Tool Guitar Lesson and Notes:

*Video Notes:
 GUITAR TUNING: "Drop D" D A D G B E   (Tune Low E string (6) down one full step)
*This makes  possible the creation of an Open D5 power chord

STYLE:
*Adam Jones often employs the use of Pentatonic Scales as the harmonic foundation of his music.
*Favors the use of these scales particularly on the lower strings (E and A)to achieve a heavier sound.
*Makes wide use of the D minor Pentatonic Scale.
*This can be performed on the low E string (6) in the following fret positions on the fretboard Open, 3, 5, 7, 10, 12.
*Commonly uses two note power chords made possible by the use of "Drop D" tuning.
*Often he will take these two note chords and turn them into bar chords across the fretboard, giving the chord a fuller and bigger sound.
*Makes use of minor scales fragments or patterns.
*He will use minor scale fragments to change the tonal center of his composition.
*Often moves the root note to the second note. By doing this it adds a half step right next to the root note and this creates a sound similar to tension.
*Use of Phrygian Mode
*Guitar Solos are described as "melodic" and "lyrical".
*Use of fragmented minor scales is the foundation for many of his solos.
*Known to create interesting sounds by "walking" or "picking out" power chords. By mixing and matching chord shapes it allows Jones to create some powerful sounds riffs.


Notes on "Lateralus":
*Central use of two note power chords for verse, taken directly from the pentatonic minor scale.
*Extends these two note powers chords into bar chords to achieve fuller sound
*Meter is central to this song and makes it unique. Over the course of the three measure riff, Jones chops off one note per measure going from 9 beats per measure to 8 and then the 7.
*Chords used in the chorus riff of the song (1:13 to 1:37) taken from minor pentatonic scale on fret positions Open, 3, 5, 10, 12.

Notes on "Triad":
-Example of use of minor scale fragment
-Scale pattern opens with use of Open D pattern (Low E string, frets Open, 2,3)
   -Jones will throw in "Dead Notes" or muted notes to add to the punch and power song
  
Notes on "46 and 2":
*Use of Phrygian Mode/Pattern
*Central riff performed on Low E String, Centered around the note D.
-Single note riff

D--0--12--0--10-h-12--0--13\12--0--10-h-12---8/10--

*H symbol signifies hammer-on 

*Single note riff is then given more power by turning the note into a power chord. 

e----------------------------------------
b----------------------------------------
g----------------------------------------
d--0--12---10h12---13\12---10h12---8/10-- 
a--0--12---10h12---13\12---10h12---8/10--
d--0--12---10h12---13\12---10h12---8/10-- 

Notes on "Aenima"

*Use of fragmented, minor scale

*Example on fourth string (D), 7th Position, scale fragment uses frets 7,9, and 10. (Emphasis of half-step is crucial)

Notes on "The Pot"

*Use of Power Chords in the key of D

*Chords positions (12, 10, 8, and 5) 

Notes on "Schism"

*The Rhythm of the song is what makes it unique 

*Main riff uses two different time signatures 5/8 and 7/8

*Use of 16th note triplets utilized in the Main Riff and Outro Riff

 *Use of hammer-on necessary to make these riffs sound right

*Outro uses Phrygian scale fragment (based off of the Key of D) 

*Use of 16th notes triplets now used in standard 4/4 timing

Notes on "Vicarious" 

*Use of 16th notes triplets in the chorus

*Uses 16th notes triplets are more of a fill or accent to the riff

*Use of upbeat chord strums adds to the expectation of the listener and allows for a rhythmic counterpoint