The Rosetta Stone of Guitar
Yes! I have an update for you. I've actually been slaving away, for many months, at pushing this method forward. I finally, recently, had to just take a break from it all to clear my head. What I have just about completed at this point is a newly shined up version of what I already had, but in a much better format where video and animated tutorial work hand in hand together from the same screen. It's got spiral mapping, jumping, family of chords, familial hierarchy in one slick module. Then I have also put together a module for each of the following: progressions, arpeggios, using the family (the many ways it benefits to actually know the family of chords), pentatonic, harmonic minor, melodic minor, hungarian minor, and 2-3 jazz modules where I present a jazz progression and explain how and why certain chord alterations make sense and why they create opportunities for key changes and other scales. To see these jazz modules and digest them is really the only way anyone can fully appreciate the power of how this method teaches you to "see/think" about the fretboard. I've known this for years, but it has actually taken, and is still taking a long time to just create all the kind of instructional materials that can successfully lead a student up to that point. Each of these modules is like a work of art. As the summer draws near I hope to have some of these new modules available on my site.
Just thought I'd follow up with a progress report. I have been working very hard at sort of giving my old material a face lift as well as breaking new ground. As for new stuff, I'm working on a sequence of modules that really capitalize on the rSoGuitar way of seeing music theory. It's all about efficiency of communication. It's about taking people who have tried to learn music theory from traditional sources only to find their eyes crossed, to start seeing how simple the end result really is.
I have many, many modules planned and quite a few are already under way. So far, I have just recently polished off a module on Progressions that is now finally ready. I have another one on arpeggios that is nearing completion. I'll try to make announcements as each new module becomes ready.
I still have so much work to do, but I can't wait to show off the modules on jazz progressions. To actually see jazz in motion across the fret board is the only way I think anyone can come to fully appreciate the power of the rSoGuitar way of doing business. Some time ago I just jumped ahead and started working on such modules, but then realized that it could be tricky for some to make that big of a leap without understanding some of the in-between steps, like getting a grasp on other scales like harmonic minor, blues, etc. So, after doing enough work on that to get my excitement built up, I took a step back and started working on filling in the gaps. What I really need is someone to finance my projects so I can put in the kind of time it would really take to finish all the learning materials on my wish/to-do list.
Thanks for the update! Keep us posted!
Dear guitarnoise community,
Good day fellow guitarists! I have been working for what seems like such a very long time trying to create and upgrade my teaching materials. I'm still pretty much right in the middle of creating a bunch of new modules, but I've decided to just put what I have up for people to see. I guess you could call it "beta testing" or something like that. The thing is, I am just not able to market this stuff the way a pro would, nor can I find the time to develop the materials that will someday shed light on the full potential of this awesome system quick enough to satisfy myself. So, I'm starting to think that maybe just making it free for the world to learn from might just be the kind of marketing solution that today's economy requires. Perhaps someday, if my traffic ever increases substantially my reward will come in charging for advertisement. Who knows, but for now, "beta testing". So, check it out and if you have any comments, suggestions, find any errors, just post a note to me here.
Fred Pool :: rSoGuitar
I am such a guitar book junkie. looks like another one to add to my list of books to get to once I've worked through the current ones :mrgreen:
Hello everyone! I just thought I'd give you some rsoguitar related news. For some months now I've had my newest material up on my site for all to see for free. Part of this purpose is to get some feedback on any glitches that might pop up when using the modules I've made. I wouldn't want to sell them with any problems lurking in them and, with so much material, there's bound to be some trouble spots. So, I've just added some new modules: Harmonic Minor, Hungarian Minor, Melodic Minor and I'm planning to upload some more soon.
The focus with these other scales is on how to take a scale you already know and alter a single note to derive a new scale. I go through examining which "rsog" shapes change as a result as well as how each chord in the family gets effected as well. The one area I think I'm most excited to show people, but it's a module that isn't quite finished, is how to create regular major scale progressions that utilize harmonic minor chords at critical moments in the chord cycle to create some extra tension and drama for the vocals or soloist to play over. It's really great stuff and pretty much every kind of move that's possible is something we've all heard somewhere but might not know how to accomplish if we haven't worked with harmonic minor in this way. It's one of the most exciting things I've ever come across in my ongoing study of music theory.
So, check out the new stuff and, if you have some constructive feedback, let me know! Thanks!
I just added some rough drafts of some jazzy chord progressions where you get to see the key/scale changes happen underneath the chords. I really think a lot of people don't or have a hard time seeing/imagining how might look and so, they don't understand the options available to them. I think if guitarists could actually see all the notes available to them at any given point in time, while they're playing, they would be able to do a lot more with it. It's kind of like the benefit you get when you have one of those pianos where the keys light up to show you the chords, where to put your hands. That sort of piano would be even better if it showed you the entire scale or at least one such option as the chord was played. I suppose the fact that at a given moment, while a chord is being played, there could be a number of different options would present a problem for such a piano, just as it does for my little video module, but at least this way I can try to show people ONE possible option at a time. As I develop this further, I'll probably take to showing a different option each time the chords cycle around...just to try to make it clear that there are often more than one option for a chord. Ultimately, you'd just want to know your theory really well and not have to rely on such aides...but my modules are for people who may not have a clue about such possibilities.
Anyway, they are, in the very least, a couple of mildly jazzy chord progressions (lessons 9 and 10 in the little menu) and they basically show how I would think about the reasons behind certain chord alterations that invoke key or scale changes. It should give a better insight into why learning these generic names for chords that I use can be beneficial. Now, you have to understand, I don't really care how you or anyone arrives at such levels of understanding, or the ability to find know what chord alterations cause what key/scale change options...I just hope that people who actually want to know these things find a way. I don't care if they learn it by learning to call chords the way I do, or if they learn it straight from the traditional methods...all I care is that they learn it. I can say now, having learned it my own way, that it's very easy to see at least some of the great treasures regular music theory was trying to show me all those years I was too stubborn to listen. Learning it my way got me to see some of these treasures and also got me to understand the value of learning theory...so now I just eat it up. I don't care how it's taught...I want as much of it as I can get...and I'm starving for more.
So, check out lessons 9 and 10 and let me know if anything looks interesting.
Dear guitarnoise friends,
Okay! I'm about to switch everything on my site http://www.rsoguitar.com back to "pay the bills" mode. I've had everything there open free for viewing for many months now. I'd like to thank everyone who contributed to editing all that new material by giving me contructive and positive feedback when appropriate. At this point I believe I've streamlined it enough to start selling it again. It's been a long, hard and patient road for me, as I don't have any cooworkers to help make this thing a reality. I guess I also have to give a hearty thanks to my family for putting up with the hours and hours I've spent working on all of it.
I'm pretty excited at this point because I've started to get deep enough into the learning materials to really show more of the full potential this method has for learning how to deal with things like key changes, scale changes. Probably the more important thing it can do for you is introduce you to just some of the many possibilities that are available to you if you just know they are there in the first place as well as the way they metaphor of the family of chords provides a great memory device and rationale for where they are in the grand scheme of things.
As I have mentioned plenty of times before, the stuff I show people on how to navigate the scale pattern usually gets them pretty excited (if that information is actually new to them, or gives them another powerful and creative way to "see" it), but the real power behind any good music is in the chords. Great chord progressions make great solos, and what makes good progressions is all about tension and resolution (something I remained relatively ignorant for years). If you are not already obsessed with this concept, you should immediately put it on your front burner. I have slowly become more and more that way and I can't wait to develop a more advanced chapter on progressions that steps past the simple "vanilla" progs I have in this first module and really focusses on the power of throwing in a "harmonic minor" moment to add some serious tension at the appropriate place(s). This is probably one of the most exciting and important chapters I have yet to develop and I hope to get it in place soon.
If you know what I'm talking about, please comment. I would love to talk about such things. It's great to have those kinds of important concepts reinforced in my own head, and it's even more exciting when someone turns me on to something new...something I haven't yet thought of and can actually use. These kinds of discoveries are sometimes so rare and come only once in a great while...I really appreciate them. I'm no longer so much obsessed with great solos. I'm now more interested in the progressions, with the clever moments in them that break from the ordinary and make those great/interesting solo opportunities possible.
Thanks Fred. Your site is amazing.
I would love to get this, but there are some posts on his forums that make me think he is no longer selling this. Some posts indicate that people have paid and not gotten the material.... Are you all SURE this guy is not just ripping people off?
I just heard back from Fred, he was having trouble with his website. He is back up and running, I ordered the first two modules today.
Glad you worked it out. I am 100% positive there is no rip-off going on here. We've dealt with Fred for a long time and he has always been a straight shooter.
I love the Rosetta Stone. It opened my eyes to a new way to see the fretboard.
Got my modules - this is EXACTLY WHAT I NEEDED. I have never seen a method like this, I only have an hour and a half in it and already have learned more about the fret board then my previous years combined. I can see how this will be the ticket to being able to play what I want where I want to play it - it is REALLY well done. THANKS AGAIN for getting me to this awesome method. I feel like I might be able to make the transition from guitar player to musician here - just wow...
Dearest Guitarnoise community members,
I have just been shocked back to life by the compliments and excitement of Bigfoot21075. He wrote a great message in my forum and I was inspired to reply with everything I had...a bit of an explosion of enthusiasm for the mysteries of the instrument we have in common. Having composed the message there, and just about wearing myself down to the nubs in the process, I had an after thought that it might be appropriate and worthwhile to copy and paste it here because it contains some of the highest hopes I have for anyone who has ever taken a lesson from me or purchase my teaching materials, or, well, heck...anyone who plays the guitar. So, I'm going to paste the message below, and, Nick...if, for any reason (that I am unable to currently imagine), you find it hokey or tacky in any way, I won't ask any questions when you remove it or ask me to do so myself.
Wow, man! Wow! It's moments like these that make it all worth while for me. I have spent countless hours and hours...blood, sweat and even tears putting this together over literally a course of years. Really, I actually started developing this method on the night of my now 9 year old daughter's birth.
I wasn't being a bad husband...the wife just kept shooing me away every time I would ask her if she needed anything. Turned out she was in the "zone" and didn't want to be disturbed one bit. Finally, after a few hours of that and starting to feel pretty useless, I decided I would find something quiet to do. Then it hit me. I would do what I had always been threatening to do, but never seemed quite serious enough to do: Start writing what I would eventually call "The Rosetta Stone Of Guitar."
The more I wrote, the more I learned about what I already only thought I understood. One of the first ultimate moments of eternal reward for me was when I finally got my long-time singer/friend to be able to solo freely all across the fretboard without ever getting lost. The night the method finally soaked in enough to hit him in its full significance...he actually had to fight back the tears. He had been wondering about the great mystery for years and nothing, not all the horses and the kinds men could spell it out to him until this. What a feeling to know that I could help out a friend like that.
That's what drove me to think that more people should know about this method. I started teaching it to more and more people and eventually developing better and better materials for presenting it. It still begs to be taken to the next level. I'm almost there...I just can't afford to sacrifice any more family time for the time being.
I'm telling you...there is a secret so subtle, yet so powerful that will soon be within your grasp if you totally immerse yourself in this method. Memorize the family of chords up and down, vertically and horizontally. Memorize the scale pattern so that there are no holes...no dark regions on your fretboard. Do all that with the expectation that there is some greater gift waiting for you on the other side, because that's the truth. And if you conquer the fundamentals I can explain it to you in such a simple way. If you're like me, you might even be a little mad about the fact that no one has ever yet put it to you like I will. In a word or two I will whisper "Sharp Older Sister" (harmonic minor scale) and once you know where to put her, you'll need to know when to put her and once you know that, you'll be freaking out at what it unlocks.
I'm telling about this now because I think I really have your attention and I can't afford to wait until your senses might not be so sharp as they are now. Remember this and never forget to come back to it. I don't care how long it takes for you to hammer this out in your mind (the fundamentals) but you simply have to come back to this when you're ready. One of my greatest frustration comes from the notion that so many of my students and customers get so excited at the power that gets unlocked in the first few chapters/encounters with this method that they go over soloing and strumming chords with a big grin as if the pocket change they just earned is enough to satisfy them for the rest of their lives.
In 25 years of playing, and about 15 years of teaching guitar, I have learned more than just this one trick I'm aggrandizing to you now. But, if I were to be struck with amnesia and had the choice of remembering just ONE trick/concept, I would choose this one: "Sharp Older Sister" (#Os - aka harmonic minor). And remember, there are two parts to this secret: WHERE to put her and WHEN to put her. If you don't have both, it's like the difference between a lawnmower and a Ferrari.
I think the best way to convey the power of what I'm teasing you with is to just put together a simple video where I speak to my listener as if I assume they have the fundamentals mastered. Oh, and if you really pay attention to the module on progressions, and treat it with the utmost respect (paying close reverence to the timing of the cycles and what I call the "home chord moment", you'll be ripe for that great secret.
Wow, this is getting long-winded...but I can't help it. Strike when the iron's hot! Now, in the wake of all the tension I may have built around this "great secret" you have to keep your head about you and remember that the power of music is often in its subtleties. So, I can tell you that you have surely heard this secret being used over and over throughout history, in song after song...and it's usually the really great and memorable ones that utilize such moves. But, for some reason, only a handful of writers seem to either know or care enough to really develop it in their work.
If you're going crazy with anticipation I can tell you right off the top of my head that the trick can be found in the second chord of these songs:
Hotel California, Stairway to Heaven, Yesterday (Beatles...although in this song the scale is actually one step more exotic, containing #Os as well as one more note that is outside the regular scale...making it melodic minor). If there's a single note in the solo for Hotel California that make your skin really crawl...I promise you it's #Os!
Okay, I'm going to leave it at that for now, but for God's sake...don't fade away. Make sure you come back and ask questions where you feel the need. This forum (MEANING: MY FORUM OVER AT www.rsoguitar.com) is practically uninhabited these days...you'll have a complete monopoly on answering. Just remember that I still don't get any kind of automatic notification when you post...so I might now notice right away. Just be patient...
Also, I read your post on guitarnoise and I really, really thank you for sharing that with the community over there. Nothing I can say or do builds trust like a testimonial from someone like you.
Thank you SO much! You've also managed to re-inspire me for what I do on my end. I'm gonna show my wife your message(s) just so she knows that all the time I've put into this stuff (and away from the family) really does serve a healthy purpose.
And finally, Nick, thank you for taking the time to review my stuff. Meeting you was pivotal to maintaining my excitement and hope for this brainchild that has grown so much over the years.
I remember I bought this product and I liked it. Do you know if the page has updated?