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〖Heavy Metal Lead Guitar -- Vol.2 by Troy Stetina(重金属主音吉他 Vol.2)〗 封面 Contents PART VII Notes on the third and fourth strings(3弦与4弦上的音) The modes(模式) The phrygian mode The Spanish flamenco scale Thirty-second notes(三十二分音符) Speed exercises for "Mystic Places" MYSTIC PLACES (Solo #7) PART VIII Theory: keys and scale structures(调式与音阶结构) Scale relationships(音阶之间的关系) Major Keys Minor Keys Other Modes as Keys Arpeggios(琶音) Soloing over each chord(和弦进行上的独奏) Choosing scales for soloing and improvisation(独奏与即兴中的音阶选择) Using the chromatic scale(半音阶的应用) Rhythmic patterns(节奏形式) Speed exercises for "Drastic Measures" DRASTIC MEASURES (Solo #8) PART IX Notes on the First and Second Strings(1弦与2弦上的音符) Relative major and minor(关系大小调) Soloing in a major key(大调中的独奏) Intervals(音程) Harmony(和音) NEW LANDS (Solo #9) PHOTOS -- George Lynch - Dokken PART X The harmonic minor scale(和声小调音阶) Special picking mechanics for arpeggios(琶音的特殊拨弦技巧) Diminished 7th arpeggios(减七和弦琶音) Speed exercises for "Lightning's Edge" LIGHTNING'S EDGE (Solo #10) PART XI Extended scale patterns(扩展音阶形式) The A Minor Pentatonic Scale (1,b3,4,5,b7) -- A小调五声音阶 The A Natural Minor Scale (1,2,b3,4,5,b6,b7) -- A自然小调 The A Harmonic Minor Scale (1,2,b3,4,5,b6,7) -- A和声小调 The A Dorian Mode (1,2,b3,4,5,6,7b) -- A Dorian模式 The A Phrygian Mode (1,b2,b3,4,5,b6,b7) -- A Phrygian模式 The A Spanish-Flamenco Scale (1,b2,3,4,5,b6,b7) The A Major Pentatonic Scale (1,2,3,5,6) -- A大调五声音阶 The A Major Scale (1,2,3,4,5,6,7) -- A大调音阶 The A Mixolydian Mode (1,2,3,4,5,6,b7) -- A Mixolydian模式 Resolution(解决) Right hand fretting - arpeggios Speed exercises for "Battle To Victory" BATTLE TO VICTORY (Solo #11) 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(个性化独奏) Theory, complexity, and expression(理论,复杂性,音乐表达的关系) |
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