Arpeggio Madness

Arpeggio Madness

Presents

Rusty Cooley
Arpeggio Madness
Method By: John McCarthy
Adapted By: Jimmy Rutkowski
Supervising Editor: Joe Palombo
Music Transcribing & Engraving: Jimmy Rutkowski, Matt Warnock
Production Manager: John McCarthy
Layout, Graphics & Design: Jimmy Rutkowski
Music Transcribing & Engraving: Jimmy Rutkowski
Photography: Rodney Dabney
Copy Editor: Cathy McCarthy

Cover Art Direction & Design:

Paul Enea, Tovero & Marks

Produced by The Rock House Method®

© 2011 Fred Russell Publishing, LLC All Rights Reserved
 Arpeggio Madness

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 Arpeggio Madness
Table of Contents
About the Instructor ......................................................................................................................... 5
Introduction .......................................................................................................................................
6
Icon Key ..........................................................................................................................................
7
Tuning ................................................................................................................................................
8

Overview
Diatonic Modes ………......................................................................................................................
9
Chord Scales ……….........................................................................................................................
11

DVD 1
Chapter One: Five & Six String Root Shapes
A Minor Five & Six String Arpeggio Shapes ………......................................................................... 16
C Major Five & Six String Arpeggio Shapes ………........................................................................20
B Diminished Arpeggios ………........................................................................................................
25

Chapter Two: Sequences

Three to Five String Arpeggio Sequences ………..........................................................................29
Melodic Arpeggios ………..............................................................................................................31

Chapter Three: Fifth String Root Sevenths

“G” Major 7th Arpeggios ……….......................................................................................................
34
“A” Minor 7th Arpeggios ………........................................................................................................
35
“A” Dominant 7th Arpeggios ………................................................................................................36
F#m7b5 Arpeggios ………...............................................................................................................
37
Additional Seventh Arpeggio Concepts ………................................................................................ 38
Combining Arpeggios with Chromatic Passing Tones ……….......................................................... 39

DVD 2
Chapter Four: Extended Arpeggios
Diatonic 11th Arpeggios In the Key of “G” Major ………................................................................ 41
Diatonic 13th Arpeggios In the Key of “G” Major ………................................................................43
Extended Diatonic Arpeggios In the Key of “G” Major ……….......................................................... 45
Diatonic 13th Arpeggios In the Key of “B” Harmonic Minor ………................................................47

Chapter Five: Four String Arpeggios

Four String 5ths Arpeggios ……….................................................................................................52
Sweeping 5ths Key of "C" Major ..………...................................................................................... 54

Chapter Six: Two String Arpeggios

56
Two String Sweep Picking Arpeggio Sequence ………....................................................................
60
Two String Economy Picking Arpeggio Sequence ………................................................................

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 Arpeggio Madness

Chapter Seven: Diminished Seventh Arpeggios

Diminished 7th Arpeggios Sweep Picking ………..........................................................................63
Applying Diminished 7th Arpeggios Using Legato ………..............................................................65

Chapter Eight: String Skipping & Legato

Three Octave String Skipping Legato Arpeggios ……….................................................................. 68
Three Octave Arpeggios with Tapping ……….................................................................................. 70
String Skipping Legato Solo ………..................................................................................................
72

DVD 3
Chapter Nine: Single String Triads “Death Licks”
Single String Triads ………................................................................................................................ 74
Single String Sus2 & Sus4 Triads ……….......................................................................................... 78
Single String Four Note Triads Major Add2 and Minor Add4 ………................................................. 80
Single String Triads - Inversions .......................................................................................................83
Single String Triad Licks .................................................................................................................84
Additional Concepts ……….............................................................................................................85

Chapter Ten: Melodic & Intervallic Arpeggios

Melodic Arpeggio Phrases ……….................................................................................................... 88
Intervallic Arpeggios ………...............................................................................................................
90
Intervallic Arpeggio Etude ………......................................................................................................91

Chapter Eleven: Song Excerpts

“Diminium” ……….............................................................................................................................
93
“Riders” ………................................................................................................................................94
“Riders”- Chorus Arpeggios & Outro Solo ………............................................................................ 95
“The Butcher”- Intro ……….............................................................................................................. 97
“The Butcher”- Pre Solo ………........................................................................................................ 98
“War Cry” ………..............................................................................................................................
99

Chord Table ……….........................................................................................................................100

How To Get Your Next Rock House Product ………........................................................................ 102
The Rock House Catalog ………..................................................................................................... 103

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 Arpeggio Madness

About the Author

Rusty Cooley

Rusty Cooley is at the forefront of pushing the boundaries of modern guitar playing. A world re-
nown musician and instructor who has influenced some of today’s most respected guitarist such
as Mark Tremonti of Creed and John Petrucci of Dreamtheater – he has performed on more than
15 albums and has seven different instructional products to his credit. 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.

Rusty has been featured in magazines such as Guitar Player, Guitar One, Guitar World, Guitar
Techniques and Axe. He has had his own column in Guitar Player magazine titled “Metal Guru.”
In January 2003, Rusty was given the honor of the “7th Fastest Shredder of All Time” by Guitar
One Magazine and most recently was named by Total Guitar magazine as one of the top 20
fastest shredders of all time.

Rusty has his own signature model guitar with Dean, the “RC7 Xenocide” released in 2007,
He uses EMG pickups, Diamond Amplification, Morley, Intellitouch tuners, Rocktron preamps,
Maxon, GHS strings, VHT, Conklin and Eventide harmonizers.

For more information on Rusty and his instructional products visit RockHouseMethod.com.

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 Arpeggio Madness

Introduction
Welcome to The Rock House Method® system of learning. You are joining millions of aspir-
ing musicians around the world who use our easy-to-understand methods for learning to play
music. Unlike conventional learning programs, The Rock House Method® is a teaching system
that employs DVD and 24/7 online lesson support along with this booklet to give you a variety
of sources to ensure a complete learning experience. 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

Every Rock House product offers FREE membership to our interactive Lesson Support site. Use
the member number included with your book to register at RockHouseMethod.com. You will find
your member number in the package that contains your DVD. Once registered, you can use this
fully interactive site along with your product to enhance your learning experience, expand your
knowledge, link with instructors, and connect with a community of people around the world who
are learning to play music using The Rock House Method®. There are sections that directly
correspond to this product within the Additional Information as well as Backing Track sections.
There are also a variety of other tools you can utilize such as Ask The Teacher, Quizzes, Refer-
ence Material, Definitions, Forums, Live Chats, Guitar Professor and much more.

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

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 Arpeggio Madness
Icon Key
Throughout this book, you’ll periodically notice the icons listed below. They indicate when there
are additional learning tools available on our support web site for the section you’re working on.
When you see an icon in the book, visit the member section of RockHouseMethod.com for musi-
cal Backing Tracks, Additional Information and learning utilities.

Backing Tracks
Many of the exercises in this book are intended to be played along with bass and
drum rhythm tracks. This icon indicates 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.

Metronome
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.

Tuner
Also found on the web site is a free online tuner that you can use to help tune
your instrument. You can download the free online tuner on the Lesson Support
site or click here.

7
 Arpeggio Madness

Tuning

Throughout this program Rusty is using a seven string guitar tuned a half step down to Eb tun-
ing. The tuning notes are:

(Thinnest) (Thickest)
1st String 2nd String 3rd String 4th String 5th String 6th String 7th String

Eb Bb Gb Db Ab Eb Bb

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:

(Thinnest) (Thickest)
1st String 2nd String 3rd String 4th String 5th String 6th String

Eb Bb Gb Db Ab Eb

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 Arpeggio Madness

Diatonic Modes
Before we begin this program it is essential that you have the basics of modal theory under your
hands. The following is the diatonic modes relative to the key of “G” major for you to review.

Ionian Dorian Phrygian

Lydian Miixolydian Aeolian

Locrian

G Ionian

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 Arpeggio Madness

A Dorian

B Phrygian

C Lydian

D Mixolydian

E Aeolian

F# Locrian

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 Arpeggio Madness

Chord Scales
Each key has its own set of chords that correspond and function directly with it. There is no “book
of secrets” that tells musicians the chords that are available to use. 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. Let’s look at a “C” Major scale in
both of these formats.

Now if we play the first, third and fifth degrees of the scale simultaneously we have a “C” Major
chord.

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 Arpeggio Madness

Now take the second degree of the scale “D” and skip the third degree, add the fourth degree
“F,” skip the fifth note and add in the sixth note “A.” We now have a grouping of the three notes
“D,” “F” and “A.” These notes create the notes of a “D” minor chord.

Notice that with the first chord we used the scale degrees 1 – 3 – 5 and with the second chord we
used the scale degree 2 – 4 – 6. Do you see the pattern; the chord is comprised of every other
note. So the III chord would be created by using the scale degrees 3, 5 and 7 (E – G – B) which
outline an “E” minor chord.

Here is the “C” Major scale with each degree harmonized in three parts. 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.

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 Arpeggio Madness

Now let’s look at four-part harmonization. This type of harmony is where the chords types such
as Major Seventh, Minor Seventh, Minor Seventh “b5” and Dominant Seventh come from. 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. So if we look back at the “C” Major Chord (C-E-G);
skip the next note after the “G” which is “A” and add the “B” onto the chord we have now added
the seventh degree to the chord. Follow this process with the rest of the chords.

For the power chords go, all you have to do is find the first and last note of the three-part har-
mony (Root and fifth degree) and you have the power chords. So for the C power chord it will
be C & G.

Keep in mind that power chords are not really chords, they are intervals. They are commonly
called double stops. A chord by definition is three or more different notes played at the same
time. Power chords only use two notes: the root and fifth. Guitarists over the span of many years
have dubbed these “power chords” due to the strong tonal sound and frequent use. 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.

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 Arpeggio Madness

Now that you have learned the process of creating chords from any Major Scale in three-and
four-part harmony, you should memorize the following “Major Scale Chord Formula” so it can
becomes second nature.

I ii iii IV V vi vii
4 part: Major 7 minor 7 minor 7 Major 7 dominant 7 minor 7 minor 7b5

3 part: Major minor minor Major dominant minor diminished

For a deeper understanding of scales and modes, click here to

For a deeper understanding of scales and modes, click here to check
check out John McCarthy’s Modes Demystified” Rock House
John McCarthy’s “Modes Demystified” Rock House program!
program.

14
 Arpeggio Madness

DVD 1

Chapter One

Five & Six String

Root Shapes
 Arpeggio Madness

A Minor Five & Six

String Arpeggio Shapes
Notes: A - C - E Intervals: 1 b3 5
Ex. 1 - Sixth String Shape #1
1 4
1
1
3
3
1 4
3 5 7 9 12 15 17 19 24

P
5 8 5
5 5


5 5
7 7
7 7
5 8 8 5
             

Ex. 2 - First Derivative

1 4
1
2
2
1 3
3 5 7 9 12 15 17 19 24

5 10 5


5 5
7 7
7 7
5 8 8 5
           

16
 Arpeggio Madness
Ex. 3 - Second Derivative
1 4
2
1
3
1 4

3 5 7 9 12 15 17 19 24

P
5 8 5
5 5


5 5
7 7
3 7 7 3

           

Ex. 4 - Sixth String Shape #2

1 4
2
1
2
4
1 4
3 5 7 9 12 15 17 19 24

P
8 12 8
10 10


9 9
10 10
12 12
8 12 12 8
             

17
 Arpeggio Madness

Ex. 5 - First Derivative

2 4
1
2
4
1 4
3 5 7 9 12 15 17 19 24

10 13 10


9 9
10 10
12 12
8 12 12 8
           

Ex. 6 - Second Derivative

1 4
2
1
2
1 4

3 5 7 9 12 15 17 19 24

P
8 12 8
10 10


9 9
10 10
7 12 12 7

           

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 Arpeggio Madness

Ex. 7 - Sixth String Shape #3

1 4
2
3
2
3
1 4
3 5 7 9 12 15 17 19 24

P
12 17 12
13 13


14 14
14 14
15 15
12 17 17 12
             

Ex. 8 - First Derivative

1 4
2
2
3
1 4
3 5 7 9 12 15 17 19 24

13 17 13


14 14
14 14
15 15
12 17 17 12
           

19
 Arpeggio Madness

Ex. 9 - Second Derivative

1 4
2
3
3
1 4

3 5 7 9 12 15 17 19 24

P
12 17 12
13 13


14 14
14 14
12 15 15 12

           

C Major Five & Six

String Arpeggio Shapes
Notes: C - E - G Intervals: 1 3 5
Ex. 1 - Sixth String Shape #1
1 4
1
2
3
3
1 4
3 5 7 9 12 15 17 19 24

P
8 12 8
8 8


9 8
10 10
10 10
8 12 12 8
             

20
 Arpeggio Madness

Ex. 2 - First Derivative

1 4
2
3
3
1 4
3 5 7 9 12 15 17 19 24

8 13 8


9 9
10 10
10 10
8 12 12 8
           

Ex. 3 - Second Derivative

1 4
1
2
3
1 3

3 5 7 9 12 15 17 19 24

P
8 12 8
8 8


9 9
10 10
7 10 10 7

           

21
 Arpeggio Madness

Ex. 4 - Sixth String Shape #2

1 4
2
1
3
4
1 4
3 5 7 9 12 15 17 19 24

P
12 15 12
13 13


12 12
14 14
15 15
12 15 15 12
             

Ex. 5 - Ex. 4 - First Derivative

2 4
1
3
4
1 4
3 5 7 9 12 15 17 19 24

13 17 13


12 12
14 14
15 15
12 15 15 12
           

22
 Arpeggio Madness

Ex. 6 - Second Derivative

1 4
2
1
3
1 4

3 5 7 9 12 15 17 19 24

P
12 15 12
13 13


12 12
14 14
10 15 15 10

           

Ex. 7 - Sixth String Shape #3

1 4
2
2
2
3
1 4
3 5 7 9 12 15 17 19 24

P
15 20 15
17 17


17 17
17 17
19 19
15 20 20 15
             

23
 Arpeggio Madness

Ex. 8 - First Derivative

2 4
2
2
3
1 4
3 5 7 9 12 15 17 19 24

17 20 17


17 17
17 17
19 19
15 20 20 15
           

Ex. 9 - Second Derivative

1 4
2
2
2
1 4

3 5 7 9 12 15 17 19 24

P
15 20 15
17 17


17 17
17 17
15 19 19 15

           

24
 Arpeggio Madness

B Diminished Arpeggios

Ex. 1 - Sixth String Shape #1

2 4
1
2
3
2
1 4
3 5 7 9 12 15 17 19 24

P
7 10 7
6 6


7 7
9 9
8 8
7 10 10 7
             

Ex. 2 - First Derivative

1 4
2
3
2
1 4
3 5 7 9 12 15 17 19 24

6 12 6


7 7
9 9
8 8
7 10 10 7
           

25
 Arpeggio Madness

Ex. 3 - Second Derivative

1 4
3
1
3
1 4

3 5 7 9 12 15 17 19 24

P
10 13 10
12 12


10 10
12 12
8 14 14 8

           

Ex. 4 - Sixth String Shape #2

1 4
2
3
2
3
1 4
3 5 7 9 12 15 17 19 24

P
13 19 13
15 15


16 16
15 15
17 17
13 19 19 13
             

26
 Arpeggio Madness

Ex. 5 - First Derivative

1 4
2
1
3
1 4
3 5 7 9 12 15 17 19 24

15 18 15


16 16
15 15
17 17
13 19 19 13
           

Ex. 6 - Second Derivative

1 4
2
3
2
1 4

3 5 7 9 12 15 17 19 24

P
13 19 13
15 15


16 16
15 15
14 17 17 14

           

27
 Arpeggio Madness

Chapter Two

Sequences
 Arpeggio Madness

Three to Five String

Arpeggio Sequences
Ex. 1 Notes: E - G - B Intervals: 1 b3 5
Em

 
19 15 15 19 15 15 19
17 17 17 17


16 16 16
17 17
19 14 19

                

Ex. 2 Notes: C - E - G Intervals: 1 3 5

C

 
15 12 12 15 12 12 15
13 13 13 13


12 12 12
14 14
15 10 15

                

Ex. 3 Notes: B - D - F Intervals: 1 b3 b5

Bº

 
13 10 10 13 10 10 13
12 12 12 12


10 10 10
12 12
14 8 14

                

Ex. 4 Notes: C - E - G# Intervals: 1 3 #5

Caug

 
16 12 12 16 12 12 16
13 13 13 13


13 13 13
14 14
15 11 15

                

29
 Arpeggio Madness

Ex. 5 Notes: A - C - E Intervals: 1 b3 5

Am

 
17 12 12 17 12 12 17
13 13 13 13


14 14 14
14 14
15 12 15

                

Ex. 6 Notes: Bb - D - F Intervals: 1 3 5

Bb

 
18 13 13 18 13 13 18
15 15 15 15


15 15 15
15 15
17 13 17

                

Ex. 7 Notes: B - D - F Intervals: 1 b3 b5

Bº

 
19 13 13 19 13 13 17
15 15 15 15


14 14 14
15 15
17 14 17

                

Ex. 8 Notes: C - E - G# Intervals: 1 3 #5

Caug

 
20 16 16 20 16 16 20
17 17 17 17


17 17 17
18 18
19 15 19

                

30
 Arpeggio Madness

Melodic Arpeggios

Ex. 1
Em

 
19 15 15 20 15 15 19 15 14 19 14 15 19
17 17 17 17 17 17 17 17


16 16 16 16

                     

Ex. 2
Am

 
12 8 8 14 8 8 12 8 7 12 7 8 12
10 10 10 10 10 10 10 10


9 9 9 9

                     

Ex. 3
Bm

 
14 10 10 15 10 10 14 10 8 14 8 8 14
12 12 12 12 12 12 12 12


11 11 11 11

                     

Ex. 4
G

 
22 19 19 24 19 19 22 19 17 22 17 19 22
20 20 20 20 20 20 20 20


19 19 19 19

                     

31
 Arpeggio Madness

Ex. 5
D

 
17 14 14 19 14 14 17 14 12 17 12 14 17
15 15 15 15 15 15 15 15


14 14 14 14

                     

Ex. 6
C

 
15 12 12 17 12 12 15 12 10 15 10 12 15
13 13 13 13 13 13 13 13


12 12 12 12

                     

Ex. 7
F#º

 
20 17 17 22 17 17 20 17 15 20 15 17 20
19 19 19 19 19 19 19 19


17 17 17 17

                     

Ex. 8
C

 
14 12 12 15 12 12 17 12 12 15 12 12 14
13 13 13 13 13 13 13 13


12 12 12 12

                     

32
 Arpeggio Madness

Chapter Three

Fifth String
Root Sevenths
 Arpeggio Madness
“G” Major 7th Arpeggios

Notes: G - B - D - F# Intervals: 1 3 5 7
Ex. 1
Gmaj7 P

10 14 10
12 12


11 11
12 12
10 14 14 10

           
Ex. 2
Gmaj7
sl.
10 14 15 14 10
12 12


11 11
12 12
10 14 14 10 9 10

          
Ex. 3
Gmaj7

10 14 10 10 15 10 10 14 10
12 12 12 12 12 12


11 11 11 11
12 12
10 14 14 10 9

                     
Ex. 4
Gmaj7

10 14
12 12


12 11

     
Ex. 5
Gmaj7

10 14 10 15
12 12 12 12


12 11 12 11

           

34
 Arpeggio Madness

“A” Minor 7th Arpeggios

Notes: A - C - E - G Intervals: 1 b3 5 b7
Ex. 1
Am7 P

12 15 12
13 13


12 12
14 14
12 15 15 12

           
Ex. 2
Am7

12 15 17 15 12
13 13


12 12
14 14
10 12 15 15 12 10

          
Ex. 3
Amin7

12 15 12 12 17 12 12 15 12
13 13 13 13 13 13


12 12 12 12
14 14
12 15 15 12

                     
Ex. 4
Am7

12 15
13 13


14 12

     
Ex. 5
Am7

12 15 12 17 12 15 10 15
13 13 13 13 13 13 13 13


14 12 14 12 14 12 14 12

                       

35
 Arpeggio Madness

“A” Dominant 7th Arpeggios

Notes: A - C# - E - G Intervals: 1 3 5 b7
Ex. 1
A7 P

12 15 12
14 14


12 12
14 14
12 16 16 12

           
Ex. 2
A7

12 15 17 15 12
14 14


12 12
14 14
10 12 16 16 12 10

          
Ex. 3
A7

12 15 12 12 17 12 12 15 12
14 14 14 14 14 14


12 12 12 12
14 14
12 16 16 12

                     
Ex. 4
A7

12 15
14 14


14 12

     
Ex. 5
A7

12 15 12 17 12 15 10 15
14 14 14 14 14 14 14 14


14 12 14 12 14 12 14 12

                       

36
 Arpeggio Madness

F#m7b5 Arpeggios

Notes: F# - A - C - E Intervals: 1 b3 b5 b7
Ex. 1
F#m7b5 P

8 12 8
10 10


9 9
10 10
9 12 12 9

           
Ex. 2
F#m7b5

8 12 14 12 8
10 10


9 9
10 10
7 9 12 12 9 7

          
Ex. 3
F#m7b5

8 12 8 8 14 8 8 12 8
10 10 10 10 10 10


9 9 9 9
10 10
9 12 12 9

                     
Ex. 4
F#m7b5

8 12
10 10


11 9

     
Ex. 5
F#m7b5

8 12 8 14 8 12 7 12
10 10 10 10 10 10 10 10


11 9 11 9 11 9 11 9

                       

37
 Arpeggio Madness

Additional 7th
Arpeggio Concepts
Ex. 1 Notes: A - C - E - G Intervals: 1 b3 5 b7
Am/Am7

 
12 17 12 12 15 12 17 12
13 13 13 13 13


14 14 12 14 14
14 14
12 15 15 12

                    
Ex. 2 Notes: A - C# - E - G# Intervals: 1 3 5 7
Amaj7

 
12 17 12 12 16 12 17 12
14 14 14 14 14


14 14 13 14 14
14 14
12 16 16 12

                    
Ex. 3 Notes: A - C - E - G# Intervals: 1 b3 5 7
Am<7 P

12 16 12
13 13


13 13
14 14
12 15 15 12

           
Ex. 4 Notes: A - C# - E# - G# Intervals: 1 3 #5 7
Amaj7#5 P

13 16 13
15 15


14 14
15 15
12 16 16 12

           
Ex. 5 Notes: A - C# - E# - G# Intervals: 1 3 #5 7
Amaj7#5
sl. H H P P P sl.

13 16 17 16 13
14 14


13 13
15 15
11 12 16 16 12 11

         

38
 Arpeggio Madness

Combining Arpeggios with

Chromatic Passing Tones
Ex. 1
Notes: A - C - E Intervals: 1 b3 5 Notes: D - F - A Intervals: 1 b3 5
A Minor A Minor D Minor D Minor
1 1 4 4 1 14 4
2 2 2 2
3 3 1 1
3 3 2 2
1 4 1 4 1 1 4 4
A Minor A Minor D Minor D Minor
1
12 1 17
4 4 1 14 4
15 12 15 17 12 15 12 17 15 17
2 2 2 2
Am Dm
3chromatic 3 1 1

 
12 17 16 15 13 15 16 17 13 13 17 16 15 13 15 16 17 12
13 3 3
15 15 2 2 13


14 1 14 1 14D 14 4
14 A Major
4 1
A Major
4
15 15 Major1 4
D Major 14
12 15 17 12 17 15 12
1 1 4 4 1 4 1 4
   12
   2  15
 12 17
  2 15  17
 12    15
2       2    
12 17 15 17 
Ex. 2 2 2 1 1
Notes: A - C# -2E Intervals:
2 135 Notes: D3- F# - A Intervals:
3 135
1 14 4 1 1 4 4
A Major A Major D Major D Major
1
12 1 17
4 4 1 4 1 4
15 12 15 17 12 15 12 17 15 17
2 2 2 2
2 2 1 1
2 2 3 3
1 14 4 1 1 4 4

12 15 12 17 15 17 12 15 12 17 15 17
A/D
chromatic

 
12 17 16 15 14 15 16 17 14 14 17 16 15 14 15 16 17 12
14 15 15 14


14 14 14 14
14 16 16 14
12 16 17 12 17 16 12

                 

39
 Arpeggio Madness

DVD 2

Chapter Four

Extended Arpeggios
 Arpeggio Madness

Diatonic 11th Arpeggios

In the Key of “G” Major
Ex. 1 - Gmaj11 Notes: G - B - D - F# - A - C Intervals: 1 3 5 7 9 11
5 8 5
7 7


7 7
4 5 9 9 5 4
5 5
3 7 7 3
                 

Ex. 2 - Am11 Notes: A - C - E - G - B - D Intervals: 1 b3 5 b7 9 11

7 10 7
8 8


9 9
5 7 10 10 7 5
7 7
5 8 8 5
                 

Ex. 3 - Bm11b9 Notes: B - D - F# - A - C - E Intervals: 1 b3 5 b7 b9 11

8 12 8
10 10


11 11
7 9 12 12 9 7
9 9
7 10 10 7
                 

Ex. 4 - Cmaj9#11 Notes: C - E - G - B - D - F# Intervals: 1 3 5 7 9 #11

10 14 10
12 12


12 12
9 10 14 14 10 9
10 10
8 12 12 8
                 

41
 Arpeggio Madness

Ex. 5 - D11 Notes: D - F# - A - C - E - G Intervals: 1 3 5 b7 9 11

12 15 12
13 13


14 14
10 12 16 16 12 10
12 12
10 14 14 10
                 

Ex. 6 - Em11 Notes: E - G - B - D - F# - A Intervals: 1 b3 5 b7 9 11

14 17 14
15 15


16 16
12 14 17 17 14 12
14 14
12 15 15 12
                 

Ex. 7 - F#m7b5b9ll Notes: F# - A - C - E - G - B Intervals: 1 b3 b5 b7 b9 11

15 19 15
17 17


17 17
14 16 19 19 16 14
15 15
14 17 17 14
                 

42
 Arpeggio Madness

Diatonic 13th Arpeggios

In the Key of “G” Major
Ex. 1 - Gmaj13 Notes: G - B - D - F# - A - C - E Intervals: 1 3 5 7 9 11 13
H P P

3 7 3
5 5


5 5
4 7 7 4
5 5
3 7 7 3
             

Ex. 2 - Amin13 Notes: A - C - E - G - B - D - F# Intervals: 1 b3 5 b7 9 11 13

H P P

5 8 5
7 7


7 7
5 9 9 5
7 7
5 8 8 5
             

Ex. 3 - Bminb13b9 Notes: B - D - F# - A - C - E - G Intervals: 1 b3 5 b7 b9 11 b13

H P P

7 10 7
8 8


9 9
7 10 10 7
9 9
7 10 10 7
             

Ex. 4 - Cmaj13#11 Notes: C - E - G - B - D - F# - A Intervals: 1 3 5 7 9 #11 13

H P P

8 12 8
10 10


11 11
9 12 12 9
10 10
8 12 12 8
             

43
 Arpeggio Madness

Ex. 5 - D13 Notes: D - F# - A - C - E - G - B Intervals: 1 3 5 b7 9 11 13

H P P

10 14 10
12 12


12 12
10 14 14 10
12 12
10 14 14 10
             

Ex. 6 - Emb13 Notes: E - G - B - D - F# - A - C Intervals: 1 b3 5 b7 9 11 b13

H P P

12 15 12
13 13


14 14
12 16 16 12
14 14
12 15 15 12
             

Ex. 7 - Fm#7b5b9b13 Notes: F# - A - C - E - G - B - D Intervals: 1 b3 b5 b7 b9 11 b13

H P P

14 17 14
15 15


16 16
14 17 17 14
15 15
14 17 17 14
             

44
 Arpeggio Madness

Extended Diatonic Arpeggios

In the Key of “G” Major
Ex. 1 - Gmaj13 Notes: G - B - D - F# - A - C - E Intervals: 1 3 5 7 9 11 13
P sl.

7 10 7
8 8


9 9
4 7 10 10 7 4
5 5
3 7 7 3
                

Ex. 2 - Am13 Notes: A - C - E - G - B - D - F# Intervals: 1 b3 5 b7 9 11 13

sl. sl.

8 12 8
10 10


11 11
5 9 12 12 9 5
7 7
5 8 8 5

Ex. 3 - Bm13b9 Notes: B - D - F# - A - C - E - G Intervals: 1 b3 5 b7 b9 11 b13

10 14 10
12 12


12 12
7 10 14 14 10 7
9 9
7 10 10 7

Ex. 4 - Cmaj13#11 Notes: C - E - G - B - D - F# - A Intervals: 1 3 5 7 9 #11 13

sl. sl.

12 15 12
13 13


14 14
9 12 16 16 12 9
10 10
8 12 12 8

45
 Arpeggio Madness

Ex. 5 - D13 Notes: D - F# - A - C - E - G - B Intervals: 1 3 5 b7 9 11 13

sl. sl.

14 17 14
15 15


16 16
10 14 17 17 14 10
12 12
10 14 14 10

Ex. 6 - Emb13 Notes: E - G - B - D - F# - A - C Intervals: 1 b3 5 b7 9 11 b13

sl.

15 19 15
17 17


17 17
12 16 19 19 16 12
14 14
12 15 15 12

Ex. 7 - F#mb13b5b9 Notes: F# - A - C - E - G - B - D Intervals: 1 b3 b5 b7 b9 11 b13

sl. sl.

17 20 17
19 19


19 19
14 17 21 21 17 14
15 15
14 17 17 14

46
 Arpeggio Madness

Diatonic 13th Arpeggios

In the Key of “B” Harmonic Minor
Ex. 1 - Bm/maj7b13
Notes:1 Bb3- D
5 -7 F#
9 - 11
A#b13- C# - E - G Intervals: 1 b3 5 7 b9 11 b13

G B
E
A# C#

F#

B D
3 5 7 9 12 15 17 19 24

H P P

8 12 8


9 9
8 11 11 8
9 9
7 10 10 7
           

Ex. 2 - C#m7b5b913
Notes:1 C#
b3 -b5Eb7- G
b9 -11B13- D - F# - A# Intervals: 1 b3 b5 b7 b9 11 b13

A# C#

F#

B D
G
C# E
3 5 7 9 12 15 17 19 24

H P P

11 13 11


11 11
9 12 12 9
10 10
9 12 12 9
           

47
 Arpeggio Madness

Ex. 3 - Dmaj13#5
Notes:1 D3 - #5F# 7- A# - C#
9 11 13 - E - G - B Intervals: 1 3 #5 7 9 11 13

B D
G
C# E
A#

D F#

3 5 7 9 12 15 17 19 24

H P P

12 15 12


12 12
11 14 14 11
13 13
10 14 14 10
           

Ex. 4 - Em13#11
Notes:1 Eb3- G
5 -
b7 B9 - #11
D 13
- F# - A# - C# Intervals: 1 b3 5 b7 9 #11 13

C# E
A#

D F#

B
E G
3 5 7 9 12 15 17 19 24

H P P

14 17 14


15 15
12 16 16 12
14 14
12 15 15 12
           

48
 Arpeggio Madness

Ex. 5 - F#7b9b13
Notes:1 F#3 - 5A#b7- C# -E
b9 11 b13 - G - B - D Intervals: 1 3 5 b7 b9 11 b13

D F#

B
E G
C#

F# A#

3 5 7 9 12 15 17 19 24

H P P

3 7 3


4 4
2 5 5 2
4 4
2 6 6 2
           

Ex. 6 - Gmaj13#9#11
Notes:1 Gb3 - B
5 -7 D#9 -#11
F#13- A# - C# - E Intervals: 1 3 5 7 #9 #11 13

E G#

C#

F# A#

F#

G B
3 5 7 9 12 15 17 19 24

H P P

5 8 5


6 6
4 8 8 4
5 5
3 7 7 3
           

49
 Arpeggio Madness

Ex. 7 - A#dimb13b9b11
Notes:1 A# C#bb7- E
b3 - b5 b9 -
b11Gb13- B - D - F# Intervals: 1 b3 b5 b7 b9 b11 b13

F# A#

D
G B
E
A# C#

3 5 7 9 12 15 17 19 24

H P P

7 11 7


7 7
5 9 9 5
7 7
6 9 9 6
           

50
 Arpeggio Madness

Chapter Five

Four String
Arpeggios
 Arpeggio Madness

Four String 5ths Arpeggios

Fifths Shape
D5
17 17
15 15


14 14
12 12

Ex. 1 - C Lydian
2 3 #4 5
1
5
1

3 5 7 9 12 15 17 19 24

Ex. 2 - D Mixolydian
2 3 4 5
1
5
1

3 5 7 9 12 15 17 19 24

Ex. 3 - E Aeolian
2 b3 4 5 b6

1
5
1

3 5 7 9 12 15 17 19 24

52
 Arpeggio Madness

Ex. 4 - G Ionian
2 3 4 5
1
5
1

3 5 7 9 12 15 17 19 21 24

Ex. 5 - A Dorian
2 b3 4 5
1
5
1

3 5 7 9 12 15 17 19 24

Ex. 3 - E Phrygian
b2 b3 4 5
1
5
1

3 5 7 9 12 15 17 19 24

53
 Arpeggio Madness

Sweeping 5ths
Key of “C” Major
17 17 17 19 19 20 20 19
15 15 15 17 17 18 18 17


14 14 14 16 16 17 17 16
12 12 12 14 14 15 15 14

19 20 20 22 22 20 20 22
17 18 18 20 20 18 18 20


16 17 17 19 19 17 17 19
14 15 15 17 17 15

22 24 24 22 22 20 20 22 22 20
20 22 22 20 20 18 18 20 20 18


19 21 21 19 19 17 17 19 19 17
17 19 17 15 17 15

20 19 19 20 20 19 19 17
18 17 17 18 18 17 17 15


17 16 16 17 17 16 16 14
15 14 15 14 12

54
 Arpeggio Madness

Chapter Six

Two String
Arpeggios
 Arpeggio Madness

Two String Sweep

Picking Arpeggio Sequence
First Section
Em


12 12 14 14 15 15 14 14 12 12 14 14 15 15 14 14
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 13

C
12 12 14 14 15 15 14 14 12 12 14 14 15 15 14 14
13 13 13 13 13 13 13 13 13 13 13 13 13 13 13 14

C#º
12 12 14 14 15 15 14 14 12 12 14 14 15 15 14 14
14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 15


First & Second Section “tie.”
D


12 12 14 14 15 15 14 14 12 12 14 14 15 15 14 14
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15


2
D#º
14 14 15 15 17 17 15 15 14 14 15 15 17 17 15 15
16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16

Second Section
Em

 
15 15 19 19 20 20 19 19 15 15 20 20 19 19 15 15
17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17

D
14 14 17 17 19 19 17 17 14 14 19 19 17 17 14 14
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 56
15
 Em


17
15 15
17 17
19 19
17 17 Arpeggio Madness
20 20
17 17
19 19
17 17
15 15
17 17
20 20
17 17
19 19
17 17
15 15
17



D
14 14 17 17 19 19 17 17 14 14 19 19 17 17 14 14
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15

C
12 12 15 15 17 17 15 15 12 12 17 17 15 15 12 12
13 13 13 13 13 13 13 13 13 13 13 13 13 13 13 13


14 14 17 17 19 19 17 17 14 14 19 19 17 17 14 14
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15

Third Section - Lydian Section (entire section played twice)

Cadd9#11 C

   
14 14 14 14 14 14 14 14 12 12 12 12 12 12 12 12
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

Bsus4 Bm

   
12 12 12 12 12 12 12 12 10 10 10 10 10 10 10 10
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

Fourth Section
D Em
10 10 12 12 14 14 15 15 17 17 15 15 14 14 12 12
10 10 10 10 10 10 10 10 12 12 12 12 12 12 12 12

F#º G
14 14 15 15 17 17 19 19 20 20 19 19 17 17 15 15
13 13 13 13 13 13 13 13 15 15 15 15 15 15 15 15


57
 10 10 12 12 14 14 15 15 17 17 15 15 14 14 12 12
10 10 10 10 10 10 10 10 12 12 12 12 12 12 12 12

 Arpeggio Madness
F#º G
14 14 15 15 17 17 19 19 20 20 19 19 17 17 15 15
13 13 13 13 13 13 13 13 15 15 15 15 15 15 15 15

Am Bm
17 17 19 19 20 20 22 22 24 24 22 22 20 20 19 19
17 17 17 17 17 17 17 17 19 19 19 19 19 19 19 19

Am G
17 17 19 19 20 20 22 22 20 20 19 19 17 17 15 15
17 17 17 17 17 17 17 17 15 15 15 15 15 15 15 15

Fifth Section
G
15 15 15 15 17 17 15 15
15 15 15 15 15 15 15 15


16 16 16 16 16 16 16 16

17 17 19 19 20 20 19 19
15 15 15 15 15 15 15 15


16 16 16 16 16 17 16 17

Gsus4
17 17 15 15 15 15 15 15
15 15 15 15 15 15 15 15


16 16 16 16 17 17 17 17

17 17 15 15 17 17 19 19
15 15 15 15 15 15 15 15


17 17 17 17 17 17 17 17

58
20 20 19 19 17 17 15 15
15 15 15 15 15 15 15 15
 17 17 15 15 17 17 19 19
15 15
Arpeggio Madness
15 15 15 15 15 15


17 17 17 17 17 17 17 17

20 20 19 19 17 17 15 15
15 15 15 15 15 15 15 15


17 17 17 17 17 17 17 17 16

Am
17 17 17 17 19 19 20 20
17 17 17 17 17 17 17 17


17 17 17 17 17 17 17 17

22 22 20 20 19 19 17 17
17 17 17 17 17 17 17 17


17 17 17 17 17 17 17 17

Bm
19 19 19 19 20 20 22 22
19 19 19 19 19 19 19 19


19 19 19 19 19 19 19 19

24 24 22 22 20 20 19 19
19 19 19 19 19 19 19 19


19 19 19 19 19 19 19 19

59
 Arpeggio Madness

Two String Economy

Picking Arpeggio Sequence
Em

15 12 19 15 15 12 19 15 15 12 19 15 15 12 19 15
12 17 12 17 12 17 12 17


                       

Esus2

14 12 19 14 14 12 19 14 14 12 19 14 14 12 19 14
12 17 12 17 12 17 12 17


                       

Dsus4

17 15 22 17 17 15 22 17 17 15 22 17 17 15 22 17
15 20 15 20 15 20 15 20


                       

17 15 22 17 17 15 22 17 17 15 22 17 17 15 22 17
15 19 15 19 15 19 15 19


                       

60
 Arpeggio Madness

Am

20 17 24 20 20 17 24 20 20 17 24 20 20 17 24 20
17 22 17 22 17 22 17 22


                       

Asus2

19 17 24 19 19 17 24 19 19 17 24 19 19 17 24 19
17 22 17 22 17 22 17 22


                       

61
 Arpeggio Madness

Chapter Seven

Diminished 7th
Arpeggios
 Arpeggio Madness

Diminished 7th Arpeggios

Sweep Picking
Ex. 1

3 5 7 9 12 15 17 19 21 24

The notes of the B diminished seventh arpeggio A - C - D# & F# when played against a B Major
chord function as the 3 - 5 - b7 - b9 creating the harmony of a B7b9 chord.

Ex. 2 Ex. 3 Ex. 4

     
8 11 8 11 8 8 11 8 8 11
10 10 10 10 10 10


8 11 8 11 11 8 11 11 8 11

                      
Ex. 5

3 5 7 9 12 15 17 19 21 24

Ex. 6 Ex. 7 Ex. 8

     
8 11
7 10 7 10 7 7 10 10


8 8 8 8 8 11
7 10 7 10 10 7 10

                     
Ex. 9
8 11 8 8 11
7 10 7 7 10 10 10 10


8 8 8 8 11 11 8 11
7 10 10 7 10

                      

63
 Arpeggio Madness

Ex. 10
11 14
10 13 13


8 11 11 11 14
7 10 10 10 13
9 9 12
8 11
                   
Ex. 11
14 11
13 13 10


14 11 11 11 8
13 10 10 10 7
12 9 9
11 8
                   
Ex. 12
1114
1013 10 10 13 13


8 11 8 8 11 11 11 11 1114
7 10 7 7 10 10 10 10 10 13 1310 13
9 9 9 9 12 12 9 12
8 11 11 8 11
                          

One key thing to remember with the diminished arpeggios is that they invert in intervals of a mi-
nor third (one and a half steps).

64
 Arpeggio Madness

Applying Diminished 7th

Arpeggios Using Legato
Rusty’s Legato Technique
When playing legato, Rusty ONLY picks on the ascending strings and uses legato for all de-
scending strings. Play the following “D” major scale example to see this technique in action.

H H H H H H H H H H H H P P H P P H P P H P P H P P H P P

12 14 15 14 12
12 14 15 15 14 12


11 12 14 14 12 11
11 12 14 14 12 11
10 12 14 14 12 10
10 12 14 14 12 10
     

The General Rule to Rusty’s Legato:

Pick only on the first note of an ascending string, never on a descending string.

Ex. 1

8 11 14 11 8


8 11 14 14 11 8

Ex. 2 (Shifting positions with example 1)

sl.

14 11 8 8 11 14 11 8 11 14 17 14 11 11 14 17 14 11


14 11 8 11 14 17 14 11 14 17

Ex. 3 (Using string groupings)

etc.
11 14 17 14 11
10 13 16 13 10 10 13 0 13 10


17 14 11 14 17 16 13 10
16 13 10 13 16 17 14 11 14 17

65
 Arpeggio Madness

Ex. 4 (Shifting positions with example 3)

etc.
11 14 17 14 11 14 17 20 17 14
10 13 16 13 10 13 16 19 16 13


17 14 11 14 17 20 17 14 17 20
16 13 10 13 16 19 16 13 16 19

Ex. 5 (Multi-finger tapping)

T2 T3 T2 T2 T3 T2 T2 T3 T2

19 22 19 16 13 10


18 23 18 17 14 13
19 22 19 16 13 10

T2 T3 T2 T2 T3 T2 T2 T3 T2 T2 T3 T2

18 23 18 17 14 13
19 22 19 16 13 12


18 23 18 17 14 13
19 22 19 16 13 10

In this example, Rusty taps using both the ring and middle fingers of his picking hand. Above
the tab you will notice a “T2” and a “T3.” The T2 signifies tapping with your picking hand middle
finger and the T3 signifies tapping with your picking hand ring finger.

**Note that you can stay on one string in one position and practice this multi-finger tap legato roll before
trying the whole example if you find it difficult at first. So you would start off by practicing:

T2 T3 T2

 19 22 19 16 13 10

66
 Arpeggio Madness

Chapter Eight

String Skipping
&
Legato
 Arpeggio Madness

Three Octave String Skipping

Legato Arpeggios
Ex. 1
Am
12
10 10 13 10 13 13

 7 7 12 7 12
10
12
10 14 10 14 14

5 8 5 8 8

12 17 12 12
13 13 10 13 10 10

 14 14 10 14 10
12
10
12 7 12 7 7
8 8 5

Ex. 2
Bº
13
12 12 15 12 15 15

 8 8 14 8 14
12
14
12 15 12 15 15

7 10 7 10 10

13 17 13 13
15 15 12 15 12 12

 15 15 12 15 12
14
12
14 8 14 8 8
10 10 7

68
 Arpeggio Madness

Ex. 3
C
15
13 13 17 13 17 17

 10 10 15 10 15
14
15
14 17 14 17 17

8 12 8 12 12

15 10 15 15
17 17 13 17 14 13

 17 17 14 17 14
15
14
15 10 15 10 10
12 12 8

Ex. 4
Caug
16
13 13 17 13 17 17

 11 11 15 11 15
14
15
14 18 14 18 17

8 12 8 12 12

16 20 16 16
17 17 13 17 13 13

 18 18 14 18 14
15
14
15 11 15 11 11
12 12 8

69
 Arpeggio Madness

Three Octave Arpeggios

with Tapping
Ex. 1
T2
G# B E
E
B
G#

B E
E G#

3 5 7 9 12 15 17 19 21 24

T P P H H H H P H P H H H

24 19 16 16 19
17 17


16 16
18 18
19 14 14 19
16 12 16
    

Ex. 2
T2
F# A D#

D#

A
F#

A D#

D# F#

3 5 7 9 12 15 17 19 21 24

T P P H H H H P H P H H H

23 17 14 14 17
16 16


14 14
16 16
18 12 12 18
14 11 14
    

70
 Arpeggio Madness

Ex. 3
T2
E G# C#

C#

G#

E
G# C#

C# E
3 5 7 9 12 15 17 19 21 24

T P P H H H H P H P H H H

21 16 12 12 16
14 14


13 13
14 14
16 11 11 16
12 9 12
    

Once you have these three arpeggio fingerings memorized, you can apply them to any diatonic
Major chord scale. All you need to know is this chord scale formula:

I - IV - V chords are Major

ii - iii - vi are minor
vii is diminished

Now you can take that formula and apply it to any diatonic major scale and work out the arpeg-
gios for that key. For example, in the key of “G” Major (G - A - B - C - D - E - F#) you would play:

G Major - A minor - B minor - C Major - D Major - E minor - F# diminished

71
 Arpeggio Madness

String Skipping Legato Solo

Amaj7
Amaj7 C#m7b5
C#m7b5 Bm7
Bm7
P
P P
P P
P H
H H
H P
P P
P P
P H
H H
H P
P P
P P
P H
H H
H
9
9 5
5 5
5 12
12 9
9 9
9 10
10 7
7 7
7



9
9 6
6 6
6 9
9 12
12 9
9 9
9 12
12 11
11 7
7 7 11
7 11
7
7 6
6 7
7 11 9 11
11 9 11 9
9 7
7 9
9

Dm6
Dm6 Dmaj7
Dmaj7 Dm7
Dm7
P
P P
P P
P H
H H
H P
P P
P P
P H
H H
H P
P P
P P
P H
H H
H
10
10 5
5 5
5 14
14 10
10 10
10 13
13 10
10 10
10



10
10 7
7 7
7 10
10 14
14 11
11 11
11 14
14 14
14 10
10 10
10 14
14
9
9 7
7 9
9 12
12 11
11 12
12 12
12 10
10 12
12

Solo
Amaj7 C#m7b5
9 5 5 5 9 5 5 12 9 9 9 12 9 12


9 6 9 9 6 6 9 9 6 9 6 9 9 6 12 9 12 12 9 9 12 12 9 12 9 12 12 9
7 6 7 11 9 11

Bm7 Dm6
10 7 7 7 10 7 7 10 5 5 5 10 5 5


11 7 11 11 7 7 11 11 7 11 7 11 11 7 10 7 10 10 7 7 10 10 7 10 7 10 10 7
9 7 9 9 7 9

Amaj7 C#m7b5
9 5 5 5 9 5 5 12 9 9 9 12 9 12


9 6 9 9 6 6 9 9 6 9 6 9 9 6 12 9 12 12 9 9 12 12 9 12 9 12 12 9
7 6 7 11 9 11

Dmaj7 Dm7
1410 10 10 1410 10 1310 10 10 1310 10


141114 1411 1114 1411 141114 1411 141014 1410 1014 1410 141014 1410
121112 121012

72
 Arpeggio Madness

DVD 3

Chapter Nine

Single String Triads

“Death Licks”
 Arpeggio Madness

Single String Triads

Em Chord Scale Chart:

CHORD
INTERVAL

Em F#m7b5 Gmaj Am Bm Cmaj Dmaj

Root E F# G A B C D

G A B C D E F#
Third
b3 b3 3 b3 b3 3 3

B C D E F# G A
Fifth
5 b5 5 5 5 5 5

Use the “Em Chord Scale Chart” above to aid you in understanding the seven diatonic chords
and their chord tones while learning this lesson.

Ex. 1
Root Thirds Fifths

E G B
B D F#

G B D
D F# A
A C E
E G B
3 5 7 9 12 15 17 19 21 24

Em Am Dmaj Gmaj Bm Em
H H H H H H H H H H H H

12 15 19
12 15 19


12 16 19
12 16 19
12 15 19
12 15 19
1 2 4 1 2 4 1 3 4 1 3 4 1 2 4 1 2 4

74
 Arpeggio Madness

You can play these arpeggios in a variety of ways. Below are two different examples but you
should try to experiment and see what else you can come up with.

Traditional ascending & descending with legato

H H H H H H H H H H H H P P H P P H P P H P P H P P H P P

12 15 19 15 12
12 15 19 19 15 12


12 16 19 19 16 12
12 16 19 19 16 12
12 15 19 19 15 12
12 15 19 19 15 12
     

“Ascending - Descending” pattern.

H H H H H H H H H H H H H H H H H H H H H H H H

12 15 19 12 15 19
12 15 19 12 15 19


12 16 19 12 16 19
12 16 19 12 16 19
12 15 19 12 15 19
12 15 19 12 15 19
           

Ex. 2
Root Thirds Fifths

F# A C
D F# A
A C E
E G B
B D F#

F# A C
3 5 7 9 12 15 17 19 21 24

75
 Arpeggio Madness

Ex. 3
Root Thirds Fifths

G B D
D F# A
A C E
E G B
C E G
G B D
3 5 7 9 12 15 17 19 21 24

Ex. 4
Root Thirds Fifths

A C E
E G B
C E G
G B D
D F# A
A C E
3 5 7 9 12 15 17 19 21 24

Ex. 5
Root Thirds Fifths

C E G
G B D
D F# A
A C E
E G B
B D F#

3 5 7 9 12 15 17 19 21 24

76
 Arpeggio Madness

Ex. 6
Root Thirds Fifths

D F# A
A C E
E G B
B D F#

F# A C
C E G
3 5 7 9 12 15 17 19 21 24

Ex. 7
Root Thirds Fifths

E G B
B D F#

F# A C
C E G
G B D
D F# A
3 5 7 9 12 15 17 19 21 24

All of these different patterns will work, and work well over any of the seven diatonic chords in
the key of “E” minor. Be sure to practice these over all the seven different chords so that you
can really get the sound of the harmony these arpeggios create when played in a musical con-
text.

77
 Arpeggio Madness

Single String Sus2 & Sus4 Triads

G Major Sus2 Chord Scale Chart:

CHORD
INTERVAL

Gsus2 Asus2 Bsusb2 Csus2 Dsus2 Esus2 F#susb2b5

Root G A B C D E F#

A B C D E F# G
Second
2 2 b2 2 2 2 b2

D E F# G A B C
Fifth
5 5 5 5 5 5 5

Ex. 1
Root Seconds Fifths

D E G
A B D
E F# B
C D G
G A D
D E A
3 5 7 9 12 15 17 19 21 24

78
 Arpeggio Madness

Ex. 2
C# minor Sus4 Chord Scale Chart:
CHORD
INTERVAL

C#sus4 D#b5sus4 Esus4 F#sus4 G#sus4 Asus#4 Bsus4

Root C# D# E F# G# A B

F# G# A B C# D# E
Fourth
4 4 4 4 4 #4 4

G# A B C# D# E F#
Fifth
5 b5 5 5 5 5 5

Root Fourths Fifths

C# F# G#

G# C# D#

E A B
B E F#

F# B C#

C# F# G#

3 5 7 9 12 15 17 19 21 24

79
 Arpeggio Madness

Single String Four Note Triads

Major Add2 and Minor Add4
In this lesson Rusty adds other scale tones to the single string triads to create add2 and add4
arpeggios. The way he does this is by adding the second to major arpeggios, the fourths to minor
arpeggios and the b2 to the diminished arpeggio. In the key of “G” major, this looks as follows:

Major Minor Diminished

Gadd2 = G - A - B - D Amadd4 = A - C - D - E F#m7b5addb2 = F# - G - A - C

Cadd2 = C - D - E - G Bmadd4 = B - D - E - F#

Dadd2 = D - E - F# - A Emadd4 = E - G - A - B

Below is a quick reference chart to see how these arpeggios are derived from the key of “G”
major. Starting on the “G” note in the left hand column number 1, read to the right of the “G”, you
will see the “A” under the second degree (2), “B” under the third degree (3) and “D” under the fifth
degree (5). These are the four notes that make up the Gadd2 four note arpeggio.

1 2 3 4 5 6 7
G A B C D E F#
A B C D E F# G
B C D E F# G A
C D E F# G A B
D E F# G A B C
E F# G A B C D
F# G A B C D E

80
 Arpeggio Madness

Ex. 1
G A B D
D E F# A
A C D E
E G A B
C D E G
G A B D
3 5 7 9 12 15 17 19 21 24

Ex. 2
A C D E
E G A B
C D E G
G A B D
D E F# A
A C D E
3 5 7 9 12 15 17 19 21 24

Ex. 3
C D E G
G A B D
D E F# A
A C D E
E G A B
B D E F#

3 5 7 9 12 15 17 19 21 24

Ex. 4
D E F# A
A C D E
E G A B
B D E F#

F# G A C
C D E G
3 5 7 9 12 15 17 19 21 24

81
 Arpeggio Madness

Ex. 5
E G A B
B D E F#

F# G A C
C D E G
G A B D
D E F# A
3 5 7 9 12 15 17 19 21 24

Ex. 6
D E F# A
A C D E
E G A B
C D E G
G A B D
D E F# A
3 5 7 9 12 15 17 19 21 24

Ex. 7
E G A B
B D E F#

G A B D
D E F# A
A C D E
E G A B
3 5 7 9 12 15 17 19 21 24

82
 Arpeggio Madness

Single String Triads

Inversions
Ex. 1 - Root Position Triads
Root Thirds Fifths

E G B
B D F
G B D
D F A
A C E
E G B
3 5 7 9 12 15 17 19 21 24

Ex. 2 - First Inversion Triads

Third Root Fifth

E A C
B E G
G C E
D G B
A D F#

E A C
3 5 7 9 12 15 17 19 21 24

Ex. 3 - Second Inversion Triads

Third Fifth Root

E G C
B D G
G B E
D F# B
A C F#

E G C
3 5 7 9 12 15 17 19 21 24

83
 Arpeggio Madness

Single String Triad Licks

Ex. 1: C - F - G
sl. sl. sl.

13 17 20 17 13 15 19 22 14 15 20
13 17 20


10 14 17 14 10 12 16 19
10 14 17
8 12 15 12 8 10 14 17
8 12 15

Ex. 2: Dm & Gm
15 18 22 18 15
15 18 22 18 15 18 22


12 15 19 15 12 15 19
12 15 19 15 12 15 19
10 13 17 13 10 13 17
17 13 10 13 17

Ex. 3: Dm - Gm - Am


12 15 19 12 15 19 14 17 21
12 15 19 12 15 19 12 15 19
10 13 17 10 13 17 12 15 19 12 15 19
10 13 17 10 13 17

15 18 22 15 18 22 17 20 24
15 18 22 15 18 22 15 18 22


14 17 21

Ex. 4: Dmadd4 - Gmadd4 - Amadd4

17 20 22 24 22 20 17 22 20 18 15
22 20 18 15


21 19 17 14 12 15 17 19 17 15 12

          etc.

 19 17 15 12
19 17 15 12 10 13 15 17 15 13 10
17 15 13 10

84
 Arpeggio Madness

Additional Concepts

Ex. 1 - C#mb6
T2 T3 T2
C#mb6
12 16 17 21 23 21 17 16 12
14 14


9 13 14 13 9 9 13 14 13
11 11 14
7 11 12 11 7 7 11 12 16
9 9

Ex. 2 - Emaj6
T2 T3 T2
Emaj6
16 19 21 23 24 23 21 19 16
17 17


13 16 18 16 13 13 16 18 16
14 14 18
11 14 16 14 11 11 14 16 19
12 12

Ex. 3 - Em6
Em6


9 12 16 18 16 12 12 16
14 14
10 14 16 14 10 10 14 16 16 14 10 10 14 16
12 12 12

T sl.

12 15 19 21 24 21 19 15
17 17


15 18 16 12 12 16 18 16
14 17
19 14
15 12 9

Ex. 4 - Bm6
sl. sl.
Bm6
9 9 14 16 14 9
9 12 15 15 12 9 12 15 15 12 9 7 9 12 9 7

 12 9 6 9 12 9 6

12 10 7 4

85
 Arpeggio Madness

Ex. 5 - sus2 and sus4 - “Itheratos”

Bsus2 G#susb2 Dsus2 Esus2 F#sus2

7x 7x 7x 7x 7x

         
14 9 16 10 17 12 19 14 21 16 21
12 14 15 17 19

Asus2 Esus2 F#sus4 C#sus4

7x 7x 7x 7x

       
24 19 17 19 24 19 17 21 19 14 19 21 19 14
24 19 17 19 24 19 17 21 19 14 19 21 19 14

86
 Arpeggio Madness

Chapter Ten

Melodic
&
Intervallic
Arpeggios
 Arpeggio Madness

Melodic Arpeggio Phrases

Ex. 1
E Aeolian P
1. 2.


14 12
10 13 12


12 11 9
12 14
14
12 15
       

Ex. 2
F# Locrian P
1. 2.


15 14
12 15 13


14 12 11
14 16
15
14 17
       

Ex. 3
G Major P
1. 2.


17 15
13 17 15


16 14 12
16 17
17
15 19
       

Ex. 4
A Dorian P
1. 2.


19 17
15 19 17


17 16 14
17 19
19
17 20
       

88
 Arpeggio Madness

Ex. 5
B Phrygian P
1. 2.


8 7
5 8 7


7 5 4
7 9
9
7 10
       

Ex. 6
C Lydian P
1. 2.


10 8
7 10 8


9 7 5
9 10
10
8 12
       

Ex. 7
D Mixolydian P
1. 2.


12 10
8 12 10


11 9 7
10 12
12
10 14
       

89
 Arpeggio Madness

Intervallic Arpeggios

Ex. 1
D6/9 D6/9 D6/9
Alternate Picking *Legato Sweep Picking

14 14 14 14
12 12 12 12 12


11 11 11 11 11
14 14 14 14 14
12 12 12 12 12
10 10 10 10 10
      *Reach over and deaden frets with            
picking hand.

Ex. 2
Am/maj9 Cmaj9#5 E7b9 Fmaj9#11

5 8 16 19
9 12 15 17


11 9 13 14
9 12 15 17
7 11 14 15
5 8 12 13

Dm11 Bdim9 Gmaj9 Dm/maj9 D9

15 10 15 17 14
13 9 19 14 13


10 7 16 10 11
14 10 19 14 14
12 8 17 12 12
10 7 15 10 10

90
 Arpeggio Madness
Intervallic Arpeggio Etude

Amin/maj9 A#min/maj Amin/maj9 G#min/maj Amin/maj9 A#min/maj

5 6 5 4 5 6
9 10 9 8 9 10


5 6
9 10
7 8
5 6
5 4 5 6
9 8 9 10
7 6 7 8
5 4 5 6

Bmin/maj9 Cmin/maj9 Cmaj9#5 E7b9

1. 2.


7 8 8 16
11 12 12 12 15 15


7 8 9 9 13 13
11 12 12 12 16 16
9 10 11 11 15 15
7 8 8 8 12 12

Fmaj9#11 Dm11 Bº9

19 15 10
17 17 13 13 9 9


14 14 10 10 7 7
17 17 14 14 10 10
15 15 12 12 8 8
13 13 10 10 7 7

G#º9

7
6 6


4 4
7 7
5 5
4 4

91
 Arpeggio Madness

Chapter Eleven

Song Excerpts
 Arpeggio Madness
full

E 15 15161816 151615 15 15 20 15
B 15 1618 18161518 18 18 16 151615 16 16

 “Diminium”
G 1715 131517 17 17
D 17
A 18 15
E
B

151815 152015 151815 152015 101310 101510 101310 101510

16 16 16 16 16 16 16 16 11 11 11 11 11 11 11 11


15 15 15 15 10 10 10 10

10 13 10 10 15 10 10 13 10 10 15 10
12 12 12 12 12 13 12 12


10 10 10 10

11 15 11 11 15 11 15 18 15
13 13 16 16


12 12 15 15
13 13 17 17
15 10 15 18 15 18

E 15 18 15 15 20 15 15 18 15 15 18 15
B 16 16 16 16 16 16


G 15 15 15 15
D 17 17
A 18 13 18
E
B

10 13 10 10 15 10 10 13 10
11 11 11 11 11 11


10 10 10 10
12 12
13 8 13

10 13 10 10 15 10 10 13 10 10 13 10
12 12 12 12 12 12


10 10 10 10
12 12
14 10 14

93
 10 13 10 10 15 10 10 13 10
11 11 11 11 11 11

 Arpeggio Madness
10 10 10 10
12 12
13 8 13

10 13 10 10 15 10 10 13 10 10 13 10
12 12 12 12 12 12


10 10 10 10
12 12
14 10 14

11 15 11 11 15 11 15 20 15
13 13 16


12 12 17
13 13 17
15 10 15 18 15

“Riders”
C#m


16 12 12 17 12 12 16 12 12 17 12 12
14 14 14 14 14 14 14 14


13 13 13 13


12 9 9 14 9 9 12 9 9 14 9 9
10 10 10 10 10 10 10 10


9 9 9 9

G#
11 8 8 12 8 8 11 8 8 12 8 8
9 9 9 9 9 9 9 9


8 8 8 8

C#m
16 12 12 17 12 12 16 12 12 17 12
14 14 14 14 14 14 14 14


13 13 13 13

94
 Arpeggio Madness

C#m A

   
12 16 12 16 21 16 9 12 9 12 17 12
14 17 10 14


13 18 9 14
14 18 11 14
16 16 19 12 12 16

G# C#m
8 11 8 11 16 11 12 16 12 1621 16
9 13 14 13 17


8 13 13 18 18
10 13 14 18 18
11 11 15 16 16 19 17 16

“Riders”
Chorus Arpeggios & Outro Solo
A E F#m C#m
21 17 17 19 16 16 17 14 14 16 12 12
17 17 14 14


21 18 21 16 18 14 18 13

D A Bm E
17 14 14 17 12 12 14 10 10 16 12 12
15 15 14 14 12 12 12 12


14 14 11 13

A E F#m C#m
12 9 12 14 9 12
10 12 10 14


9 13 11 13
11 14 11 14
12 11 14 12 11 16

D A Bm E
17 14 12 19 14 16
15 14 15 17


14 14 16 16
16 14 16 18
17 12 16 17 14 19

95
 Arpeggio Madness

5 9 5 5 9 5 7 10 7 9 12 9 9 12 9 101410
7 7 7 7 9 9 10 10 10 10 12 12


6 6 6 7 9 9 9 11
7 7 11 11
9 4 9 12 7 12

12 16 12 12 16 12 14 17 14
14 14 14 14 15 15


13 13 13 14
14 14
16 11 16

161916 161916172117 172117 192219 192219212421

17 17 19 19 21 21 22


16 16 18 19 21
18 18 23
191419 2419
2117

96
 Arpeggio Madness

“The Butcher”
Intro


19 16 16 19 16 20 15 15 20 15
17 17 17 17 17 17


16 16 16 17 17 17
18 18 17 17
19 14 19 19 15 19

    etc.
P H P H P H sl.


17 14 14 17 14 12 16 12 12 16
15 15 14 14


14 14 13 13
16 16 14 14
17 14 17 16 12 16

                    

19 16 16 19 16 20 15 15 20 15
17 17 17 17 17 17


16 16 16 17 17 17
18 18 17 17
19 14 19 19 15 19

sl.

19 14 14 17 14 12 16 12
15 15 14


14 14 13
16 16 14
17 14 17 16 12

97
 15 19 15
17 17
15 20 15 Arpeggio Madness
17 17
15 19 15
17 17
14 19 14
17 17
15 19 15
17 17
15 20 15
17 17


16 16 16 16 16 16

“The Butcher”
15 19 15
17 17
15 20 15
17 17
15 19 15
Pre
17 Solo
17
14 19 14
17 17
15 19 15
17 17
15 20 15
17 17


16 16 16 16 16 16
15 19 15 15 20
15 15 19 15 14 19 14 15 19 15 15 20 15
17 17 15 17 17 17 17 14 19 14141719 14
17 15 19 15 1714 17
17 17 17
15 15
19 19
1515 15 20 15 19
141517 14 15
14 20 15


15 15 17 16 17
19 15 15 15 17 16 17
20 15 19 15 17 16 17
19 15 14 19
19 14
14 16 17 15 19 15 17 16 17
19 15 15 20
20 15
15 16
15 19 17 15 20
15 15
15 15 14 15 17 15
15 15 15 15 1715 17
17 16 17
17 17 16 17
17 17 16 17
17 17 16 17
17 17 17 17 17


1716 17 14 17 14 17 14 17 16 17 17 16
14 17



16
16 16
16 16
16 16
16 16
16 16
16
17 16
19 14 17

15 19 15 14 17 14 14 19 14 14 17 14
17 15 15 15 15 15 15 15


16 14 14 14 14
15 19 15 17 16 14 17 14 14 19 14 14 17 14
15 19 15 17 19 14 17 15 14 17 14 15 15 14 19 14 15 15 14 17 14 15 15


12
15
15 17
19
19 15 17 16
12
15 14 17 14 14 15 14
14 19
17
17 14
14 15 14 15 14
14 17
19
19 14
14 15 14 15 14
14 17
17 14
14 15 14 15


15
17
17 16 17
15 16
15 14 15
15 15
15 14 15
15 15
15 14 15
15 15
15 13
14 15
15



16 17 19 14 17 16
14
16 14
14 14
14 14
14 12
14
14
17
17 19 14 17 16
16 16 14
19
19 14
14 17
17 17 12 15

12 17 12 14 17 14 14 19 14 14 17 14
15 15 15 15 15 15 15 13


14 14 14 14 12
12 17 12 14 17 14 14 19 14 14 17 14 16 14
12 17 12 15 15 14 17 14 15 15 14 19 14 15 15 14 17 14 15 17 12 15 13


12
12 17
17
15 12 15 14
12 15 14
14 17 14 15 14
17 14 15 14
14 19
19
14 14 15 14
14 14
17 15 14
14 17 14 15 14
17 14 12 17 12 12 13


15
15 14
13 15
15 15
15 14 15
15 15 15 14
15 15 15
15 15 14 16
15 13 14 12
13 13
13



14
14
12 14
14 14 14
14 14 14
14 16
12 17 12 15 14 12
12 12
14 16 16 14 16
16 17 12 15 14
14
15 12 14 17 17 12 15 17
17 12
12 15
15

12 15 12 14 17 14 12 17 12
13 15 15 13 13


12 14 14 12 12
12 15 12 14 16 14 17 14 16 14 12 17 12
12 15 12 13 15 12 14 17 15 14 17 14 15 17 12 15 13 12 17 12 13


12
12 15
15 12
12 13 12 14 15 14
14 17
17 14
14 15 14 12 13 12
12 17
17 12 13 12
12


14 17 14 13 12 14
13 16 14 12
15
1515 12 15
15 14 16 1413
14 12 17 14
13 13
13 12



15 12
12 14 15 12 14 17 16 13
14
14 13 14
14 16 17 12 15 141512
12 15 12
12


14 1414 15 12 14 17 12
16
16 12 16
16 17 12 151414
14 14
16 1515 12
12 14
14 14
17
17 14 17 1216
17 12 15
15 16
17 14 12 15 15 12 14 17 17 14

14 17 14 12 15 12 14 17 14
15 13 13 15 15


14 12 12 14 14
14 1714 16 14 12 15 12 14 16 14 17 14 16
14 1714 15 17 14 12 15 13 12 15 12 13 15 12 14 17 15 14 17 14 15 17 14


14
14 17
1714 15 14
14 12 13 1212 15 12 13 12
15 12 14 15 14
14 17 14 15 14
17 14


15 14 16
15 14 12 13
13 13 12 14
13 16 14 15
15 15 14 16
15



14 16 17 14 12 15 14 12
14 12 12 14 15 12 14 17 16 14
12 14 T 14 16 17 14
14
16
16 17 14 12 15 14
14 14
14 15 12 14 17 16
16 16
16 17 14
12 15 17
12 14
17 14 12 15
12 14
1517 14 15 19 15 15
15 12
12 14
14 17
17 15 19 24 19 15 17
17 14
14
13 13 15 17 17 17


12 12 14 16 16 15
14 17 17 17
12 15 19 14 19 T 19 14
15 12
12 15 12 14 17 14 15 19 15 15 19 24 19 15
13 13 15 17 17 T 17


12 12 14 16 16 T 15
14 12 15 12 14 17 14 15 19 15 17 17 T
15 19 24
T 19 15 17
12 15 13 12 15 12 13 14 17 14 15 15 19 15 17 19 14 19 17 15 19 24 19 15 17 19 14


12 13 12
12 15 12 13 12 14
15 12 14 17 14 15 14 15
17 14 15 19 15 17 16
19 15 16 17 15
15 19
19 24
24 19 15 17 15
19 15 15 12


14 12 13
13 13
13 12 15
15 14 17 16 17
17 17 16 17
17 17 15 17
17
12 15 14 12
12 12
12 14
14 16 17 19 14 19 17 16
16 16 15 17 19 14
15 98
12 15 14
14 17
17 19 14 19 17
17 17
17 19 14 15 12
 Arpeggio Madness

“War Cry”

1410 101410 15 12 121512 12 9 9 12 9

12 12 12 14 14 14 11 11 11


11 11 11 12 12 12 9 9 9
12 12 14 14 11 11
14 9 14 161016 13 7 13

        etc.

14 10 14 19 14
12 15 15


11 16 16
12 16 16
14 14 17 1714

                

99
 Arpeggio Madness

Chord Table

On the next page you you will find a printable chord table chart. You can fill in your scale tones to
give you a chart for all of your diatonic chords and arpeggios. Below is an example of the chart
filled out with the C Major scale so you can see how the chart works.

I ii iii IV V vi vii
Degree 1 2/9 3 4/11 5 6/13 7
Root C D E F G A B
Triad 3rd E F G A B C D

5th G A B C D E F
7th B C D E F G A
9th D E F G A B C

11th F G A B C D E

13th A B C D E F G

100
 I ii iii IV V vi vii
Degree 1 2/9 3 4/11 5 6/13 7
Root
Triad 3rd

5th
Arpeggio Madness

7th
9th

11th

13th
 Arpeggio Madness

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102
 Arpeggio Madness

The Rock House Catalog

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RockHouseMethod.com!
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103