Write something with a secondary dominant in the chord progression
If you need a refresher (or just a first-time-fresher), check out my Music Theory Monday lesson about Dominant Chords. If you're new around here, that lesson might not make a lot of sense without being familiar with Music Theory for Guitar first, and then getting into Music Theory Monday. You can find the ideal order to watch all my lessons here.
Read MoreIn this lesson I discuss the idea of power chords. They are a lot more than just an "easy" version of a "normal chord." Removing crucial information from the chord (the third) can make the waters a lot more murky, especially if you stick to I IV and V, but there are other interesting situations, too.
Your homework is:
1. Experiment with the attached backing track by playing a major scale, minor scale, or other combinations I mention in the video. See if you can make the backing track sound like it is playing the chords you imagine by emphasizing the thirds of the chords. Keep it to Major and Minor chords for this homework.
2. Write your own power chord progressions using more than just I, IV, & V. See if you can hear the progression in a major or minor key.
Read MoreThis was a vacation stream with a simplified setup. Hope you enjoy.
Question 1: Rohan was curious about a practice method for learning intervals
Question 2: Page Lin was curious about Hertz numbers. Turns out it IS cycles per second, which I was hazy about. But. yeah, we got into how people think they have some healing powers - I'm not convinced.
Question 3: "Skinny Bones Jones" are curious about why even bother learning Music Theory - what is it good for?
Question 4: Kevin was curious about how scales, chords, riffs, all interact. I talked about heirarchy.
Question 5: Holly was wondering how to play with people without being in person
Question 6: "John Scott Paulson" was wondering what I would have done differently if I could go back and redo things and if I've got any new lessons coming out that I'd be willing to share.
Question 7: Jun Sen asked what I think of two different fingerstyle artists. I wasn't able to look them up until after the stream while writing this, but here they are:
Sungha Jung and Kent Nishimura
They are both excellent players! And yeah, I'd practice getting to know your theory so you can pull apart the elements of a song down to their essence. We'll have to dig in more! It would certainly be a lot of work to play like them, but not impossible by any means.
Read MoreThis weeks' Community Challenge is simple: write something that involves sliding.
This could be:
1. A simple chord progression with chords that slide from one place to another
2. A full song with a guitar melody that slides around
3. A simple 8 bar sketch of something where some guitar sliding is involved
It's pretty vague. As long as you write a little something with sliding involved, you're doing the community challenge.
Read MoreThis series has been in the back of my mind for a long time. In my weird brain, I've been scheming and planning and trying to map out a course about "what is my job when I play with others?" I've tried to start this series numerous times and it kept getting bigger and more detailed. I finally decided to just go for it.
In this first lesson, I lay out the goal of this series and dig right into the essence of rhythm guitar, which is difficult to tack down.
I have landed on these three fundamental elements of rhythm guitar:
1. To contribute to the dynamic intensity of the song
2. To clarify and hold down the tonality of the song (aka the chord progression)
3. To be the drums and/or accentuate the drums
Your homework for this lesson is:
1. Make your own dynamic maps for "This Song is for Practice" (links and PDF below) Be sure to write in the specific ways you'll be achieving your dynamic changes
2. Try out the variety of dynamic options for increasing or diminishing intensity
3. Have fun exploring options while you get familiar with "This Song is for Practice"
Here are the questions for this week. Click the link for the timestamped answers.
Question 1: Dennis had some questions around how to think about relative major and minor and I discussed this idea of the heirachy of tonality between chords and scales.
Question 2: Rohan had some technique questions which, to me, boiled down to some practice concepts. I'm working on a "Practice Thoughts" video about this practice method, so look out for it soon. Also, check out my other "practice thoughts."
Question 3: Oliver was wondering when to move on from the first Music Theory for Guitar lesson. My answer is nuanced
Question 4: Andreu asked a fun question: why isn't guitar tuned to all 4ths? I tried it out. There are fun things and weird things about it
Question 5: Mr Krinkle asked if I could touch on some slide guitar in G or in E. I wasn't prepared for this one and I couldn't find my slide! But I talked briefly about open G tuning. I've also got this lesson about open D tuning, I have a lesson coming soon about slide guitar techniques, AND, Mr. Krinkle, if you're having a hard time accessing the community forum, I suggest checking out this video, which can be found at the bottom of the "where to start" page.
Question 6: Jeremy was curious about how to arrange your own version of a cover song. I got into some meta territory, but I hope this thought combined with all the info available on my patreon will help you start thinking about breaking things down in the ways I've mentioned in this lesson.
Question 7: "Scott John Paulson" wants to know when I'm going to do an ear training series. What I didn't mention in my answer is that I'm planning out a series!
Question 8: Andreu was curious about where I learned guitar and music theory.
Question 9: Rohan was wondering if it was OK to move on from the intervals lesson based on my assessment of his earlier video.
Question 10: Davin was curious about buying a Shure SM58 or an SM57. In the end, I think they are so similar, you can't make a wrong choice. But if you get the SM57, consider getting a pop filter, and if you want to boost the signal, you could consider getting a cloud lifter, or just get a more sensitive condesner mic, like an AT202 if you want a different, more sensitive mic for acoustic instruments. There is so much to consider with microphones though and the SM58 or SM57 might be very comfortable
Question 11: Marcus was curious about where to post lesson recommendations, so I dug up this old post that I'd love for people to add to. I've been doing this Patreon for about a year and a half now and I still have plenty of ideas for more useful content, but I'm always interested in hearing ideas!
Read MoreThis week the challenge is simple: write something in Natural Minor
That "something" could be:
1. A chord progression you've crafted using only chords from Natural Minor
2. A nice melody you've written using the Natural Minor scale
3. A whole song with chords, melody, and bass line using only Natural Minor.
You don't need to write a whole song, you don't need to use recording software like in my GarageBand lessons, but you can if you want. A cell phone recording is completely acceptable. The idea is just to write something!
If this was a drawing exercise, a sketch on the back of a napkin would be just as acceptable as a finished work. Just write something!
Natural minor is the most straightforward of the minor keys, as it contains all the same notes as its relative major. Check out episodes 04, 05, and 06 of Music Theory Monday if you'd like a refresher on the difference between Natural, Harmonic, and Melodic Minor.
Read MoreIn this final installment of the CAGED Basics Series, we're back to the beginning examining the share zone between the E shape and D shape. We discuss how all these CAGED Shapes are the only available triads on the fingerboard, and explore the vast variety of ways to approach interesting voicings.
The homework helps hammer this fact in, and the practice sections open you up to the whole fingerboard, exploring different ways to actually play with the CAGED System.
While this is the final installment of the series, I'm planning to build on this foundation with future CAGED System lessons that continue to really dig into useful, practical ways to use this cool system to get to know the fingerboard, get to know music theory, and achieve more fingerboard freedom in your own creations.
Read MoreOk, on to the questions:
Question 1: DeDé said I should write some music if no one asks any questions. People asked a lot of questions though!
Question 2: Page Lin was curious about how to pick picks
Question 3: Page also wondered about the 5 way switch and three knobs on a Fender Stratocaster
Question 4: Davin had questions about how to set your amp levels when playing live. I talked about three situations and how to deal with them
Question 5: Rohan had questions about wether or not to practice descending intervals
Question 6: Carlos had a question about how to organize two hours of practice time every day
Question 7: vlb asked about a song that is in the key of C and contains chords outside the key. VLB - would you mind posting a link to the song in the community forum so we can look a little closer?
Question 8: Matt has some questions about modes and how they related to the major scale
Question 9: Frederic had some questions about how to get starting writing music! My advise is basically to lower lower lower your expectations and write a LOT. Eventually you'll have a lot of fun. Possibly immediately.
Question 10: James had some questions about guitar FX software and Audio Interfaces, and DAWs
Question 11: Jeff was curious about loop pedals. This RC-20 is the one that I grew up with that solves your problem.
Question 12: Lorelai had a question about Hemiolas and how they relate to a strumming issue. My suggestion without hearing the exact issue is to practice to a drum beat!
Question 13: Lorelai had a further question about pick technique and how your wrist interacts with strumming technique.
This weeks challenge is to write something with extreme dynamics.
This goal is fairly simple, but important. Dynamics make music feel human, and thats one of the more important things about making music. Also, lets give a definition:
Dynamics are the musical idea of loud and quiet, but that also means that the music might feel intense when it's loud (like strumming harder, singing louder, etc) and the music might feel relaxed or almost cozy (or creepy) if the guitar is strummed or picked very very softly and the singing voice is at nearly a whisper.
You can take the "extreme" part with a grain of salt. I don't need you to yell or shout, but I would like to see some distinct contrast between a loud or intense section and a soft, gentle, quiet section. You could also have a middle dynamic section if you choose. Just write something with dynamic contrast.
This week, you could:
1. Write a melody with a combination of very soft and very intense parts
2. Write a chord progression or two with soft gentle sections and loud sections
3. Write a whole song with perhaps a very soft, quiet prechorus and an explosive intense chorus. Or something like that.
Whatever you do, keep it fun and focus on intensity. No need to go overboard or reach too far outside your comfort zone. Just write something with a combination of soft parts and intense/loud parts.
Some other things to consider and terms to learn:
Crescendo (/krəˈSHenˌdō/) : increase the volume and intensity of a section over a period of time.
Decrescendo : decrease in volume and intensity over a set period of time.
In proper sheet music, there are markings for dynamics like pp, ff or mp. Read more about it here.
Read MoreThis is the final reharmonization lesson. I wanted to talk about this idea that pretty much any chord in the key can work over the melody, but I wanted to map it out and show names of chords as well as a few fun examples. I went on a few (hopefully useful) tangents but they were all related to this idea that the chords and melody can combine to create a complex cool set of chords, even if you're just playing the same chord over and over.
Great questions this week!
Question 1: Rohan had a followup about right hand technique as well as a few questions about memorizing note names and intervals.
Question 2: Leo needed some clarification about how movable the caged really system is
Question 3: Russ was wondering about this tricky chuck berry riff - I'm hoping I got the riff right but I gave a few examples of how to build up the foundational skills around the riff.
Question 4: Mateus had a question about what key this Pearl Jam song is in. I forgot to listen to it beforehand (I'm not a perfect person) but I speculated and gave some suggestions.
Question 5: Frederic was wondering when the final video in my CAGED Basics Series was coming out! Soon! Also, Frederic reminded me to update the Recommended Lesson Plan
Question 6: Zapprio asked about how to practice fingering exercises without lifting your fingers off the fingerboard.
Question 7: Rohan was wondering whether it's worth it to practice specific ear training exercises. It always is.
Question 8: Mr K wanted some help differentiating between bass and guitar technique. I gave some tips, but also recommended watching my Bass Crash Course. If people need more bass help, let me know and I'll make more bass videos. Also, use my SPJ Jam Tracks for Bass practice.
Question 9: Andy asked if I sometimes jam with my girlfriend.
Read MoreThis week's Community Challenge is: Write something in Dorian Mode
This means, write a chord progression, a melody, a whole song - whatever you like! Something simple, something complex. As long as it's in Dorian, you're good!
I love Dorian mode and I've noticed that music like funk and soul tends to be in Dorian mode very often.
Compare the chords in Em to the Chords in E dorian:
Minor: Em F#° G Am Bm C D
Dorian: Em F#m G A Bm C#° D
You've got Em, G, Bm, and D in common
Except in Em, D is D7 (dom) and in E Dorian, A is A7 (dom)
The most simple Dorian chord progression (an excellent starting point) is a i IV progression:
Em A7, for example
If you want to get fancier, you can do the "Dorian reveal" progression:
Em G D A7 (Mad World Verse does this progression i III VIII IV but in the key of F#m)
This progression is nice because it lets Em really feel like home, then ends with the A7.
Sometimes people call Dorian Mode "Hopeful" because of that major IV chord. I like to think of it as Hopeful Minor or Cool Minor because to me, Dorian is like Natural Minor but more interesting.
If you want to mix and match Natural Minor and Dorian mode, that is OK for this challenge! But do not mix it with Harmonic or Melodic Minor. (Thats ok in general, but don't do it for this challenge)
Welcome to the final shape in this series: the E shape. You are probably already familiar with this shape! It's one of the most common bar chords and usually the first movable shape folks learn on guitar. In this lesson, we put it all over the fingerboard and show how it connects to the G shape. In the next lesson, we'll put all the shapes together!
Post your homework and questions on the community forum and please post some audio or video of your practice sessions if you find some voicings of G and E shapes that you enjoy!
Here is the Jam Track: A Major I IV V IV Also attached below in mp3 form.
Once you're familiar with the relationship between these two shapes, move on to the final lesson in this series.
Read MoreQuestion 1: Rohan had questions about technique for Major Scale practice and I talked a bit about left and right hand placement.
Question 2: Taco was curious about the Roman Numeral System. Essentially, my Music Theory Mondaycourse is ALL about that.
Question 3: Wong Rowena was wondering about transposition by labeling notes in a scale 1 2 3 4 5 6 7 - I talk about how useful this is as well as how it related to the Roman Numeral system.
Question 4: Rohan had some further questions about playing scales - I introduced some practice ideas for stretching and training fingers.
Question 5: Wong had another question about wether to focus on scales or chord tones while soloing.
Question 6: Debrath was wondering if someone could sing something in the key of C while playing guitar chords in the key of G. Basically no, but a nuanced no.
Question 7: ChampC had some songwriting questions like - how to I make a verse to fit a chorus idea. I gave a few strategies!
Chat questions
Question 8: Steve (CR-NAT-N) was curious about quickly transposing things down a whole step. I gave a few suggestions. Including The Moveable Chords in a Key Finder lesson
Question 9: James is working on the CAGED Soloing I -ii series and wondering if I could solo over the I-ii jam track to help get some ideas for new phrases. I also recommended MTM lessons 17, 18 and 19. From there things kind of went off the rails (in a fun way) as I brought my bin of pedals out to explore some tones and goof around.
Read MoreFor this challenge, you're going to start by playing a consistent beat with your picking-hand's thumb on the low E string. Then, while you're doing that, try playing an E minor or major pentatonic scale, or part of one.
If you've never tried this before, it can be difficult, but once you get a hold of the concept it can be quite fun. If it's really difficult, first plan the scale or scale fragment to play, practice it a bit without the bassline, then try to incorporate the bassline. This one is a little more challenging than usual, but give it a shot!
Those of you who feel like you're getting the hang of it, try writing a little melody instead of playing a scale.
For those of you feeling really adventurous, try making a melody using on and off beats.
Read MoreThis is the fourth installment of my CAGED Basics series, where we tackle the G shape. This shape shares three notes with the A shape and has some nice familiar voicings.
Read MoreThis was a great stream! Here are the questions
Question 1: Mateus was curious about pick harmonics
Question 2: Dennis wanted to know about blues turnarounds. Here is a jam track and here is another
Question 3: Dennis also had a question about the chord progression Emajor G major Amajor.
Question 4: Rohan was wondering wether or not to learn note names on the guitar while learning the scales. My answer is complicated!
Question 5: Mr K was curious about converting Twinkle Twinkle to Lydian. Among other things, I recommended checking out MTM Reharmonization lessons
Question 6: Rohan had a question about how to practice scales and I dove deep on practice methods
Question 7: C.H. Barron had a question about wether the root notes in the CAGED system stay put or move around. I used the camera guitar to explain a few things.
Question 8: Rohan was wondering when to move on from MTFG 01, AND where to watch this stream later. It will always be available after the stream AND you can check out previous streams in the Lesson Archive.
Question 9: James was wondering about the usefulness of the circle of fifths. I talked about it a bit and also pointed James toward my Music Theory for Guitar (MTFG) series.
Read MoreThis week's community challenge is simple:
Write two different parts of a song using the same chord progression
It doesn't need to be a full song! Just two sections of something. This is just practice!
Here are a few ways to approach it:
1. Guitar only
Write a progression with a simple strumming pattern, then try a different strumming pattern for the next section OR use different voicings up the neck like in CAGED Basics
2. Guitar and voice
Write a chord progression to use for both parts of the song, but write a unique melody for each section
3. Recording software
You could do all of the above, but with bass, drums, keys, etc. Have one simple section and one filled-out section.
In this lesson, I get a little fancier than I did in the previous Reharmonization lesson by using 7th chords, V of __ chords, and some other sneakiness. Check out the scratch paper and 7th chord cheat sheet attached at the bottom.
Your community forum homework for this little lesson is:
1. Write a chord progression for this melody that feels in the key of C Major or A Minor (or both)
2. Write a chord progression that feels weird and NOT in a key. Make it ugly if you like but make sure you're always harmonizing the melody!
3. Start with the standard progression (in grey in the example section) and substitute new chords as you see fit.
Read More
