Troy stetina pdf free download

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Open Major and Minor Chords. The most common type of chord used in metal is a two note variety we call a power chord. These power chords consist of a root note, which names the chord, plus a second note a certain distance above.

Our first power chord is an E5. Put your first index finger on the fifth string, 2nd fret and push it down. First, pick the sixth and fifth strings separately to make sure each note is sounding.

Then sound the chord by picking both strings witha single downstroke of the pick. Sounds pretty cool! First of all, the root note is an E note so right away we know this is going to be some Kind of an E chord. But what kind? Count up through the letter names between E and B below, beginning with the number for E.

All chords with just a 5 following the letter name are power chord types, as opposed to some other type of chord such as major, minor, 7th, 9th, diminished, suspended, etc. Learn at your own pace through 12 fully transcribed heavy metal solos from simple to truly terrifying!

This is a great book to teach guitar students how to disect a song and learn it. The book is loaded with instructional photos that demonstrate the techniques. Robert F. George 2 Troy Stetina sprinting at the Northbrook , Illinois velodrome.

Wayne Stetina in the four - man Team Time Trial at While the translation from the original Japanese edition is poor, online audio recordings of the author performing every example in the book make this a worthwhile purchase. A fourth defines the musical nterval, or distance, of four scale steps the equivalent of five frets. On the guitar, laying one finger flat across two adjacent strings and picking both strings together creates fourth dyads.

Nothing to it! Check out the dia: grams below and play each chord. Make sure you strike both the lower-sounding string string 4, or D string and the next higher-sounding string string 3, or G string with a single downstroke of the pick.

Sliding Chords Sometimes chords may be sounded without picking. Then slide back down to C5 fret 5. Move your whole fret- hand to shift the position in one solid move.

On the guitar, silence doesn't happen by itself; you have to stop the strings when a rest appears. The most reliable method is to use both hands. For the fretting hand, release pressure on the chord so that you are no longer pushing the strings down, But don't lift your fingers off the strings entirely, or youll allow them to ring openly. At the same time, move your picking-hand palm over to cover and lightly touch the strings over the pickups. With both hands holding the strings muted, your rests will likely be clean and relatively noise-free.

Below are the various rest symbols used in music notation. All of them sound the same. The difference is sim- ply in their length of time relative to the underlying pulse, or beat.

If these symbols are new to you, don't worry about memorizing the exact length of every rest here now. However, if this is new to you, don't worry about it. Simply listen to the song and follow along with the tablature TAB notation. Each chord dyad that is struck will appear as a pair of TAB notation fret numbers, one above the other. After a bit of listening, you should be able to pick up the rhythm by ear. Make sure you stop the strings on the rests!

Extra credit: tap your foot with the underlying beat or pulse and not with the picked chords you are playing. The symbols : : rect you to repeat all measures in between—thatis, play them twice. Then on a larger scale, written repeats are used. The direc. Since standard practice in clas- sical music is to omit symbol repeats the second time through, the direction "with repeats appears in parentheses.

This little positional detail will insure that even if string 5 is accidentally hit, it zan't ring out. But lifting off one string often allows for a lot of extra and unwanted noise, The answer is either ta lift and move really fast, or better ye just roll your finger off of one string and onto the next without ever taking pressure off the fretboard.

Often, a combination of rolling and lifting may be required to change across strings quickly without undo noise.

Try shitt- ing between the notes below by ralling your third finger. Pick the first note, then hammer your third finger down on fret 5 10 sound the C note. The next combination is a pull-off. At the same time, make sure your first finger is in place on 8 at fret 3.

Then, while holding fret 3 with your first finger, pull your third finger off and slightly down to pluck and sound the second note. The third example is a trill performed by repeated hammers and pulls. The shape that has defined the sound of rock for more than 30 years.

The power chord Place your first index finger on the sixth string note below and your third finger on Fin string. Your first finger is playing the root note, which names the chord. Below are several filth-dyad power chords all rooted on the » string sce the root of each power chord names the chord, if you learn all the note names on strings 5 and 6, you'll Sle to find every power chord.

Play up and down the strings shown below with your first finger on each fled note, saying its letter-name. Now pick the strings and you'll hear the pitches will an tered, somewhat muffled tone. Notice that the position is the same as for the AS power chord, whose notes if contains.

What's that? You're not having any trouble, are you guys? Alter all. Use all downstrokes of the pick. The key is A minor, which means the tonal cen- ter is A and it favors notes of the minor scale.

Anew type of space-saving repeat shorthand is employed in this song—recalling a rhythin fig- ture. Now that we have established these eight measures as being rhythm figure 1 we can recall it as needed, without writing the whole thing over and over. This tells you that guitar 1 continues by repeating rhythm figure 1, while guitar 2 enters playing its melody line.

Fret the note with your third ring finger and also put your second middle finger on the string next to it to help with the bend, Pick the note, then push the string up to raise its pitch the equivalent of two frets whole stop. The peak of your bend at the seventh fret should therefore sound the same pitch as the ninth fret, unbent. This is a fairly quick bend up, followed by a release back down to the original pitch, Don't release pressure off the string when releasing the bend, but rather pull the string back to its unbent position while maintaining constant pressure against the [ret- board, Extra credit: On the fade out you'll hear a few extra measures of solo that are not tran- scribed.

Listen and learn them by ear! Hint: they use the same bend as above. Lore of rock soloing. Sgiated chords below, holding eact ne. Try both methods below. Can you find the fourth dyad? Notice how these chords have been altered from their more standard counterparts. Arpeggiate each chord. Gadatg Emiadi9 ade? Intervallically, this is a flatted diminished fifth or sharped augmented fourth. And did mention, it rules!?! Below is a G5 dyad followed G 5.

Play one after the next and listen as the sound changes between a pure consonance and strong dissonance. Removed from the immediate vicinity of the root, this unstable intervals characteristic dissonance is a bit less intrusive, but twisted and haunting nevertheless. A new written repeat also appears in this song, D. This is similar to D. One more repeat issue arises at the end of the song in the Outro sec- tion.

If you don't have either of these options, you'll have to wing it using your guitar's volume knob. Set up a distorted sound on the amp and roll back your trusty volume pot to a level of roughly 2 or 3. This will clean up the tone a bit. Yeah, it's a lousy clean sound, but at least itll do the trick until you get it together and buy yourself a cool amp, or at the very least a distortion pedal.

After playing up and down this box 1 shape in G, then look at the upper extension shown on the right. This is the same scale played over a different area of the fretboard. For example, B is located on the sixth string, fret - Begin the minor pentatonic pattern there, in seventh position, and you have the B minor pentatonic scale.

String Bending We had a taste of simple bending in song 3. Now we'll dig a bit deeper. First, a straightforward bend up from fret is shown below. Use your third ring finger with your second middle finger behind it to help reinforce the bend and give added strength.

Another great thing is that this book puts a lot of emphasis on developing your ear which is usually either only briefly mentioned in other books or not discussed at all. One word of warning though: this is definitely not a book for beginners. Troy Stetina — Hard Rock.