Live Stream | 56
Live Stream | 56

Office Hours, Q&A

Question 1: Jeff was curious about mixing major and minor scales when soloing. I talked a bit about how the blues approach and made a little jam track. I've attached a five minute version of the A A D E jam track I used. Just remember the A Minor pentatonic goes over the IV chord - the D Major chord.

Question 2: Mathais was curious about Ear Training. I'm working on a series, but in the meantime check out this thread, about Rapid Fire key guessing. Use the songs people have already figured out to see if it sounds right to you, then try your own songs. This post also has some links to ear training practice and songs. This is another interesting thread about ear training.

Question 3: Dennis had some questions about playing guitar with a strap, standing up. I had quite a few thoughts about it.

Question 4: Andy had some technique questions regarding pinky use. I also gave some general practice pointers to help with speed and comfort.

Question 5: Tim had a question about when and how to use sus and add chords. I spent some time on it but in the process I realized I would have to do a longer set of lessons about the subject. So Tim, look out for some detailed lessons about the subject.

Question 6: Davin had questions about the song "About a Girl" by Nirvana. Why do the chords work the way they do? I didn't give solid answers, but I did give some context and history and discussed a few ways to think about this song!

Question 7: MJ was curious about how singing and playing guitar works. I gave some specifics and some ways to start practicing using your voice with your guitar. We also touched on some common misconceptions about perfect pitch.

Question 8: Wayne was curious about loop pedals. I compare software vs loop pedal pros and cons, etc.

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Community Challenge | 14
Community Challenge | 14

Write something in a Major Key

Submit your creations to the community forum. These don't have to be perfect songs. They could be a rough sketch you spent five minutes tinkering with, then recorded on your cellphone. It could be something you hum while you strum. You're welcome to go all out with drums, bass, and keys using fancy recording software, but you never have to!

This one is pretty straightforward, but here are some ways to approach it:

Beginner: Write a simple three, four, or five chord progression using only chords from a Major Key. If you need a refresher, check out the first lesson of Music Theory Monday for a reminder on how chords in a key word - then check out lesson 3 on 7th chords if you want to get slightly fancier.

For example:

Triads in the key of D Major: D Em F#m G A Bm C#dim
7th chords in the key of D Major: Dma7 Em7 F#m7 Gmaj7 A7 Bm7 C#half dim

A chord progression in D Major might like like: D D Em A D D Bm G

Intermediate: Write two chord progressions that complement each other using chords from a major key. Something like verse and chorus. If you like, write a melody over the top.

Advanced: Write a whole song or set of sections with melody, bass, rhythm - just make sure you're in a Major Key! Secondary Dominants are allowed and I would accept some modal chord borrowing (like a mixo bVII) or even some sneaky blues stuff.

Please be prepared to explain how and why your creation is in a major key, as well as any other quirks about your creation! Part of the goal here is for you to participate within your current understanding of music theory. Writing CERTAINLY doesn't need to be this way all the time, but these challenges are supposed to help you apply what you're learning, so it's best to set out to write within your ability to explain.

Make sure you're submitting something you've written based on your interpretation of this assignment. The goal is to write something new, not to submit something you've already written.

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Community ChallengesScott JohnsonCommunity Challenges 1-30
Roles | 03
Roles | 03

Rhythm Guitar | Tertiary Rhythm

In this Third installment of ROLES, we're talking about that weird situation where there are already a bunch of guitar players.... How do I play rhythm guitar if someone else is already playing rhythm guitar?

I give a few strategies and offer some basic homework: explore these two jam tracks (the Full Version and the Added Keys Version) and see if you can find a simple place to hang out in the mix. In general, you can't go wrong if you avoid those bottom strings, keep to a simple part, and try to fit in.

Remember, the track with added keys is designed to be difficult to find something to play. It's designed to force you to listen closely and play very sparsely. It's a little reminder that sometimes there is barely room to add anything, especially if there are already TWO people playing the role of rhythm.

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RolesScott Johnson
Community Challenge | 13
Community Challenge | 13

Write A Melody On One String

This week's challenge is: Write a melody on one string

This is pretty self explanatory but here are a few approaches:

1. The Easy Way: write a simple melody on one string. This could be completely unaccompanied. Just a nice, simple melody recorded to your phone. It could be freeform without a chord progression, or you could have a specific chord progression in mind while still submitting just a lonely melody.

2. Intermediate: Pick one of my Jam Tracks and write a melody to it. The melody only needs to be somewhere between 4 and 16 measures, certainly not the duration of the whole track. Perform the melody on only one string. You could record this to a cell phone, or use recording software. Whatever is comfortable for you.

3. Advanced: Write your own accompaniment for your one-string melody. You could even try a verse chorus or A section B section type thing. If you write two sections, each section's melody could use a different string. This could be with recording software, a loop pedal, etc.

4. Advanced II: You could write a whole song and have the intro riff be a one-string melody. If this challenge inspires something like that, go for it!

5. Advanced III: I suppose you could write a melody on the high E or B string and surround that melody with chords up and down the neck. If you try this option, keep your melody simple or you'll have a hell of a time trying to grab chords all over the neck. Or keep your chord progression simple and try to write in a key where you can use a lot of open notes.

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Community ChallengesScott JohnsonCommunity Challenges 1-30
Practice Thoughts | 05
Practice Thoughts | 05

Scott’s Practice Method

This Practice Thought is all about my practice method. I think it's easiest to apply this method to learning songs, but the more you integrate this practice method into your practice time, the more you'll notice the massive impact it can have on the way you play guitar.

A lot of self-taught guitar players start learning guitar as a way to unwind, relax, and drift off into music land. While this state of mind is important and useful - especially for performing or getting yourself into a good, relaxed mood - it is not useful when you're trying to learn something new. This practice method is designed to help you get the most of the time you spend trying to improve your technique and general hand, arm and body awareness around your instrument.

I know this is a departure from learning a specific technique or music theory concept, but this is at the core of my approach to improving my actual guitar skills. I hope you enjoy it.

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Practice ThoughtsScott Johnson
Live Stream | 55
Live Stream | 55

Office Hours, Q&A

Very few questions this week! But good ones.

Question 1: Dennis was wondering about how different kinds of scales (like blues scales or #6 scales) affect a blues solo. I talked a bit about how the chords inform which notes to play a little more than what scale to play! I've attached the worksheet I wrote for this section.

Question 2: Kevin T was curious about how to improvise riffs in a chord progression. I gave a few ways to start practicing toward that goal.

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Live Stream | 54
Live Stream | 54

Office Hours, Q&A

Question 1: Mathias had some questions about how to mute strings when you're playing in the middle of the fingerboard.

Question 2: Hieu was curious about a few things - how to make solos feel less robotic, what are some good jazz, blues, and R&B guitarists, and how to navigate chord voicings in different parts of the neck. I recommend CAGED Basics for that last one.

Question 3: Taco asked if I have other videos like the "Phrases" video on my YouTube channel. Overall, there were a LOT of questions related to soloing this week that I think will be mega helpful if you watch: CAGED Soloing I - ii, I - iii and I - IV, MTM 17, 18, 19.

Question 4: Dennis was curious about why we don't just switch scales for soloing over chords. I went DEEP into it because this is, in my head, a crucial concept to understand when moving through the music world.

Question 5: Russ was curious about the word "diatonic"

Question 6: Chat question about the best way to learn a song

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Roles | 02
Roles | 02

Rhythm Guitar | Effects & Tonal Complexity

This is the second lesson in my Roles Series. In this one I'm discussing and exploring how it sounds when you add or subtract tonal complexity in your rhythm parts, and how effects pedals can help or hinder your efforts. You have a LOT of power to affect the way a song sounds as a rhythm guitarist, and this lesson is designed to help you discover and explore more options.

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RolesScott Johnson
Live Stream | 53
Live Stream | 53

Office Hours, Q&A

This was a great set of questions!

Question 1: Rohan had a set of questions regarding guitar technique and practice method when it comes to playing scales and other exercises.

Question 2: Hiep was curious about how to get the hang of knowing where other intervals are without counting up.

I went on a rant about how much I love Mel Bay's Modern Guitar Method Grade 1. Also, fun bonus, Chet Atkins and Tommy Emmanuel also learned from that book and wrote a silly song about it.

Question 3: Page was curious about an everyday finger exercise, so I gave one!

Question 4: Kylir had a question about notes with or without sharps or flats.

Question 5: Emil had some questions about how to make drum tracks that feel human and how to figure out a way to make them interesting.

Question 6: Matt was wondering when to move to the next Music Theory for Guitar.

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Community Challenge | 11
Community Challenge | 11

Write Something with a Secondary Dominant

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.

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Community ChallengesScott JohnsonCommunity Challenges 1-30
MTM | 27
MTM | 27

Power Chords & Magic Eye Puzzles

In 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.

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Music Theory MondayScott JohnsonMTM 01-30
Lice Stream | 52
Lice Stream | 52

Office Hours, Q&A

This 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.

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Community Challenge | 10
Community Challenge | 10

Sliding

This 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.

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Community ChallengesScott JohnsonCommunity Challenges 1-30
Roles | 01
Roles | 01

Rhythm Guitar | Introduction

This 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"

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RolesScott Johnson
Live Stream | 51
Live Stream | 51

Office Hours, Q&A

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!

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Community Challenge | 09
Community Challenge | 09

Natural Minor

This 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.

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Community ChallengesScott JohnsonCommunity Challenges 1-30
CAGED System Basics | 07
CAGED System Basics | 07

Full Circle

In 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.

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CAGED BasicsScott Johnson
Live Stream | 50
Live Stream | 50

Office Hours, Q&A

Ok, 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.

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Live Stream ArchiveScott JohnsonLive Streams 31-60
Community Challenge | 08
Community Challenge | 08

Extreme Dynamics


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.

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Community ChallengesScott JohnsonCommunity Challenges 1-30