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    • #36634
      superblonde
      Keymaster

      excellent article + video which includes just enough theory and even includes Dimebag’s tips. Part 1 of 3

      Let’s say I want to harmonize the A natural minor scale played ascending over two octaves as shown in figure 2, Gtr. 1. All I’d have to do is play a unison, 2-octave ascent of the same scale that starts a diatonic third higher. So, I’d start and finish on C as shown in figure 2, Gtr. 2. Pretty simple stuff, and as the accompanying video illustrates at 3:42, it sounds cool too — even though all we’re doing is climbing the A natural minor scale.

      Working Out Diatonic Third Harmony Lines “the Dimebag Way”
      As mentioned in previous inSync articles, I had the extremely good fortune to work with the late, great Dimebag Darrell on his long-running and incredibly popular “Riffer Madness” monthly column for Guitar World. We also wrote a book together based on said articles. Dime’s musical thought process included two simple but powerful philosophies:

      The only scale you need to know is the chromatic scale!
      If it sounds right to you, then it is right.
      To this end, this is how Dime would work out simple diatonic third harmonies. We’ll do it via the simple 5-note A natural minor run shown in figure 6, with an A minor chord played first to get your ear in “A minor mode.”

      Figure 6
      He’d record that on his trusty 4-track machine and then play the exact same fretboard pattern but three frets (a minor third) higher over it. Figure 7 shows the two parts played in unison.


      Figure 7
      He’d then listen to see which notes sounded good and which sounded bad — these are marked in figure 7 with either a tick (✔) for “good” or an “X” for “bad.” Then to fix the “bad” ones, he’d merely move up a fret (making the interval major), and all would be good. Make sense? Figure 5 has already told us that each diatonic third interval here is either minor or major, so he’s merely converting the “bad” sounding minor intervals to majors. Case closed! Figure 8 shows the resulting “fix.”

      https://www.sweetwater.com/insync/how-to-play-iron-maiden-style-guitar-harmonies-part-1

      I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
      And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

    • #36637
      rorygfan
      Participant

      While the entire riff is cool, Emerald has one of favorite harmonizing song/parts. Part starts at 2:18

    • #36676
      superblonde
      Keymaster

      80s thrash


      Saver Tiger – Dead Angle

      I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
      And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

    • #36761
      superblonde
      Keymaster

      Part 2 and Part 3
      🤘 metal!
      with just enough theory and dimebag-isms

      the lead example at the end of part 3 is very interesting with 4 guitars to compare how all the leads stack up.


      How to Play Iron Maiden-style Guitar Harmonies: Part 2 of 3


      How To Play Iron Maiden-Style Guitar Harmonies – Part 3

      I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
      And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

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