I just took a lesson from Rusty and damn he is good. His legato is insane! Pretty nice guy too. Just thought I would share.
Just took a lesson from Rusty Cooley!
- Thread starter dargormudshark
- Start date
Zax666
The Prince Of Ice. Almost
Nonono, you don't want to go to him...
He...
....
iiiis molesting little children... aaaand...
...
torturing little puppies and eating innocent kitties, sooo....
You definitelly don't want to go to him.
Not to mention you'll get too good.
So I definitelly don't want you to go to him either.
He...
....
iiiis molesting little children... aaaand...
...
torturing little puppies and eating innocent kitties, sooo....
You definitelly don't want to go to him.
Not to mention you'll get too good.
So I definitelly don't want you to go to him either.
ABQShredHead
©1970
I mainly just had him give me some exercises to become more fluid with my alternate picking and use those same sequences for legato exercises. 3 out of those 7 sequences I had never even thought of! I'll probably take lessons for about a year. I have my next lesson with him after my first day of school 
I will post some of the sequences after I get them down. I have gotten a few of them down really fast and clean.
I will post some of the sequences after I get them down. I have gotten a few of them down really fast and clean.
Here are some:
6's
--10-7-9-10-9-7-----
7's
---10-9-7-9-10-9-7-
Do them over and over again and ofcourse hit the accent each time you start over.
Play them in every position
I took these from the G-string
Hopefully I did a good job at posting this, I usually suck when explaining the stuff over a forum thread.
6's
--10-7-9-10-9-7-----
7's
---10-9-7-9-10-9-7-
Do them over and over again and ofcourse hit the accent each time you start over.
Play them in every position
I took these from the G-string
Hopefully I did a good job at posting this, I usually suck when explaining the stuff over a forum thread.
ABQShredHead
©1970
Thanks for the sequences. I bet it was impressive to see him rip through those, eh?
I have another sequence form for you to use. It is ascending a scale note by note, but every two strings you descend in thirds. I use this method as a good warm-up for both hands and I run through each of the modes. Here's a quick tab - I hope it comes through here.
|---------------------------------|---------------------------------|
|---------------------------------|---------------------------------|
|---------------------------------|---------------------------------|
|---------------------------------|-----1-3-4-1-3---1-----------1-3-|
|-------1-2-4-1-2---1-----------1-|-2-4-----------4---2-4-1-2-4-----|
|-1-2-4-----------4---2-4-1-2-4---|---------------------------------|
|---------------------------------|-------------------------------2---|
|---------------------------------|-2-4-6-2-4---2-----------2-4-6-----|
|---1-3-4-1-3---1-----------1-3-4-|-----------4---3-4-1-3-4-----------|
|-4-----------4---3-4-1-3-4-------|-----------------------------------|
|---------------------------------|-----------------------------------|
|---------------------------------|-----------------------------------|
|-4-6-2-4---2---------------------|------------------------------------*|
|---------6---4-6-2-4---2---------|------------------------------------*|
|---------------------4---3-4-1-3-|---1--------------------------------*|
|---------------------------------|-4---3-4-1-3---1--------------------*|
|---------------------------------|-------------4---2-4-1-2---1--------*|
|---------------------------------|-------------------------4---2-4----*|
I have another sequence form for you to use. It is ascending a scale note by note, but every two strings you descend in thirds. I use this method as a good warm-up for both hands and I run through each of the modes. Here's a quick tab - I hope it comes through here.
|---------------------------------|---------------------------------|
|---------------------------------|---------------------------------|
|---------------------------------|---------------------------------|
|---------------------------------|-----1-3-4-1-3---1-----------1-3-|
|-------1-2-4-1-2---1-----------1-|-2-4-----------4---2-4-1-2-4-----|
|-1-2-4-----------4---2-4-1-2-4---|---------------------------------|
|---------------------------------|-------------------------------2---|
|---------------------------------|-2-4-6-2-4---2-----------2-4-6-----|
|---1-3-4-1-3---1-----------1-3-4-|-----------4---3-4-1-3-4-----------|
|-4-----------4---3-4-1-3-4-------|-----------------------------------|
|---------------------------------|-----------------------------------|
|---------------------------------|-----------------------------------|
|-4-6-2-4---2---------------------|------------------------------------*|
|---------6---4-6-2-4---2---------|------------------------------------*|
|---------------------4---3-4-1-3-|---1--------------------------------*|
|---------------------------------|-4---3-4-1-3---1--------------------*|
|---------------------------------|-------------4---2-4-1-2---1--------*|
|---------------------------------|-------------------------4---2-4----*|
ABQShredHead
©1970
Thanks. You can add to the sequence by descending by opposite means - descend two strings, then ascend in thirds two strings, descend three strings, ascend in thirds two strings, and so on.
Just took my second lesson from Rusty. He showed me 2 string sweeps, tricky. Their were some cool 3 string sweeps too.
ABQ - loved the sequence. I'm sure you could pull some killer melodies and runs from that if you mess with it a bit.
OfSinsAndShred said:
Is this what guitar playing has come to? Sequences?
I'm sure the sequences Rusty is showing you are excellent exercises, but please, for the love of God: Don't confuse speed-building exercises with actual music. Pull some killer melodies from that? Why don't you learn some modal theory, get some jazz charts, and learn to improvise REAL melodies instead?
I'm not trying to knock Rusty or anybody else, but when you start talking about deriving an actual musical message from these musically redundant exercises, that's where I draw the line. Then again, no wonder so many young shredders these days sound like Michael Angelo when improvising...
aiwass said:
Dude...sequences are just other ways you can play a mode or scale without sounding cliche, for example using 7's, not alot of guitarists do that. You know some of us do have an idea of phrasing and playing with feeling. Forgive us for having a thread where we can toss around ideas and sequences to build-up alternate picking techniques. It's not like Michael Romeo plays blues licks in the minor penatonic redundantly like Angus Young. Romeo practices sequences and other techniques quite a bit probably. Being a young shredder myself I probably won't even working to sound like him because I don't even like his playing, but I would take lessons from the guy. So don't accuse me of being the next Francisco Fareri.
dargormudshark said:
I actually accused the guy talking about "getting nice melodies out of it", not you, but anyhow...
My point is that any serious improviser (jazz, fusion, etc.) will tell you that this method is a bad idea. For technique, it's fine, so by all means, keep doing it, but the error I'm talking about is thinking that it's by playing sequences in different patterns that you become good at soloing and improvising.
There's nothing wrong with working on your technique, but for the purpose of becoming a better soloist (improv, that is), you have to work with an entirely different mindset. At the end of the day, there are particularly two things you can practice for this: Theory (knowing your scales and scale/chord relationships), and using your ears. The latter is probably the most important (not that the first isn't, anyway), since you need to practice using your creativity to create something on the spot, while simultaneously translating it to music through the guitar by means of your fingers. When you can play what you want to hear, THAT's when you can get some nice melodies happening...
In progressive metal and the likes thereof, I know how easy it is to create music from derivative scalar patterns and such - it's just that in most other styles of music, it doesn't work this way. Just be aware of that, or you might be in for an unpleasant surprise later.
Let me expand on that: Do you really think that by playing a sequence using 7s, you'll be any less clichéd than if you had played for example a typical sextuplet run?
You're still playing a "pre-programmed" pattern - totally predictable, and oh-so-boring still.
You're still playing a "pre-programmed" pattern - totally predictable, and oh-so-boring still.
aiwass said:
Well, I see it as the more you know (Theory, Technique, etc..) the better your improvisation will be. Learn the theory and apply the technique to it and then you have some creative stuff going on.
dargormudshark said:
You're on your way there, then, but you're missing the most important part: Creativity. It, too, must be practiced. Jam every now and then, and focus on playing what you want to hear, not what your fingers want to play. This detail makes all the difference.
