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INTRODUCTION ...........................................................................................................................3PART ONE - 6 STRING ...............................................................................................................4TRADITIONAL E MINOR PENTATONIC PATTERNS................................................................5SINGLE STRING E MINOR PENTATONIC PATTERNS .............................................................8DOUBLE STRING E MINOR PENTATONIC PATTERNS ......................................................... 11LINEAR MINOR PENTATONIC PATTERNS .............................................................................15E MINOR PENTATONIC STRING SKIPPING GROUPS ..........................................................1715 E MINOR PENTATONIC STRING SKIPPING PATTERNS ..................................................22EXTENDED PATTERNS FOR STRING SKIPPING I .................................................................26SEQUENCED EXTENDED PATTERNS I ...................................................................................29EXTENDED PATTERNS FOR STRING SKIPPING II ...............................................................33SEQUENCED EXTENDED PATTERNS II ..................................................................................36TRADITIONAL E BLUES PATTERNS .......................................................................................40SINGLE STRING E BLUES PATTERNS .....................................................................................43DOUBLE STRING E BLUES PATTERNS ...................................................................................46LINEAR BLUES PATTERNS .......................................................................................................505 NOTE PER STRING BLUES PATTERNS ................................................................................53PART TWO - 7 STRING CONVERSIONS .............................................................................. 56TRADITIONAL E MINOR PENTATONIC PATTERNS FOR 7 STRING ..................................57SINGLE STRING E MINOR PENTATONIC PATTERNS FOR 7 STRING ................................60DOUBLE STRING E MINOR PENTATONIC PATTERNS FOR 7 STRING ..............................62LINEAR MINOR PENTATONIC PATTERNS FOR 7 STRING ..................................................64E MINOR PENTATONIC STRING SKIPPING GROUPS FOR 7 STRING ...............................66E MINOR PENTATONIC STRING SKIPPING PATTERNS FOR 7 STRING ............................68EXTENDED PATTERNS FOR STRING SKIPPING FOR 7 STRING ........................................70SEQUENCED EXTENDED PATTERNS FOR 7 STRING ..........................................................73TRADITIONAL E BLUES PATTERNS FOR 7 STRING ............................................................77SINGLE STRING E BLUES PATTERNS FOR 7 STRING..........................................................80DOUBLE STRING E BLUES PATTERNS FOR 7 STRING........................................................82LINEAR BLUES PATTERNS FOR 7 STRING ............................................................................84PART THREE - THE LICKS ....................................................................................................87
RUSTY COOLEY - EXTREME PENTATONICS
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Extreme Pentatonics is basically a workbook for the aspiring guitarist. Inside you will find many new approaches to help youbreak out of the ever so tired pentatonic cliché.
This CD Rom will present immediate technical challenges for your fret hand, so be sure to take time and warm up properly.There are also additional licks on this subject in my first CD Rom “Shred Guitar Manifesto” (also available from Chops FromHell), as well as the Legato Workout which is very beneficial when it comes to wide stretches and fret hand development.
It’s going to be up to you to do the work, I can only present the material within. One of the things I stress as a guitarist andteacher is fretboard visualization. One doesn’t want to be bound by positions or patterns, you must be able to see the fretboardas a whole to begin to truly break through, although you have to start somewhere. Good luck, and thanks.
I would like to thank the following artists for inspiration: Randy Rhoads, Yngwie Malmsteen, Paul Gilbert, Jason Becker,Shawn Lane, Allan Holdsworth, Derek Taylor, Todd Duane, Paganini, Bach, Beethoven, Mozart, Chopin, Liszt, Alkan, andjust about the entire Shrapnel collection.
Extra special thanks goes out to: Susan, my beautiful wife for undenying love and support; my children, Sebastian, David, andJazzmine; my family and friends back in Texas; the guys from “OutWorld” - you guys ROCK; Chris Brungardt for all the helpand support, and for tolerating my dumb computer questions; Kevin Easton at Jackson Guitars; Jack Nau with EMG pickups;Anthony Truglio with VHT Amps; all the “webzines” and magazines for the interviews and reviews; and thank you to all myfans across the globe.