Chapter 2, książka

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Introduction
Notation symbols
Chapter 1: Tool, A Perfect Circle
Adam Jones of the Tool
Billy Howerdel of a Perfect Circle
Chapter 2: Rage Against The Machine, Audioslave, P.O.D.
Tom Morello of Rage Against The Machine and Audioslave
Marcos Curiel and Jason Truby of P.O.D.
Chapter 3: Godflesh, Carcass
Justin Broadrick of Godflesh
Bill Steer of Carcass
Chapter 4: Nine Inch Nails/Trent Reznor
Chapter 5: Helmet/Page Hamilton
Chapter 6: Korn, Limp Bizkit
Head and Munky of Korn
Wes Borland of Limp Bizkit
Chapter 7: Linkin Park/Brad Delson and Mike Shinoda
On the CD
Acknowledgements
Photo credits
About the authors

Welcome to the Troy Stetina series
Foreword
Introduction
How to read music in this book
Timing and rhythm notation
CHAPTER 1
The minor pentatonic scale
The hammer-on and pull-off
The two-fret bend
Rock cliches
Finger vibrato
Rests
Rhythmic patterns
Minor pentatonic riffs
Special articulations
Riffs using the special articulations
"Open fire" (solo #1)
CHAPTER 2
Notes on the sixth string
Changing keys
The octave position
The diagonal form
Alternate picking and sixteenth notes
"To the stage" (solo #2)
CHAPTER 3
The blues scale
The one-fret bend
Triplets
Special articulations
Quarter note triplets
Photos
Improvisation and phrasing
"From the heart" (solo #3)
CHAPTER 4
Notes on the fifth string
Minor pentatonic (fifth string root)
Scale tones
Minor pentatonic tones
The natural minor scale and tones
Speed exercises
"The heavy side" (solo #4)
CHAPTER 5
Cross-string picking mechanics
Scale sequencing and contouring
Scale sequencing in licks
Rhythmic patterns
The dorian mode
Sixteenth note triplets
Overbending
Speed exercises
"Montezuma's revenge" (solo #5)
CHAPTER 6
Natural harmonics
The vibrato bar
Right-hand fretting
Speed exercises
"Into the spotlight" (solo #6)
Keeping tabs on your own killer licks
Notation guide
Glossary of terms
The Troy Stetina Series

PREFACE
ACKNOWLEDGMENTS
INTRODUCTION
lENNON TIMELINE
CHAPTER 1 Music Lingo Primer (Explanation and Illustration of Analysis Techniques)
CHAPTER 2 1964, Part I
You Can't Do That
If I Fell
I Call You Name
A Hard Day's Night
CHAPTER 3 1964, Part II
Baby's in Black
I'm a Loser
I Don't Want to Spoil the Party
I Feel Fine
CHAPTER 4 1965
Ticket to Ride
You've Got to Hide Your Love Away
Norwegian Wood
Day Tripper
In My Life
CHAPTER 5 1966
Tomorrow Never Knows
Rain
She Said She Said
Strawberry Fields Forever
CHAPTER 6 1967
A Day in the Life
Lucy in the Sky with Diamonds
All You Need Is Love
I Am the Walrus
CHAPTER 7 1968
Revolution 9
Revolution
Julia
CHAPTER EIGHT 1969
Come Together
CHAPTER NINE August 20, 1969
ABOUT THE AUTHOR
INDEX

Introduction
About the CD
Part I: A Preview to Chord - Tone Soloing
Chapter 1: Let's Jam
Chapter 2: Chord - Tone Targets on a Basic Blues
Part II: A Solid Foundation
Chapter 3: Getting Serious About Practicing
Chapter 4: Timing
Chapter 5: The Five Patterns
Chapter 6: Major Scales
Chapter 7: Intervals
Chapter 8: Chords and Arpeggios
Chapter 9: Diatonic Harmony
Chapter 10: Finding Key Centers
Chapter 11: Minor Scales and Keys
Chapter 12: Modes
Chapter 13: Extensions
Chapter 14: Modal Interchange, Secondary Dominants, and Modulation
Part III: CHord - Tone Soloing Exercises
Chapter 15: 3rds and 7ths
Chapter 16: The Frosty Fretboard
Chapter 17: Arpeggiation
Chapter 18: Targeting 1, 3, 5, or 7
Chapter 19: Steady Eighth - Note Lines
Chapter 20: Scalar Connection to Any Chord Tone
Chapter 21: Ascending Arpeggios and Descending Scales
Chapter 22: Choosing Your Targets
Conclusion
About the Author
Acknowledgments

Chapter 1: How ro practice patterns
Basic routines
Chapter 2: Scales
Pentatonic b3
Pentatonic b6
Augmented scale
Tritone scale
Chapter 3: Triad variations
Diatonic triads
Triad pairs
Chapter 4: Lower neighnor tones
Chapter 5: Interval sets
Chapter 6: Diatonic intervals & chords from scales containing fewer than seven tones
Chapter 7: Chord scale exercise
General chord/scale cross reference chart

Introduction
Chapter 1 - Impedance and Wiring
Basic Terminology
Compatibility Between Hi Z and Lo Z
Balanced vs. Unbalanced
Basic Terminology
Unbalanced Guitar Cables
Balanced Cables
Conclusion
Chapter 2 - Bass Guitar
Electric Bass
Condition of the Bass
Direct Box / Direct In (DI)
The Bass Level
Instrument Differences
Musical Style
Recording Levels for Bass
Mic Techniques
Compressing the Bass
Equalization
Panning
Reverb
Synth Bass
Plugging the Synth Bass In
Miking the Synth Bass
Performance of the Synth Bass Part
Bass Range and EQ
Compressing the Synth Bass
Recording Level for the Synth Bass
Panning Synth Bass
Effect and the Synth Bass
Acoustic Bass
Close - Miking the String Bass
Conclusion
Chapter 3 - Harmonics / Overtones / Partials
The Difference Between Harmonics, Overtones and Partials
Conclusion
Chapter 4 - Vocals
Mic Techniques
Placement
Distance
Small Room vs. Large Room
Moving - Coil / Ribbon
Condenser
Effects
Stylistic Considerations
Wind Screen
Repairing a Problem Plosive
Electronic Plovive Repair
The Proximity Effect
Bass Roll-off
The Pad
Different Sounds of Different Pickup Patterns
Positioning the Microphone
Compressor / Limiter / Gate / Expander
Dynamic Range
Compression
Sibilance
The De-esser
Equalization
Recording Environment
Physical Aids
Intonation
Headphones
Punch In / Punch Out
Perseverance
Panning
Common Vocal Effects
Delay
Slapback
The Electronic Double
The Electronic Triple
Regeneration
Reverb
Predelay
Exciter
Chorus / Flanger / Phase Shifter
Backing Vocals
Conclusion
Chapter 5 - Acoustic Piano and Rhodes
Grand Piano
The Basics
Mic Choice and Technique
Stereo or Mono
Instrument Maintenance
Setting the Mood
Processing Pano Sounds
No Two Pianos Sound Identical
Recording Levels
Equalizer the Piano
Compressing the Piano
Exciting the Piano
Reverberation
Miking the Vertical Piano
Sampled Piano Sounds
Rhodes - type Sounds
Rhodes Effects
Equalizing the Rhodes
Conclusion
Chapter 6 - Recording Synthesizers
Recording Synths: Strings, Pads, Bell-like Sounds, Brass and Effects
Live in vs. Mic in Through DI
Line In
DI Can Color the Sound Adversely
String and Pads
Layering
Equalizing Pads
Dynamic Processing the Synth
Reverb
Combining Textures
Exciter
Chorus, Flanger, Phase Shifter
Panning
Delay
Bell - like Sounds
Equalizing the Bell - like Sounds
Panning Bell - like Sounds
Compression
Reverb
Chorus / Flanger / Phase Shifter
Brass
Mic Technique
Levels
Brass Samples
Brass Equalization
Panning
Reverb
Exciter
Chorus / Flanger / Phase Shifter
Delay
Special Effects
Conclusion
Chapter 7 - Panning and Stereo Imaging
Speaker Position and Choice
Mic Techniques
The Head
Assignment
3:1 Principle
Panning
Reverberation
Space in a Space
Combining Wet and Dry
Delay
Panning
Chorus/ Flanger / Phase Shifter
Monitors and Your Stereo Image
Conclusion
Chapter 8 - The Total Recording Session
Planning
Tracks
Envision the Final Products
Instrument
Tuning
Strings
Getting the Recorder Ready
Cleaning and Demagnetizing
Demagnetizing the Analog Tape Machine
Cleaning the Analog Recorder
Tones on the Analog Recorder
Tones on the Digital Recorder
Media Selection
Magnetic Tape / Video Tape
Recordable CDs / Hard Drives
Tape Storage Is a Critical Condiseration
Time Code
Striping SMPTE
Getting the Sequencer to Follow SMPTE
Tightening the Arrangement
Contents of Arrangement
Reference Lead Vocal
Backing Vocals
Bounce to Track One
Electric Guitar to Track Four
Punch-Ins
Acoustic Guitar to Track Five
Final Vocal to Track Three
Lead Guitar to Track Six
Conclusion
Chapter 9 - Mixdown to Master to Product
Mixdown Machine
Basic Proceudre for Alignment (Mixdown and Multitrack)
Playback Alignment
Record EQ
Reference Tones
Reference Tone
Starting the Mix / Zeroing the Board
Tape Choice
Outboard Gear to Have on Hand
Tape Speed
Automation
Multiple Sets of Monitors
Comparison to Other Projects
The Spherical Approach to Panning and Positioning in the Mix
EQ: The Cumulative Effect
Mixing Theories and Building Concepts
Mix Approach
The Arrangement
Characteristics of a Good Mix
Strong and Solid, But Controlled, Lows
Mids Distributed Evenly Among Various Instruments
Strong, Smooth Highs That Are Easy to Listen To
Balance
Depth
Width
Momentum
Consistency
Sounds Good in Stereo and Mono
Approaches to Mixing That I've Found Ineffective
Signs of an Amateur Musical Recording
Basic Setup Procedure
Once You Select and Prepare the Multitrack and Mixdown Machines
Arranging During Mixdown
Multiple Mixes
Mix Versions
Building the Mix
Kick Drum / Bass Guitar
Pan the Cymbals for a Natural Sound
Live Toms
Drum Machine Toms
Drum Set Overhands (Live)
Bass
Lead Vocal
Compression
Expander
Vocal EQ
Exciter
Simple Delay
Add Backing Vocals
Comping Keyboards and Rhythm Guitars
Filling in the Holes With the Guitar or Keys
Lead Parts
Solos
Mix Levels
Fades
Preparing the Mixed Master for Duplication
Editing
Mastering
Different Mixes
Conclusion
GLossary
Index

Chapter 2

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