The Mechanics of MetalT• Series

A slale-ol-Ihe-art inslruclion course designed lo help beginning, inlermediale, and advanced guilarisls masler Ihe art 01 heavy melal guitar playing.

Lesson 1: Heavy Metal Chord Guide (with accompanying cassette tape)

Lesson 2: Total Sea les and Modes (with accompanying cassette tape)

Lesson 3: Teehnique and Exereises (with accompanying cassette tape)

Lesson 4: Trieks (with accompanying cassette tape)

Lesson 5: 100 Versatile Lieks and Runs (with accompany­ing cassette tape)

Mechanies 01 Metal'" Publications P.O. Box 162

Howard Beach, N.Y. 11414

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The Mechanics of Metal" Series

A Sound and Organized Approach lO Ihe Mastering of Heavy Metal Guitar ....

Lesson 1: Heavy Metal Chord Guide

AlJ material wriuen. narrated. and performed by Peter Greenficld

COPYri&IM CI 1916 by Ptw:r Oremrorid. AU f'ia:Iu mcr\'ed. No pon .. oIlho: iK ...... "",~rial

IIIIY be ~ed In 1IlI)'IIIII!IIIC1 "-"'1_ ""iI~ pmniuiool .

Author' s Note

Much care has been taken so that all the material presented in the Mechanics of Meta1"" se ries can be understood by guitarists at almost any level of playing ability, even those with minimaJ knowledge of music . To obtain the most benefit from this course, read through aU material carefully. Try to absorb each idea completely before going on. If confusion should occur at any point, review the troubled area. After going over it a few times, it should make sense.

Please note that a small number placed aboye any word or term indica tes the lesson number in which that word or term is discussed more thoroughly. For example, on page 6, a small 2 appears aboye the term "major scale". This means that the major scale itself is discussed thoroughly in Lesson 2. These references are provided primarily for those who have ordered this lesson individually, and not the entire Mechanics of Metal .... course.

1 hope that Lesson I enables you to advance your guitar playing. Good luck.

Okay, you're figuring out the rhythm guitar part to a particular songo You know that the chord being played in the song is an A chord, but it just doesn't sound like the A chord that you are playing on your guitar. Something about it seems to sound diffe rent. Aside from the technical recording aspects (echo, chorusing , flanging, e tc .), c hances are that the chord does not sound quite the same because you are not playing the same "voicing". Voicing is just a fancy word used to describe all the different ways and places that the same c hord can be played on the guitar tingerboard.

Becoming familiar with the different chord vOlcmgs that are used by today's heavy metal guitarist should prove to be a useful tool for interpreting and composing thi s style of music.

Before we get to these "metal chords", let's just knock off a little basic chord theory.

First of aH, for those of you who may not a iread y be familia r with the concept of sharps and f1ats, we'd better c lear that one up right now. A sharp (1) rai ses a note's pitch one "half-step" . A half-step is equal to the distance of one fret on the guitar. The note 01 is one fret higher than the note O on the guitar. A flat (~) lowers a note's pitch one half-step. The note O~ is one fret lower than the note O on the guitar. A note is said to be natural (~) when it is nei ther sharp nor flat.

AH natural notes are separated by a sharp note and a nat no te , with the exception of B and C, and E and F.

Al and Bb are ac tually two difie rent names for the same note . The same holds true for CI and Ob I [)# and Eb, and so for th. Whether or not a note should be called by i ts sharp or tlat name is determined by the kel that note is associated with.

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Since most heavy metal chord progressions (a progression is an organized sequence oí chords) utiJize major and minor chords, the majority oí thi s lesson is devoted to these two chord types. Of course you will encounter other c hord types in your heavy metal travels, but nine out ot ten metal rhythms employ major and minor chords excJusively.

So, what is a major chord? The first thing to understand about any chord is that it is construc ted from the major scaJe t

oí the same lette r name. Any type oí A chord, whe ther it' s A major, A minor, Al, etc., will be construc ted from the A major scale. Any type oí O chord (O major, O minor, etc.) is constructed from the O major scale, and so forth.

The next concept to understand is that every chord type has its own formula for construct ion. The formula íor a major chord is J, 3, 5. This mean s that a major chord consists of the íirst degree (or root), third degree, and fifth degree oí its major scale. Below is a major scale in the key oí A. Al! the scale degrees have been numbered.

A B CI O E Fu GI A 12345678

By applying the major chord formula to the A major scale, we arri ve at the notes A, d, E. This type of three note chord is known as a triad - a major triad. (There are four types of triads: major, minor, augmented, and diminished.) The notes contained in this triad may accur in any order: A, el, E- eJ, E, A- E, A, ct - e tc. Specifically, the term voidng is used to describe the actual order in which the no tes are arranged.

When speaking olor writing a chord voidng, the notes are named in order from lowest to highest in pitch.. If a chord is "voiced" with its root note as the bass note (Iowest pitched note), the chord is said to be in root position. If the chord's third degree is the bass note, this is known as the chord' s firsl inversion. When the chord's fifth degree is the bass note, th is is caBed the chord' s second inversion.

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Any oí the notes contained in the A major triad may be repeated. If there a re more than three notes present (Hke A, 0, E, A), the structure is usuaJly termed a chord as opposed to a triad. However, in terms of "tona lit y", the chord is still considered a triad because it contains the first, third, and fifth degrees only. With a1l the options available for arrangement and repetition of notes, there are quite a few fingering and tonal variations, or voicings lor the same chord.

The formul a tor a minor chord is 1, ~3, 5. The only difference between a ma jor chord and a minor chord is the third. A major chord contains the natural (unaltered) third oí its major scaJe, and a minor chord contains a f1atted (Jowered) third. (Even though the third, sixth, and seventh degrees of the A major scale contain sharps, these notes a re considered natural to the key of A.) Applying the minor chord fo rmula to the A major scale, we arrive at the notes A, e, E. This is an A minor t riad.

Although major and minor c hords technically consist of the root, t hi rd (or tlatted third), and fifth degrees, iI is more than common heavy metal practice for these chords to be employed consisting oí the roo t and fiJth only. The root plus fifth combina t ion is known as a "power chord". As its nickname may imply, the root combined with the fifth produces a ver y st rong, powerful sound.

The power chord is neither major nor minor because it ~ontains no third . However, when placed in a chord progression, 11 may function 2 as ei ther a major or a minor chord.

AlI oI the fo llowing chord examples a re moveable . This means tha t they may be moved from fret to fret , with each posi tion giving the chord a new letter na me. The ci rcJed note is the chord's root - the note that determines the letter name oí the chord. If Example I is played at the fifth fre t, it is an A major chord since the note on the six th string, fifth fret is an A note. Play the same chord a t the seventh fret, and it becomes a B major chord, as the note on the sixth. string, seventh fret is a B note. AIl moveable chords may be manipulated in the same manner.

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Becoming familiar with the names oí the different chord forms as they are moved up and down the neck should prove to be a use fui aid in learning the names of all the notes on the guitar fingerboa rd. For those of you who are not familiar with the names oí the notes on a1J six strings, a diagram indicating this information has becn incJuded on page 24.

A1J chords wilJ be illustra ted using standa rd chord di a­grams. In case you may not know how to inte rpret them, the vertical lines represent the guitar's six strings hhe fi rst string being the thinnest and highest in pi tch), and the horizontal lines re present the frets.

r,--.,---,-,----, - • • 1---+-+-+-+-1- •

• I .. JI 2

¡ ¡ 11' ...

An "x" placed aboye a str1ng indica tes that the st ring 15 not played at all . BJack dots indicate the placement of fingers , and numbers indicate specific finger ings. Two or more dots joined by a curved line indicate the notes a re held down, or ''barred'' with the same finger.

Example 1 Example 2 Example J

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Learning to play Example 1 is usua1Jy the fi rst step that most guitarists take towards playing any type of moveable chord that is used in heavy metal. It seems to be a standard among most teachers and instruction books tha t thi s chord 15 the forerunner of all other "heavy" chords. This type of chord is known as a "barre" chord, as the first finger forms a bar to hold down all six strings. This major chord 15 voiced root, fifth, root, third, fifth, root. Lilt up the second finger, which holds down the chord's third degree, and the first finger will now hold down the flatted t hi rd. The chord now becomes minor, bringing us to ExampJe 2.

Although Examples 1 and 2 are usually introduced as heavy metal or hard rock chords, they a re actually more sui ted to these styles in the smalle r form oí Example J. With the third, second, and first strings e liminated, the result is a power chord voiced root, fift h, root. (A good number of guitarists hold down the full major barre chord, but ac tuaJly strike the sixth, fifth, and fourth strings only.) The root note on -the fourth string is one octave higher than the root note on the sixth string. (This means that t he note on the fourth string shares the same letter name as the note on the sixth string, only the note on the fourth string 1s higher in pitch. One com­plete major .scale Hes between these two notes. If two major .scales fit between them , the higher pitc hed note is said to be two octaves rugher.)

Sometimes Example J is e mployed as a two note chord, consist ing of the sixth and fifth strings only. Even the fourth string 1s left out this time . Eliminating the higher octave on the íourth string won't c hange the sound of the chord that much, it will just take away a bit of treble.

Example 4 Example .5 Example 6

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Following the standard procedure, alter learning Example 1, most guitarists go on to learn the second barre chord form, Example 4. This major c hord is voiced root, fifth, root, third, fifth. Example!j, the minor version af this barre chard, has the same voidng, only it cantains the Uatted third.

The situation is pretty much the same as before. You should know and be able to play Examples " and 5, but these chords are more readily applied to heavy metal in the smaller form of Example 6. Similar to Example 3, this power chord is voiced root, fifth, root . Also comparable, the root note on the third str ing is one octave higher than the root note on the fifth str ing. It is also quite common for Example 6 to be empJoyed as a two note chord, with the higher octave on the thi rd string eJiminated.

ExampJe 7

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Example 7 is actuaJly a "mini" ve rsion of Example 3. It contains the same notes, only the sixth str ing is eliminated. This smaller version is usually used for convenience, where it might otherwise seern awkward to finger ExampJe 3. You can si mply "grab" it with one finger. (The proper finger used to hoJd this chord down depends upon the position3 of the Jeft hand.) This power chord is voiced fifth , root.

ExampJe 8

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lO

As Example 7 is a mini version of Exam ple 3, ExampJe 8 is a mini version of Example 6. Use one finger to hold down this commonly used power chord which is aJso voiced fifth, root.

Example 9

Example 9 isn't re peated as often as the o ther examples di scussed so far, but is de finitel y used in a fai r amount oí heavy metal rhythms. Store it in your me mory bank aJong with the others. The voicing is root, fifth.

ExampJe 10

Exam pJe 10 is obviousJy the same as Example 9, with the addition oí one note . This note on the second string is aJso the root, one oc tave highe r than the no te on the íourth string.

ExampJe 1I

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With the introduction of Example 11 , hopefully you are starting to see the relationship between aU the examples given so faro Basically, they are all extensions or pieces of one another. Consciously or unconsciously, the player chooses the one that comes c10sest to the sound that he (or she) is trying to create or duplica te.

Use Example 11 for more of a treble effect than its bigger brother, Example 10. Two note chords located on the treble strings, Jike thi s one, can also be incorporated into guitar solos. When used in this manner, they are called "double-stops".

Example 12 Example 1) Example 14 x X X

l . ~

~ • j

~ • 2 2

Example 12 utilizes the comple te major triad. This chord is voiced fifth, root, third.

Because it is often associated with Example 12, now is the perfec t time to introduce you to the "suspended fourth tl chord. Any major or minor chard can be turned into a suspended fourth chord by taking the chord's third (or f1atted third), and replacing it with the fourth degree of the chord's major scale. Relating bac k to the A major c hord, the c hord' s third, C~, would be replaced with a O note, the fourth degree of an A majar scale.

When suspended fourth chords are used in heavy metal, they are usually sandwiched between two m~jor chords oí the same letter name. (For example: A major, A sus 4, A major.) Example 12 can be conveniently turned into a suspended fourth chord simply by placing the fourth finger directJy in front of the second finger, as illustra ted in Example 13. Uft the fourth finger up and you are right back to the majar triad. This mave will occur in heavy metal rhythms from time to time .

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t J

I J

Example 4 can also be changed to a suspended fourth chord by means of a rather simple modification, as iUustrated in Example 14 . (Notice that the first string is omitted, resulting in an emphasis of the suspended note.) Any major or minor chord can be turned into a suspended fourth c hord, but Examples 1) and 14 are more common to heavy metal. Suspended íourth c hords are not used constantly in heavy metal, Iike power chords, but they da have their moments.

Example 15

Example 12 sometimes occurs in the larger form of Example 15. This is arare heavy metal chord, but known to show its face occasionally. The fifth string is the root and the fourth string is the third. Form a bar with the first finger to hold down the first and third strings. This chord can also be applied as a major triad, by holding down the fifth, fourth, and third strings only.

Example 16

~ Example 16 won't win a popularity contest either, but

keep your ears open lor it because this two note chord also shows its face every now and then. This filth, root voicing is usually held down with one finger I but depending upon the chords that precede and follow it , it is sometimes more convenient to hold it down with two fingers. (This holds true for all chords that a re normaJly held down with one finger.)

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Example 17 Example 18

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Examples 17 and 18 both ha ve a similar sound that stands apart from the other power chords. Play them on your guitar and you'l1 hear the slightly different effect that they c reate. Both examples are voiced root, fiith .

It is not unusua l fo r open st r ings to be added to sorne of the moveable chord forms. Open strings can add a full, sustaining quality. Example 8, played as an A power c hord at the second fret, is ohen employed with the addition of the fifth string (A) open. It is abo very common for the sixth string (E) open to be added to Example 7, when played as an E power chord at the second fret . (This type of E power chord is oiten preceded or followed by Example 3. When making the transi tion lrom Example 3 to Example 7, or vice versa, finger Example 7 wi th the third and fourth fingers holding down the fifth and fourth strings, respec tively. This allows lor a smoother transition.) The fourth string (O) open is a common addition to Examples 11 and 12, when played at the second fret as O chords.

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Exarnple 19 Example 20 Example 21 x x x x x O x x x x x O X X

4 ~ . ,. 4 •

E Powe r Chord A Power Chord o Power Chord

Examples 19 through 21 represent the E, A, and O power chords discussed on page 14, reduced to two notes only. These chords are not moveable. In each example, the open string is the rool and the fretted note is the chord' s fifth . (An open string is indica ted by an "o" placed above the string.) These chords are used quite oiten in heavy meta l.

Sorne of the chord forms learned so fa r may be applied as complete open string chords. Example 8, played as a C power chord with both the third and fourth strings open, is quite common. Example 7 may be played open as a O power chord. Example 16 may be played open as an E power chord.

Example 22 l x x O t

4 • '-

C Power Chord

Example 22 is the same voicing as Example 11, only t he note on the third string is now played open. This C power chord is not moveable .

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, Open strings can a lso be added to chords tha t a re played

higher up the neck. Example 6, played as a~ E powe.r c hord . at the seventh fret, is sometimes employed wlth the slxth stnng (E) apen added tor a deeper, heavier sound. Examples 9 a nd 10, played as A power chords at the seventh f re t, can be employed with t he add ition of the fif t h string (A) open. Even Example 8, played aH the way up the neck at the fourteenth f ret as an A power c hord (one octave higher than the same c hord played at the second fre t), can be e mployed wi th the addition of the apen fifth string.

Example 23 Example 24 Example 25 o x)( x x x o x x x )( x o x x

eJ' I , 4 " E A D

Examples 23 through 25 represent the pairing of two notes of the same le tte r name. Not even the fifth degree is included this time. In each example, the open st r ing is the lower octave and t he fret ted note, usual1y held down with the third finger, is one octave highe r. (Be sure to ho ld down the fre tted note at the seventh fret .)

Open strings added to c hords do not necessari ly ha ve to be the c hord 's roo t note. An open string may be the c hord' s fifth, third , or any note that adds a desi(able effect. Open strings can a lso be added on the treble stri ngs (the E, B, and G strings). The addition of open st r ings usually c hanges the tone and overaU effect of a c hord' s t ypical sound. So, when figu ring out songs off record s, beware of those open strings!!

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Example 26

, O O

4 4 " 4 ,

Example 28

O O

4 ,

,

4t' I 1' 4 t ,

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Example 27

O O O

,

Example 29

4 a

O O O

J , ,J ~ "

,

Ending our discussion on apen strings bri ngs us to Examples 26 through 29. These non-moveable chord forms are sorne of the first major c hords that a beginner learns to play on the guitar . These c hords are usually used in heavy metal taking on fur ther reduced forms, most of whic h have been di scussed earlier .

Example 26, the e major c hord, is voiced root , third, fifth, root, third. In its largest form, this c hord is usually a pplied to heavy metal with the first st ring omitted. In smaller forms, this e major c hord can be broken up in a number oí ways. Strings three through five, strings two through four, and strings one through three are all e major triads within themselves. Look back at Example 22. This e power chord consists of the second and th ird st rings oí the aboye e ma jor chord.

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Although the G major chord usuaJly appears in most beginners' books and chord encyclopedias in the form oí Example 27, most heavy metal guitarists apply it in the form oí Example 28. Example 27 is voiced root, third, fiJth, root, third, root. Example 28 15 voiced root, third, fifth, root, fi1th, root. The only difference between these two voicings is tha t Example 27 repeats the chord's third degree played on the second string, whereas Example 28 repeats the chord's fifth. It has already been pointed out that the fifth degree is a more popular heavy metal chord tone.

Example 28 can also be broken up into smaller c hord forms. Holding down the first and second strings with one finger, played together with the third and fourth strings open, is one variation. Example 8 played open, as di5Cus5ed ear lier, and Example J 6 are both 5maller pieces of Example 28.

Example 29, E major, is voiced root, fifth , root, th ird, fifth, root. Thi5 chord i5 a lmost a lways applied to heavy metal in the smaHer fo rm oC Example 7 combined with the sixth string open, as discussed earlier, or in the further reduced form oí Example 19. Example 16 played open, also previously men­tioned, consists of the first two strings of this E major chord.

Another type 01 two note chord that is used in heavy metal is the combination 01 the root plus the third, or f1atted third tor minor chords. This combinatíon isn ' t as popular as the root plus fifth, but is used more than occasionally by the heavy metal guitari5t.

Example5 30 through 39 are aH voiced root, third (or flatted third). lt is indicated unde r each example whether the chord i5 major or minoro

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, Example 30

x x x x ,

Example 31 , , x

~' ~ .' " Minor

Example 33

Major

Example 36 x x x

,

~' Minor

Example 38

Minor

Major

Example 34

Minor

x

19

Example 32 , ~ ,

~ Mlnor

Example 35

Major

Example 37

=f F--

Major

Example 39 x x x x

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Note that a lthough Examples 31, 33, 35, 36, and 39 are indicated to be played with the fi rst and second fingers, it is not unusual fo r these chords to be played using the second and third fingers, respec tively. Again, it depends upon the chords preceding and foJlowing them. Example 37 is usually held down with one finger.

Example 33 seems to be used a bit more often than the other examples that are Jocated on the bass strings (the E, A, and O st rings). Example 35 is probably more popular than its minor version, Example 34, and Examples 36 and 37 find their way into a few more metal rhythms than Examples 3& and 39.

Example 40 x x x x

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2

Once you've played it on your guitar, you may not be very pleased with the sound of Example 40. In most cases, this strang~ sound ing chord is used to pass from ane c hord to another, and usually lasts only momentarily. This two note chord consist s of the root plus f1atted fifth. There are other voicings for this chord, but this cambination of notes usually appears in the form of Example 40. When used in proper con­text, this chord can create a very interesting effect.

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AH of the chords discussed in this lesson are the meat and patatoes of heavy metal rhythm guitar. In conclusion, the formulas for additional chord types have been indicated. Learn Examples 1 through 40, then expand your horizons. Any chord can be applied to heavy metal, as long as it is applied tastefully . Listen to the intro to "Oiary of a Madman" per­formed by the late Randy Rhoads. There is some very interesting, yet unconventional chord work going on.

Once you have gained a complete understanding of the major scale, you can use the following chord formu las to con­struc t chords in any key. For now, use the A majar scale to construct different c hord types in the key of A. Find the notes contained in any type of A chord by applying the chord's formula to the A major scale¡ then use the diagram on page 24 to he lp you locate the chord on your guitar. Oon't forget that there are a number of voicings far any given chord.

When interpreting chord formulas, please be advised that any number consisting of a higher digit than 7 (Jike 9, 11, or 13) indicates a higher octave. The 9th degree is one octave higher than the 2nd degree, the 11 th degree is one octave higher than the 4th degree, and the 13th degree is one octave highe r than the 6th degree. However, because chord finge rings containing these higher octaves a re oiten unobtainable on the guitar, the 9th, 11th, and 13th degrees may be treated as the 2nd, 4th, and 6th degrees, respec tively.

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-Majar Chord Types Dominant Chord Types

Chord Formula Symbol Chord Formula Symbol

Majar triad 1, 3, 5 mal Dominant 7 1, J, 5, b7 7 Majar 6 1, 3, 5, 6 6 Dominant 9 1, 3, 5, 17, 9 9 Majar 7 1, 3, 5, 7 mal 7 Dominant 11 1, 3, 5, 17, 9, 11 1 1 Majar 9 1, 3, 5, 7, 9 ma; 9 Dominant 13 1, J, 5, ~7, 9, 13 13 Majar 11 1, 3, 5, 7, 9, 11 mal 11 Dominant lb5 1, 3, 15, 17 lb5 Majar 13 1, 3, 5, 7, 9, 13 mal 13 Dominant 715 1, 3, 15, b7 715 Majar add 9 1, 3, 5, 9 add 9 Dominant 719 1, 3, 5, 17, 19 719 Majar 6 add 9 1, 3, 5, 6, 9 6/9 Dominant 7119 1, 3, 5, 17, 19 719 Majar 7 ~5 1, 3, 15, 7 maj 715 Dominant 7 sus-Suspended 2 1, 2, 5 sus 2 pended 4 1, 4, 5, b7 7 sus 4 Suspended 4 1, 4, 5 sus 4 Diminished triad 1, b3, b5 dim or o

Diminished 7 1, b3, b5, bIo7 dim 7 or "7 Augmented triad 1, 3, 15 aug or +

Minar Chord Types

Chord Formula 5ymbo1

Minar triad 1, b3, 5 m Minar 6 1, b3, 5, 6 m6 Minar 7 1, 13, 5, 17 m7 Minar 9 1, b3, 5, b7, 9 m9 Minar 11 1, b3, 5, b7, 9, 11 mIl Minar 13 1, 13, 5, b7, 9, 13 m13 Minar add 9 1, b3, 5, 9 m add 9 Minar 6 add 9 1, b3, 5, 6, 9 m 6/9 Minar 715 1, b3, 15, 17 m 7 b5 Minar majar 7 1, 13, 5, 7 m/maj 7

22 23

Names oí the Notes on AH Six Strings

AH the notes on the guitar fingerboard repeat one octave higher in pitch, starting at the twelfth fret.

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