Ar peggio Madness. Arpeggio Madness. Rusty Cooley. Method By: John McCarthy. Stay Connected with Rock House.

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Ar peggio Madness. Arpeggio Madness. Rusty Cooley. Method By: John McCarthy. Stay Connected with Rock House. Sign up for your free lifetime membership today and connect with a community of people around the world who are learning to play music with Rock House. Up-to-the minute information on signings, product releases and more! Check out photo albums, events and music from Rock House artists. A good way to follow all that happens at Rock House. Interviews, news, lessons, reviews and much more!

Table of Contents. About the Instructor. Icon Key. Overview Diatonic Modes ………. Chord Scales ………. DVD 1. Diminished Arpeggios ………. Chapter Two: Sequences. Three to Five String Arpeggio Sequences. Melodic Arpeggios. F m7b5 Arpeggios. DVD 2. Chapter Five: Four String Arpeggios. Four String 5ths Arpeggios. Sweeping 5ths Key of " C " Major. Applying Diminished 7th Arpeggios Using Legato. Three Octave Arpeggios with Tapping ………. String Skipping Legato Solo ………. DVD 3. Single String Triads - Inversions.

Single String Triad Licks. Additional Concepts. Intervallic Arpeggios ………. Intervallic Arpeggio Etude ………. About the Author. Rusty Cooley is at the forefront of pushing the boundaries of modern guitar playing. His two new products Fretboard Autopsy Level 1 and Fretboard Autopsy Level 2 from Rock House have been his most well received and critically acclaimed instructional products to date.

For more information on Rusty and his instructional products visit RockHouseMethod. You are joining millions of aspir- ing musicians around the world who use our easy-to-understand methods for learning to play music.

The products can be used individually or together. The DVD that comes with this booklet matches the curriculum exactly, providing you with a live instructor for visual reference. How to Use the Lesson Support Site. Use the member number included with your book to register at RockHouseMethod. There are sections that directly correspond to this product within the Additional Information as well as Backing Track sections. Register Now.

Click here now to use the member number included with your pro- gram to register for free at RockHouseMethod. Registering will also make all of the icon links in this booklet active links that will take you to the Lesson Support site.

When you see an icon in the book, visit the member section of RockHouseMethod. Backing Tracks. Many of the exercises in this book are intended to be played along with bass and drum rhythm tra cks. This icon indicate s that there is a backing track available for download on the Lesson Support site or click here. Additional Information.

The question mark icon indicates there is more information for that section avail- able, it can be theory, more playing examples or tips on the Lesson Support site or click here.

Metro nome. Metronome icons are placed next to the examples that we recommend you prac- tice using a metronome. You can download a free, adjustable metronome on the Lesson Support site or click here. Also found on the web site is a free online tuner that you can use to hel p tune your instrument.

Y ou can download the free online tuner on th e Lesson Support site or click here. Throughout this program Rusty is using a seven string guitar tuned a half step down to Eb tun- ing. The tuning notes are:. Note that even though Rusty is using a seven-string guitar, all of the examples he teaches only use the 6th through 1st strings making all of the examples applicable to all guitarists. For a six-string guitar tune as follows:.

Arpeggio Madness Diatonic Modes. Before we begin this program it is essential that you have the basics of modal theory under your hands.

G Ionian. A Dorian. B Phrygian. C Lydian. D Mixolydian. E Aeolian. F Locrian. Arpeggio Madness Chord Scales. Each key has its own set of chords that correspond and function directly with it. You have already learned the information needed to build the chords within a key, now to get to the next level of songwriting and modal knowledge you need to learn how to harmonize a Major scale.

First, look at basic three-part harmony or triads. This three-part harmonization derives the basic major, minor, diminished and augmented chords within any given scale. The Major scale has three of these four types of three-part harmony chords; Major, minor and diminished. It is easiest to see this process on a notation staff and piano. Do you see the pattern; the chord is comprised of every other note. Notice that the chords that have their lowest tone on a line have the next two notes on a staff line as well and the same goes for the notes that begin on a staff space; the next two notes are in the spaces as well.

These are intervals of a third. Chords are constructed by stacking intervals of thirds. The tabbed chords below each triad are full form chords and contain duplicate notes within each triad to cre- ate these commonly used chords. If you have a good grasp on the three-part harmonization from the last section all you have to do is add another interval of a third onto each chord. Follow this process with the rest of the chords. Keep in mind that power chords are not really chords, they are intervals.

They are commonly called double stops. They are used just as much, if not more than the full form chords used by many guitarists. The power chords are extremely important to Rock and Metal guitarists because when they are played through an amp saturated in distortion they sound much tighter than full form chords which can have a muddy sound when distorted. Major 7. Chapter One. Arpeggio Madness B Diminished Arpeggios. Chapter Two.

Intervals: 1 b 3 5. Intervals: 1 b 3 b 5. Intervals: 1 3 5. Arpeggio Madness Melodic Arpeggios. Chapter Three.

Fifth String Root Sevenths.


Rusty Cooley: Rusty Cooley - Arpeggio Madness: Guitar: Instrumental Tutor

Guitars Bass Amps Pedals Players. Rusty Cooley. This month I have three examples for you, all using legato a term which, for guitarists, can be thought of as hammer-ons and pull-offs in some situations and string-skipping triad sequences. We will be using both minor and major triads. Example 1 is something I wrote for a song for my new band, Day of Reckoning. This example is in the key of Bm. The first arpeggio is Bm B—D—F.


Rusty Cooley - Arpeggio Madness - Guitar DVD


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