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m
dD-------------9-----7-/9--------9-----7-/9-- aA-------------7-----5-/7--------7-----5-/7-- eE-0--0--0--0-----0--------0--0-----0--------
dD-------------5-----5-/4--------5-----5-/4-- aA-------------3-----3-/2--------3-----3-/2-- eE-0--0--0--0-----0--------0--0-----0--------
dD-------------9-----7-/9--------9-----7-/9-- aA-0--0--0--0--7--0--5-/7--0--0--7--0--5-/7-- eE-------------------------------------------
dD-------------5-----5-/4--------5-----5-/4-- aA-0--0--0--0--3--0--3-/2--0--0--3--0--3-/2-- eE-------------------------------------------
dD-------4--3-----2--3----- aA-2--3--2--1--4--0--1--2-- eE-0--1--------2--------0--
dD---------------------3-------------------- aA-2-------3-----------1-----3-----3---2---- eE-0---0-0-1---0-0-3p0-----0-1---0-1---0----
eE-|0---0---0---0---0---0---0---0--|0-0-0---0---0---6---5---3---5---|
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A '''pedal point''' is a note that is held constant or consistently reinforced over a passage of changing harmonic content. For thrash metal, this typically meant low E or A string palm mutes being used as the backbone of a riff, with other notes playing off this tone.
p p p p p p p p
p p p p p p p p
Sometimes thrash artists would change the pedal point but continue playing the same riff otherwise, altering the feel of the riff.
p p p p p p p p
p p p p p p p p
With thrash riffs often playing consecutive power chords with different root notes, some players noticed they could use alternating index/ring and middle/pinky fingers to finger the chords, achieving greater economy of motion (allowing them to play even faster) and avoiding any scratchy sounds from sliding positions up and down between chords. This is called '''spider fingering'''.
m r p r p m r m
o i m i m o i o
m2 d5 m2 m2
p p p p p p
|d d d d d d d d |d u d d d d u d u |
|p p p p p p p p |p p p p p |