....

V ~

12

9

,..

n

./

./

15

17

21

19

Memorize the notes on the third string in the same way. repeat

\ I

I 3rd~G triog c-: A

,..

n ~

,/ ~

n

./

,/

V

n

V

r-

,/

v~

7

5

3

~

n ..,

-,/

,/

. ~

,.. ./ ,/

A

n

A

~

../ V

,/~

n

12

9

-./

../

V

,..

-....

../ V

17

15

...~

./

v,...

..

...

1,.../

~

21

19

Below, write the name of each note in the blank space provided.

I

12

1)_

12

2)_

9

7

3)_

4)

-

I

5

~

3

3

5)

6)_

-

V °ZI qn 010 #J Oil qa .10 qa ao

5

#:J #:J

°01 °6

7)_

8) _

11

-

11)_

19

4

_

9)_

3: °t 3: of:

a °z

n

6

°1

:S.l.UiSUY

10)

12)_

~

........,

THE MODES Originating in early Christian chants and hymns, the modes were the predecessors of our curre nt scale system of major/minor tonality. About 400 years ago, the modal system slowly began to be replaced, but it was not completely abandoned.

:

In music today, use of the modes is reappearing, but in an expanded way that incorporates the m into our current scale system. Although the function of the modes today is different than when th ey formed 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 eac h mode uses the same notes; only the root changes.

Ionian

begins on 1st (same as major scale) 3

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

5

7

9

12

begins on 2nd

.'

3

5

7

9

12

3

5

7

9

12

3

5

7

9

12

3

5

7

9

12

3

5

7

9

12

3

5

7

9

12

begins on 3rd

begins on 4th

begins on 5th

begins on 6th (same as natural minor scale)

Locrian

~.

begins on 7th

For comparison, each mode will begin on the same note, below. On the cassette, a short melody is played using each mode. Listen for a mood or feeling to associate with each one. With practice you can eventually learn to recognize each mode just by sound. This will enable you to learn by ear much faster as well as more accurately.

1 '~Il

..- ..

G

Ionian

...

::::

'l ,a,l~

3 Listen to a melody using the Dorian mode. Dorian is minor and sounds basically dark, but brighter than natural minor.

G

..

G

... v

...

v

~

...

v

7

6

,r;~ll

..;:;

7

3

Locrian combines the mysterious sound of Lydian with the dark, Spanish sound of Phrygian.

G v

-. 3

... II:.

:0

5

.

1';:;

11-

II'"

7

5

... ,, ;' j;~

.

~

... 7

5

.

-

p.

;:;

1';:; 11"

7

5

The Ionian and Aeolian modes are the same as the major and natural minor scales, respectively . The modal names are only used within the context of other modes.

-

1';:;

II'"

Listen to the dark, heavy, and medieval sound of the Aeolian mode (same as the natural minor scale).

Aeolian

,;.

3

. 3

G

... -;:

Locrian

...;:;

1':':

G

Mixolydian

,.

Lydian

Listen to a melody in the Mixolydian mode. Mixolydian is like the major scale, but less triumphant and conclusive ; more "easy going."

'~I

...

x

Listen to the lost, or mysterious sound of the Lydian mode.

,.

5

3

-

..

3

G

...

,;.

v ~

7

5

II.

:I'

-

..

Dorian

~

Listen to the dark, "Spanish" sound of the Phrygian mode.

Phrygian

5

.

~[ (:>a.,

~

3

3

2

Listen to the bright, happy mood of the Ionian mode (same as the major scale).

7

5

Below are the modes derived from G major. Memorize the patterns and the sequence and use it as a warm-up exercise. How the modes are used in songs and solos will be covered in PART VIII.

8

~~l

G Ionian

A Dorian

---

8 Phrygian

::

D Mixolydian

5

9

12

-

7

E Aeolian

.. .-

.. -. -. -

7

-.12

-

-.- -... - ...

;;::

5

3

C Lydian

F# Locrian

-...-

;;;.

.- ...

15

15

-

5

9

G Ionian

.-..

...

-

"!"

7

9

"'!

17

.-

-.. ... 15

17

THE PHRYGIAN MODE As you have just learned in the previous section, the Phrygian mode (or scale) is the same as the natural minor except for the second degree. The tones of the Phrygian are 1, b2, b3, 4, 5, b6, b7, 1.

A Phrygian

- .. .--

-

:::

= 5

3

:::

0'.

7

9

12

Not only does the Phrygian mode sound dark and heavy, but the flatted second degree pulls strongly down to the root and gives a "Spanish" sound, characteristic of flamenco guitar. Below are the Phrygian patterns with the roots on the sixth and fifth strings. Notice the similarity to the natural minor scale.

..

[l~

..

v-

3

.=-

A Phrygian

-. . - ..

-.

:::

"::

0'.

7

5

5J ~

I

5 6

9

ngering_ 1 2

4

5 7 9 1

3

4

5

7

9

1

3

4

5

7

6

2

3

8

5 6

8

4

1

2

17

15

12

9

5

IV

~

I

4

12 19 15 2

4

19

12 14 16 1

3

4

21

12 14 16

13 15

12 13 15

1 4

3

2

4

2

4

The following riffs use the Phrygian mode.

(~3 Em (Phrygian)

V il 3

il V

3

O f - j

ngering_

~;

....

1

0

3

~

I"'"

I

0

•

ngering-

3

0

2

0

2

3

2

Em (Phrygian) p V il V il V il p il!:L ..-..

-

J 11

2

~

....

-

...I I

-

0

2

il V

Ei=§f---I

_

231323132231

il V il V

.. ._-

..-..

~

~

I

I

------

MI .~ .

",

I

6 .•~ '.~

\."y I

J

-

~

.....-

1214142121313123

6

3(2)

I

THE SPANISH-FLAMENCO SCALE The Spanish-flamenco scale is the same as the Phrygian except for the third degree. The tones of the Spanish-flamenco scale are 1, b2, 3, 4, 5, b6, b7, 1.

A

Spanish-flamenco

... -

-- -

~

5

3

7

12

9

As in the Phrygian mode, the flatted second degree pulls strongly down to the root giving its characteristic flamenco sound. However, the Spanish-flamenco scale is not as dark sounding and the three-fret interval between the second and third degree gives an even more dramatic sound. 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

....

5

7

~

-..

3

-- ..

- ..

Spanish-flamenco

-

9

wJ 12

1

fingering -

5

8

2

3

4

5 7

1 -1

3

5 7

B

1

4

6

-

..

5 6

7

5 6

B

....

3

2

2

3

4

2

::: ::: :::

~

;::;

- =- -

12

15

9

I

B 4

..

12 13 2

4

17

11 12 14 15 1-1

3

21

19

4

3

12 14 15

1

12 13 16

1 4

3

4

3

14 15

4

2

Play the following riffs, noting where the major third of the Spanish-flamenco scale is used. A (Spanish-flamenco)

~~I

13

V

1 ~, 3(2 )

finger ing-

1

V

2

1

2

3

2

3

3

1

1

2

V

3

4

1

2

I

2

3

1

3

A (Spanish-flamenco) ~~~ ~

i~

14

~

#0&

~ ~

i"""

I

1'"1

,......,

1'"1

~ I"'"I

.~

\! ~V.. !'! 'v

1'"1

V

...

.....1'"1

.....I'"1P..--..

~

1'"1

V

1'"1

~

- -

.1.

I., ~

f ingering-

V

3(2)

2

1

3

1

-

1'"1

V

1'"1

.I I

2

3

4

7

1

1

1

1

1

V

1'"1

V

1'"1

.

W' ~

,., I

3

3

-

3

--

3

--, I

THIRTY-SECOND NOTES Thirty-second notes are twice the speed of sixteenth notes. There are eight notes per beat, or four on the downbeat and four on the upbeat. Learn the pattern below, then try tapping your foot with the beat very slowly.

Em

iunt -

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 foot half as fast).

E3

E 1"'1

V

V

1"'1

1"'1

V

V

1"'1

1"'1

1"'1

I~

1...~

.~

.

"x

.: "x x" "x

1

1

til ~

Ir

,. .', '"

.~

1

1

3

3

3

3

3

2

H ...--..

P

1"'1

V

3

3

3

2

2

1

1

H

P

1

1

1"'1

•.

2

V

V

1"'1

.

.~

2

2

1"'1

··

2

E 1"'1

1"'1

...

!:1

P,

H

rin 9 - 1

..

'.

...

~

2

...

---H ---P

--

r::

...

'::!

.

...

H

-;. ...

1

2

H

. . . . . . -"A--" 'I

1"'1 H P

H ---:. --.... A.-......~ f

etc.

1"'1 H

P

H

I

-

H

r"'1 .r---... ..-....... r-

,

H

I

I

I

-

P

H

---..~

··

hammer on without a previous /note sounding on that string.

E

II ~ I

2

V

,- ....

'.

....

1"'1

l'i i'" JI

I

.:..

~

#0&

rmg -

I

1"'1 H

H

P

P

H

P

.

H

1"'1

~=-=--=---=---=--=--_-4t-lf------l, -----':1

'ring_ 1

ring _

2

2

3

4

2

2

1

2

2

3

4

2

1

2

3

2

1

2

etc.

"Mystic Places" is based on the Spanish-flamenco scale. Notice the exotic sound of the ~2nd/ major 3rd (throughout the solo) as well as the eerie diminished 5th (in the last phrase). Practice each part until you have it up to speed before trying to put it together.

liil MYSTIC PLACES (Solo #1)

CD

E

8

I-l-I-~~:I

"1--'

MH

fingering_

M

P

2

3(2)

4

2

Vil V i1VilV

3

3(2)

3(2)

3(2)

3(2)

3(2)

3(2)

2

3

2

i1VilV V 1"1 V 1"1 V 1"1 V 1"1 V 1"1 V

1"1

1"1

~'~ 1 -

3333333322223333

3

3

1 -

3

1

3

3

3

3(2)

3(2,1 )

1

H1l-t--231341341213

2313231323132313

CD iI

V

iI

V i.'I

V iI V

iI

iI

V

-

iI

iI

V

iI

2

iI

V

M

I ' [""

I

I l""i

J

.-

.

~

/ M!\

~

I

I 1..

4"

.-

4'~

2

.

'

'-'

I

I

I

4'A~~l,..----';'A ......,.niilf __

....,

H

n

4'" 'e-

'-'

H P

H P H 3

1-1

3

~

.., .

~