TROY STETINA SPEED MECHANICS PDF
SPEED MECHANICS FOR LEAD GUITAR. BECOMING THE BEST YOU CAN BE! BY. TROY STETINA. CONTENTS. NON. About the author. Troy Stetina - Beginning Rock Rhythm Guitar. Troy Stetina - Heavy Metal Lead Guitar Volume 2. Troy Stetina - Speed Mechanics for Lead Guitar (Hal Leonard, ). Troy Stetina - Speed and Thrash Metal Guitar Method. Heavy Metal Lead Guitar Vol 1 - Troy Stetina. Troy Stetina - Speed Mechanics for Lead Guitar (Hal Leonard, ).
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PDF | On Jan 11, , Donna Muller and others published DOWNLOAD PDF Speed Mechanics for Lead Guitar (Troy Stetina) by Troy Stetina. Speed Mechanics is the ultimate technique book fo. Troy Stetina – Speed Mechanics for Lead Guitar Format: PDF + Audio tracks (Mp3). even beats Speed Mechanics for Lead Guitar.) There is T R O Y S T E T I N A S E R I E S - D I G I T A L G U I T A R M A G A Z I N E .. four-page PDF chart.
Exercise 82 uses a slightly altered position of the major arpeggio form with the root on the fifth string.
Notice how it fits with the A chord at that position. A brush stroke can be used to play faster arpeggios. To do this, rake across the appropriate strings up or down. To keep all the strings from ringing together, press on each fret only when you want the note to sound.
Your left hand will roll pressure across the strings, lifting up on each string as you move onto the next. The brush stroke is also used to play grace notes. Grace notes are short, quick, quot;prequot; notes that are played in time stolen from the previous note.
They are similar to the rake see Volume 1, page 27 , however, the rake uses only muted strings with no specific pitch. The tones of the diminished 7th chord are 1, b3, b5, bb7. The seventh tone is flatted twice same pitch as 6. Memorize the diminished 7th arpeggios below. The following runs use the diminished 7th.
The first two measures and the second-to-the-last measure of the following solo are particularly difficult.
For the first run, you can try using hammer-ons and pull-offs instead of picking each note. For the other run, you can try using sixteenth notes instead of sixteenth-note triplets. Below is a run in sixteenths that you could use to substitute for that measure. The last run ends on a high A note as the rhythm moves back to the key of the Am again. The arpeggios and the fast runs in the harmonic minor scale give parts of this solo a sound similar to the style of Yngwie Malmsteen. However, once these scales are understood and you can see how they relate to each other, it is useful to learn each pattern over the entire fretboard.
The scales are shown below in several more positions. After learning these, you can experiment with other positions, and eventually you can become familiar with each scale over the entire fretboard.
The A Minor Pentatonic Scale — 1, b3, 4, 5, bT The minor pentatonic patterns are called boxes and are numbered for easier reference. Practice playing up and down the neck over each of the boxes. The A Natural Minor Scale — 1, 2, b3, 4, 5, b6, b7 After learning the following positions for the natural minor scale, experiment in other areas of the fretboard.
The A Harmonic Minor Scale — 1,2, b3, 4, 5, b6, 7 After you learn the natural minor scale well, it won't take you long to learn the harmonic minor. In this scale the seventh tone will be just one fret below each root, instead of two frets, as in the natural minor.
The A Dorian mode — 1, 2, b3, 4, 5, 6, b7 Again, simply alter the natural minor scale to make the Dorian scale. If you can visualize the chord patterns over the scale you are playing, just look for the fifth of the chord.
Troy Stetina - Speed Mechanics for Lead Guitar
One fret higher will be b6 of the natural minor. Two frets above the fifth tone will be the major 6th of the Dorian scale. The A Phrygian mode — 1, b2, b3, 4, 5, b6, b7 This scale is the same as the natural minor, except it has a flatted second. Look for the roots of the scale and one fret higher will be b2. None of the other notes change. The A Spanish-Flamenco Scale — 1, b2, 3, 4, 5, b6, b7 After you learn the Phrygian minor well, just raise each third one fret. Or you can think of the Spanish-flamenco scale as the fifth mode of the harmonic minor scale.
The A Major Pentatonic Scale — 1, 2, 3, 5, 6 This scale follows the same pattern as the minor pentatonic, except that the entire pattern is shifted down three frets. This is because A major pentatonic uses the same notes as F minor pentatonic, the relative minor, which is three frets lower.
Shown below are two useful diagonal forms. The A Major Scale — 1, 2, 3, 4, 5, 6, 7 The major scale follows the same pattern as the natural minor scale with the root three frets below.
The A Mixolydian Mode — 1, 2, 3, 4, 5, 6, b7 This scale is the same as the major scale except, find each seventh degree two frets below each root instead of one fret, as in the major scale. Remember that when you stay in one scale, solo after solo, even though you may be moving everywhere on the fretboard, you are still playing the same notes. When putting together solos, sometimes try forgetting all about the scale patterns and just listen. Follow your ear.
Resolving chords with dissonance and tension onto more stable and comfortable sounding chords is one of the main features of classical music. And so it is with classically influenced heavy metal. These resolutions are called cadences and fit into several different categories.
The most common cadence is that of resolving the V chord to the tonic. In the exercises below, first the chords are shown.
Play the chords and listen for the resolution; then play the arpeggios outlining the chords and listen for the same effect. Above the arpeggios, the tones of each note relative to the chord are shown. The V chord may also resolve to a minor chord. This resolution can be made stronger by making the V chord a dominant 7th type. The chord formula for a dominant 7th chord is 1,3, 5, b1. A diminished chord or dim.
Because all the notes of a diminished 7th are equally spaced all notes are a minor 3rd apart any of the four notes may be considered the root. Therefore, these chords may have four different names. To name a diminished chord in a progression, go down one fret below the destination chord.
This will be the correct name.
For example, in the example below, the first diminished arpeggio pulls to A, so it is named G rather than B, D, or F. The other diminished arpeggios are named in the manner.
Also, because of the equal spacing of the notes, the same diminished 7th arpeggio or chord may be played just by raising up the pattern three frets. That is, first, play a dim. This will still be the same arpeggio.
You can keep raising or lowering three frets without changing the chord. The diminished 7th arpeggio run below, moving up the neck and then resolving to the final note, sounds like the style of Yngwie Malmsteen.
Below, the major and minor scales are shown on one string with the notes of the arpeggios shown in heavy print. Notice the fret distances between the notes in the arpeggio. Four frets is a major third, and three frets is a minor third. Arpeggios or chords may be viewed as stacked up intervals.
Below are the intervals for any major or minor arpeggios. The arpeggios below follow with the chords. Notice the patterns used for the minor and major arpeggios. When the lowest tone of a chord or arpeggio is the root, as in the previous exercises, the chord is said to be in root position.
However, when the root is raised up an octave and the third is left as the lowest note, the chord is now in first inversion. The interval between the 5th and the root on top is always five frets, which is a perfect 4th.
The exercises below use arpeggios in both root position and first inversion. After you learn the patterns, try visualizing the chord forms over which you are playing, and see how the arpeggios fit into them.
If the third is also raised an octave, and the fifth is left as the lowest tone, the chord or arpeggio is in second inversion.
If you raise the fifth an octave also, you will be back to root position again, one octave higher. Both first and second inversions are used below. Diminished 7th chords and arpeggios use equal intervals of minor thirds.
Dominant 7th chords 1, 3, 5, b7 and minor seventh chords 1, b3, 5, b7 are the same as the major and minor except that the minor seventh is thrown in. Notice that 3, 5, b7 of Dominant 7th makes a diminished arpeggio. The progression below uses some seventh chords. Listen for the resolutions. Now try experimenting with these progressions using different inversions of the same chords. The solo starts first in Em, but later changes to major as it builds up through the classical-sounding progression to the climax.
Hold all the notes of each chord with the left hand throughout each group of three. Your left hand should only move with each chord change. These arpeggios are very difficult to pick fast because of the string changes, so begin slowly at first and work up your speed. When the rest of the band joins in, the lead part is simplified. Here the rhythm and lead guitars play the same thing.
Below is the complete introduction. The major seventh from the harmonic minor scale , sliding up to the root gives this melody sort of a quot;mysticalquot; or quot;Arabianquot; sound. Also, notice the staggered feeling that the lazy triplets give. Hold the vibrato bar with your right-hand fingers and, as you pick certain notes, press very slightly and release. These slight dips make the melody sound as though it is sliding around and makes some of the notes sound slightly quot;sour.
Practice these slight bends below. The second line of the verse is nearly the same as the first except that it moves down at the end so that it makes a sort of quot;musical rhymequot; to the first line. Below is the complete first verse. Also, the first line sounds unfinished or undecided while the second line sounds more final; as though the first line poses a question to be answered by the second line.
The interval of a diminished fifth between the third and fourth note as the melody note moves from G to C ; the fifth of an F chord gives the melody an eerie feeling.
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Lead guitar 2 comes in on the last measure of the chorus with an arpeggio that uses the Spanish-flamenco scale. The major third gives a brighter feeling that sounds odd since both the verse and chorus is minor and dark-sounding.
Slide down to the low F at the end. Lead 1 plays the same part as in the first verse. But lead 2 comes in with a higher countermelody, which descends chromatically at the end to the tonic.
Play each part separately first; then play both parts together to look at the intervals used. When a section of music has four phrases, as below, usually the first and third will be the same while the second and fourth will use slight variations and make a quot;musical rhyme.
Listen for it in songs that you hear. The last note of Lead 1 extends over the acoustic section after the chorus for eight measures. This controlled feedback is achieved by keeping a steady finger vibrato and having your amp turned up loud. When the amp is loud enough, it makes the string vibrate more, which in turn keeps the amp producing the note. Different harmonics are produced depending mostly on the tone of the guitar and amp, the volume played at, and the position and distance of the guitar to the amp.
It is just a matter of trial and error to get good controlled feedback. On top of the previous part, Lead 2 plays short one measure lead bursts based in the Spanish-flamenco scale. The end of the last riff uses right hand tapping and sliding.
Notice here that the tones b2, 3, 5, b7, of the Spanish-flamenco scale makes a dimin- ished 7th arpeggio pattern. Below, play through the first ending, then repeat to the beginning. The second time through, skip the first ending and go directly to the second.
Speed Mechanics For Lead Guitar By Troy Stetina Pdf
The first measure in the second ending is lacking one beat — see Rhythm Guitar 2, page Slide to the first note and push up with your third finger. The third string will also be bent. Put your second finger on the third string and pick it pre-bend , and at the same time, let up pressure on the second string.
Then release. Below is the melody line for Lead guitar 1. Lead guitar 2 plays the same thing exac ly twelve frets one octave higher. Try to visualize the chord form closest to where you are playing on the neck for each measure of the lead. First learn the notes of the solo, then try to visualize the closest chord form under each section of the lead. Measure one uses the minor pentatonic scale. In measure two, the lead stresses Cl's major third, which makes the scale pattern Ft harmonic minor. In measures three and four, the lead basically comes down the scale, beginning on the fifth of A and ending on the root of B.
Measures five and six follow arpeggios of the chords. Measure seven, uses the C Spanish-flamenco scale F harmonic minor , and in measure eight the lead moves into the E diminished 7th arpeggio.
The beginning of the second eight bars is shown next because the E diminished arpeggio resolves to it. Measure one, above, borrows the flat second G of the Phrygian minor scale. In the second measure, each group of two notes is part of the C major chord root position, and first inversion. The fifth measure emphasizes the D arpeggio. Over G the lead uses the root and fifth.
The fifth measure is sort of an echo of the fourth, as it was in the first phrase. Over C , measure seven uses an E diminished arpeggio. The notes of E diminished are the same as C 7 except for one note. Listen to the bends in the last measure to get the staggered feeling of the rhythm. Measure one begins with a run up an extended form of the F harmonic minor scale.
In measures three and four, a rhythmic pattern is used. Measures seven and eight climb up the C arpeggio then up the contoured scale.
The pick-up notes for this section actually fall in the last measure of phrase 3, but they are included in this section so you can see them as part of the first run. In measure one, an extended F natural minor scale pattern is used.
The run continues into measure two, using the C arpeggio. The third measure uses the major scale over A, and the fourth uses B7 arpeggio. Measure seven runs right up the arpeggio C 7 , and measures eight and nine run up the E diminished 7th arpeggio. Here the tempo slows ritard and, instead of ending on the tonic as usual , substitute the relative major, A, for a brighter, sort of surprise ending.
When writing the solos in this method as well as the solo to quot;Babylon,quot; I let my ear do the work; imagining what would sound good, then finding it on the guitar. Then I picked some of the better ideas and put them together. Learn the fastest ways to achieve speed and control, secrets to make your practice time really count, and how to open your ears and make your musical ideas more solid and tangible. Want to Read Currently Reading Read.
And how high are you aiming, ie how committed are you to practicing a lot each day? I've always wanted to learn speed mechanics!!! Sorry but your review could not be submitted, please verify the form and try again. Contact mods if you have a complaint. Modern Method for Guitar William Leavitt.
Close X Learn about Smart Music. Truely a great emchanics, it builds up alot of skill and speed. A lot of the practice licks are in the Aeolian mode — which is great for metal players.
If this book is easy for you and your level intermediate or even advanced we recommend to download Terry Syrek Shred Is Not Dead book. Troy Stetina — Fretboard Mastery.
Troy Stetina — Modern Rock. Its very good dude. I havethe book speed mechanics for leadguitar but i lost the CD.Locrian combines the mysterious sound of Lydian with the dark, Spanish sound of Phrygian.
Often the seventh tone of the major scale is flatted making the Mixolydian mode. The C major and A minor chords and scales are also related. The A Major Pentatonic Scale — 1, 2, 3, 5, 6 This scale follows the same pattern as the minor pentatonic, except that the entire pattern is shifted down three frets.
The A Major Scale — 1, 2, 3, 4, 5, 6, 7 The major scale follows the same pattern as the natural minor scale with the root three frets below. Memorize the diminished 7th arpeggios below. Below, both parts are written together. To the right, the tones relative to A are shown.
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