Continued from the previous message...

on the G and B strings. Especially when played with distortion, these 
pair are very jarring.
 
*Example 3* - Moveable minor second diad
                        xxx  x
                        ______
                        ||||x| - minor second
                        ||||||
                        ||||||
                        |||x|| - root
                        ||||||
 
        Example 4 shows the use of this in the verses of "Daddy" (Korn)
"We use the same idea in the chorus, but with open string notes ringing 
against the fretted ones," said Welch, as in example 5.
 
*Example 4*
 Tune down whole step
d-----------------------------------------------||
g--------13------------------------12--------12-||
c---16------------------------15--------15------||
f-----------------------------------------------||
a-----------------------------------------------||
d-----------------------------------------------||
 
*Example 5*
 Tune down whole step
d-|-----------------------|------------------------|--------------------|
g-|----------0-----0------|------------------------|--------------------|
c-|*-------------3-----3-*|-------------0-----0----|---------0-----0----|
f-|*---------------------*|----------------4-----4-|------------4-----4-|
a-|--5---4----------------|-4---5---3--------------|-4---3--------------|
d-|--5---4----------------|-4---5---3--------------|-4---3--------------|
 
        The minor second is also used in the robotic sounding intro to
"No Place To Hide" (LiP). Example 6 is played at the same time as example
7 by Schaffer and Welch. This start to the song quickly moves into a 
different phase, dominated by root/fifth power chords, like in example 8.
 
*Example 6*
 Tune down whole step
d-|------------------------------------------------------------|
g-|--14/15------15/16------14/15------15/16-----14/15---15/16--|
c-|*-17/18------18/19------17/18------18/19-----17/18---18/19-*|
f-|*----------------------------------------------------------*|
a-|------------------------------------------------------------|
d-|------------------------------------------------------------|
 
*Example 7*
 Tune down whole step
d-|------------------------------------------------------------|
g-|---9/10------10/11-------9/10------10/11------9/10---10/11--|
c-|*-12/13------13/14------12/13------13/14-----12/13---13/14-*|
f-|*----------------------------------------------------------*|
a-|------------------------------------------------------------|
d-|------------------------------------------------------------|
 
*Example 8*
 Tune down whole step
d-|---------------------------------------------------------|
g-|---------------------------------------------------------|
c-|*-------------------------------------------------------*|
f-|*-------------------------------------------------------*|
a-|--3/4-------4/5--------5/6--------6/7-------6/7-----7/8--|
d-|--3/4-------4/5--------5/6--------6/7-------6/7-----7/8--|
 
        After doing these three, they go back and fill in the gaps in the 
riff to "make it sound like a motorcycle", as shown in example 9. To get 
this to an even beefier sound a phase pedal is introduced, with Welch playing
 
a full octave higher than Schaffer, as shown in example 10.
 
*Example 9*
 Tune down whole step
d-|---------------------------------------------------------|
g-|---------------------------------------------------------|
c-|*-------------------------------------------------------*|
f-|*-------------------------------------------------------*|
a-|--3/4---4---4/5---5----5/6---6----6/7---7---6/7-----7/8--|
d-|--3/4---4---4/5---5----5/6---6----6/7---7---6/7-----7/8--|
 
*Example 10*
 Tune down whole step
d-|----------------------------------------------------------|
g-|----------------------------------------------------------|
c-|*-5/6---6---6/7---7----7/8---8----8/9---9---8/9-----9/10-*|

Continued in the next message...
--- TriToss (tm) Professional 11.0 - #229
---------------