Rusty Cooley's Fretboard Autopsy Scales, Modes & Melodic Patterns Book/Online Audio (Rock House Method)

Its OK, but its not jazz oriented at all, heavy speed medal.

This book is really helping me to understand get thru some blocks, it's really helpful!!!!!!!!!

GREAT BOOK FROM THE GREATEST GUITAR PLAYER EVER! THIS BOOK WILL TAKE MY GUIATR PLAYING TO ULTIMATE LEVEL. I HAVE AN ORDINARY DAILY JOB, BUT I WILL FIND AT LEST 2 HOURS A DAY FOR STUDY THIS PIECE OF SCIENCE.THANK YOU RUSTY.

It's alright pretty generic stuff you could simply figure this out with other products that offer more scales and theory. I guess it ok for learning where the notes are on the neck but I have seen much better ways of teaching that skill. Seems like it more a way for this guy to show off his scale runs. Yes he is fast but who isn't now a day's

RICHNESS OF CONTENTThere are numerous books (and videos) on the subject of scale playing and modes. I have read and viewed several, but Rusty Cooley’s Fretboard Autopsy (book with two DVDs that contain 2-hours of video) is the first I have known to make connections of the modes that have completely escaped my notice previously. I believe, for the most part, this is my fault as I limited my learning of Ionian on the fretboard, and then Dorian, followed by Phyrgian, etc., and how these ‘box’ patterns interlock beside one another. However, Fretboard Autopsy took my comprehension of improvisation two steps further.First, Rusty did a great job in creating easy-to-remember patterns that would have you work across multiple modes, so that a scale or fingering exercise may have you start on Aeolian (or whatever scale in which you happen to start) and shift vertically into Locrian, Ionian, Dorian, etc., and as you work up and down (or in reverse) horizontally among the strings, which causes you to cover a lot of fretboard territory with some fantastic runs. Obviously, as you work the various melodic patterns and scales you need to visualize what ‘section’ of a mode pattern you are shifting into (since this helps with the overall fretboard visualization concept Rusty had in mind). Now, this is where things really took off.Rusty demonstrated scale and melodic patterns on the sixth string and then later demonstrated patterns starting on the fifth string. He then clarified how one mode is really part of another mode within the same ‘box’ pattern. For example, if the Ionian scale starts on the sixth string (the first three notes played on that string), and continues down onto the fifth string, fourth string, etc., you will notice that the three notes on the fifth string also are the first three notes of a completely different mode (in this case the Lydian scale is directly under the Ionian scale). Although Rusty never pursued this idea further it became clear very quickly that a new mode started on the fourth string, right under Ionian and Lydian, which is Locrian.Holy Smokes! There is an actual sequential pattern of modes with their unique ‘box’ shapes that flow horizontally (cascade) one after another and from one string down to the next and in this order: Ionian, (and under that) Lydian, (and under that) Locrian, then Phrygian, Aeolian, Dorian, Mixolydian, and then back to Ionian. Thus, no matter what mode you are playing on any particular string there is a modal pattern that starts directly under it and that continues the pattern before it.If this is unclear (and excuse my ignorance if some of you knew this and find it ‘old hat’), here is another example. Let’s say that on the sixth string you start your scale playing with the Mixolydian scale by playing the first three notes of the ‘box’ pattern. You then move down onto the fifth string for the next three notes of the ‘box’ pattern, which also are the first three notes of the Ionian scale. And then onto the fourth string you play the next three notes of the Mixolydian scale (which are the second group of notes for Ionian, but also the first group of notes for Lydian).Now, of course, the patterns interconnect vertically (up and down) the fretboard as well, no matter what string you start on. And so, if you are on the fourth string working the Dorian scale, then obviously the Phrygian pattern (also starting on the fourth string) is right next door, each with their signature ‘box’ pattern. Again, this came as a mild revelation as I always thought of the overall ‘box’ shape concept starting on the sixth string and ending on the first string without considering the shape starting on any other string. Again, that may be my fault as I don’t practice scales (I used to) and tend to ‘figure out’ melodic patterns as I hear them in my head and as I compose music. But it is because of Rusty Cooley’s method of teaching and interlocking the modes with various patterns vertically AND horizontally that the above became lucid.The book/DVD set also contains several bonus lessons, including exercises and applications for 7-string guitar, a digital ebook version and backing tracks you can download, as well as lifetime membership for online lesson support.STYLERunning scales horizontally and vertically along the fretboard can be boring, which is why developing nifty patterns and playing them in different ways are crucial. Rusty does a great job presenting great finger patterns to work scales, and I was surprised at how ‘repetitive’ some of those patterns are as you move vertically across the fretboard, which means very little memorization in many cases as the fingers simply fall into place. For example, a pattern for the Ionian scale (first six notes, three each on strings six and five) repeats as you shift into different modal territory on strings four and three, and then again up the neck into more modal territory for the same shape/pattern on strings two and one.Now, there is much more to this instructional book/DVD set than the above, but it certainly demonstrates Rusty’s ingenuity in creating easy-to-remember patterned exercises and while the student memorizes and visualizes the modes across the fretboard. In fact, Rusty does make great sense of the guitar neck, making it simpler while demystifying its layout.And so this whole concept of integrating the modes while developing speed with particular patterns takes on various number combinations, such as 9-9-6 (9 notes on the first two strings, 9 on the next two, then 6 on the last two), single string technique, double string technique, three octave modes, working in reverse, etc., etc. By the end of the lessons you get a sense that you’re the Karate Kid waxing on and waxing off… repeating and repeating (albeit in different ways) to the point that the modes become ingrained and visually obvious no matter where you are on the fretboard.OVERALL IMPRESSIONIf you are unaware of the seven basic modes and their box shapes, then you do have some memorization to do at the beginning of this book. However, if you have a simple grasp of the finger patterns (you don’t have to know much music theory to get proficient throughout these lessons), then you can dig right in and get a quick understanding and appreciation of what Rusty is doing with his teaching ideas and how he’s getting you to link those patterns from one end of the neck to the other. In very little time… within days… you will find fretboard navigation far easier than it once was, allowing you to improvise without hitting a sour note. Certainly the next step would be to match up the modes with appropriate chords (e.g., Dorian played over a minor seventh chord), but Fretboard Autopsy certainly establishes the groundwork to making the most of your soloing. And as John McCarthy stated in the book, “Repetition is the mother of all skill” – thus, as you repeat the lessons in Fretboard Autopsy it becomes apparent how the skills of a shredder develops.

I am only getting started with this book, so I'll just share my initial impressions of pros and cons.Pros- Very readable diagrams and tab, not suffering from the "tiny print" syndrome of some other materials I've seen.- Lesson 1 is 7 TNPS (three note per string) scale patterns with 6th string roots, and their modal roots.- Includes a video DVD- I can see he is building some connective tissue between the lessons, and leading to deeper insights in later lessons of the book. I haven't spent much time looking forward, but a little. Looking forward to getting to that stuff.Cons- I think the 7 string stuff would be better separated to a similar but different book specifically for 7 string guitarists.- The video quality is limited. Looks like it was done pre-HDTV.- I only watched part of lesson 1 on the DVD but it was pretty boring and not that helpful in my opinion.As a general comment, I think the format this is in made it simple to get started and I'm glad I bought it even though I already had TNPS scale forms in another "course". Overall, I think this is probably a good book to have, if you use it all.

I wanted to take guitar lessons, but did not have the money or time for it. So I walked into Guitar Center and found this book. I was drawn to it because of the six and seven string scales that were taught in there. As a seven string player, it is rare to see books that help with the extended range, so I was very happy to find this.I have had it for about two months, and play about 4 days a week, for around 3 hours at a time. I have noticed an incredible shift in my playing. My skills have improved dramatically in many different areas. I am faster, more consistent, I see the fret board as a whole instead of just little sections of notes I know. Rusty really opens up the whole guitar, and makes 24 frets available to shred. He makes it fun with the exercises, and they are always mixing it up, so you don't get board running over the same notes. I also am able to play solos like I never have in the past. I can improvise in a way that I could have never imagined.I would recommend this book to any guitar player looking to shred. It isn't for the casual guitarist who is looking to learn the blues, it is for someone looking to sit down with a metronome and learn how to run up and down the fret board at blistering speeds. \m/ Rock on my friends.