Community Challenge | 34

Pick 1 technique and 1 mood

Your post must include which technique and mood you've chosen

This writing prompt is designed to get you to marry two concepts together. Maybe if this goes well, I'll do more of these where I get specific like this:
"Make sliding feel happy" or
"Make pulloffs feel sleepy" or
"Make fingerpicking feel energetic"

But for this week you get to pick a technique, then pick a mood to try to emulate.

Picking a technique is fairly straightforward - you can be specific or broad. For example, strumming and fingerpicking are extremely broad. Hammer-ons and slides are a little more specific. Long slides (like from 5th fret to 12th fret) or double pull-offs are examples of even more specific techniques. You could also mess with artificial harmonics, pick harmonics, picking close to the bridge, playing lead with octaves only, playing a melody on one string, double-stops, sweeps, chord melody, slide guitar, - - - anything you can think of as long as it is a definable way to play the guitar.

Beginners, feel free to be somewhat broad - like strumming or pull-offs. Those of you really looking for a challenge, feel free to get much more specific with your technique choice.

Then, pick a mood to emulate - sad, happy, angry, frustrated, awkward, weird, grumpy, playful, sleepy, depressed, desperate, etc -

The trick with picking a mood to emulate is - well - what do I do?

There is no correct way to do it, but here are some elements to consider:

1. Dynamic range
2. Phrase length and complexity
3. Space between phrases

Imagine that your guitar is your voice and imagine how your mood can change the way you talk. When I'm sad, I don't wanna talk much and when I do, I talk softly and I take my time. In these terms, my dynamic range is mostly soft, my phrase length is going to be shorter and simpler, and I'll probably leave space between my phrases.

Imagine how you feel when you're angry. When I'm angry, I often want to say a lot, very quickly, without a lot of space between phrases. I might have an outburst and I make mutter some stuff quietly under my breath. In these terms, my dynamic range would be mostly intense with some occasional soft (muttering) spots, my phrase length might range from very long and complex to short repetitive bursts, and there probably won't be a lot of space between phrases.

The most important thing to remember is: think about how your body feels when you're experiencing a particular mood - when you're feeling a certain way. Imagine playing guitar in a way that matches your body. Imagine your body language translating to the way you play guitar.

Feeling tired? Let your fingers be lethargic and slow. Feeling excited and energetic? Let your fingers fly around. Feeling chaotic and out of control? Let your fingers be a little sloppy and make some mistakes. Feeling intense and focused? Play much more carefully and conservatively, letting each note, each strum really mean something.

Post your creations to the community forum, and please make sure to mention the technique and mood that you chose!

IMPORTANT THING: While it's important to give this a try, sometimes you set out with an intention and end up with something that did not meet your expectations. That is OK! Please post anyway. Sometimes we try to write something happy and end up with something melancholy. Or we set out to write something uplifting and we end up writing something sad. This is normal, especially when learning to express yourself. Lets embrace this normal thing that happens and have a nice chat about it over in the community forum.

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Community Challenge | 33

Write Two Seeds In Half An Hour

For this week's community challenge, we're doubling down on last weeks concept. A few of you truly discovered the relief of only spending a short amount of time to "complete" something. It's so easy to get carried away and spend hours on something only to find you don't really like it that much. Side note: IT IS NEVER A WASTE OF TIME DO TO THAT. But still, writing quickly is an important skill and impulse to hone in on and develop.

Thats why this week I'm challenging you to write two song seeds in half an hour. What is a song seed? It's two sections of music. You could think of it as verse and chorus, but that might be too specific. Just think of it as two sections that go together.

The easiest approach would be to write a quick chord progression in under 7 minutes, then write another one in the same key and record it before fifteen minutes is up, then repeat the process and voila: two quick song seeds.

If you are looking for MORE of a challenge, try coming up with two, two-part song seeds with chords and a melody in under fifteen minutes. OR if you're more of an instrumental DAW person, try coming up with two raw songs seeds with guitar, bass, drums.

THE MAIN POINT: When you're sitting down to write, it's sometimes difficult to define what it actually means to write music. An exercise like this can give you a sense of how easy it is to get distracted from a specific goal. It can also help you see the things you actually prefer over bare bones essential writing concepts. You might find you keep getting distracted by different voicings or different drum tones or just not liking certain chords in a progression.

Deliberate practice (the kind that actually helps you improve) is all about identifying specific things you'd like you work on and then deliberately ignoring other things while you focus on that one specific thing. This exercise is a great example of focusing on one specific thing and seeing what happens.

So try this one out, set a timer (or a few blocks of timers) and see what happens when you limit yourself to an extremely short amount of time. Post what happens to the community forum and feel free to talk about wether it was freeing, frustrating, exciting, weird, disappointing etc. Have fun!

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CAGED Soloing | 06

C Shape | I - vii° Progression

This particular lesson is focused on the relationship between the I chord and the vii° chord. This is a wonky progression, and while I have shown how to make diminished chords, I haven't talked a ton about using them. Typically, you'll see a half diminished chord in a minor key is a situation like ii° V i, but this lesson will JUST focus on the relationship between I and vii°. Check out the PDF attached below, and the I - vii° Jam Track in D Major on my SPJ Jam Tracks page specifically for this lesson.

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CAGED SoloingScott Johnson
Community Challenge | 32

Write Something Quickly!

For this community challenge, the goal is simple: write something - anything - but don't spend more than 30 minutes on it.

This is a little bit like my Ten Turds Challenge (which you're welcome to try anytime you like!) where you spend a very short amount of time trying to write something, then move on to the next.

For those of you curious about participating in a community challenge, but haven't jumped in for a try yet, this might be a fun one! There is something about having an excuse like "I could have done it better but I only had half an hour" that makes it easier to get into writing.

Give it a try! And post what you come up with on the community forum.

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CAGED Soloing | 05

C Shape | I - vi Progression

In this lesson we're exploring the cozy world of the I - vi chord progression. I say "cozy" because the I chord and vi chord share 2 of their 3 notes with each other. Relative major and relative minor are so similar that this progression might be the easiest to solo over.

Check out the attached PDF and practice your solos over this Jam Track in C Major. And of course, post your questions, concerns or progress on the community forum.

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CAGED SoloingScott Johnson
Community Challenge | 31

Write something based on Signed, Sealed, Delivered

Last week I asked you to analyze the song "Signed Sealed Delivered" by Stevie Wonder. This week, I'd like you to write something based on this analysis.

If you didn't do the analysis yet, thats ok! I recommend starting from what other folks have already posted to the thread and testing it out for yourself.

When I say "write something based on this analysis" here are some ways to go about doing that:

• Use a piece of his chord progression as a start for your own
• Use a fragment of his melody as your starting point
• Use a music theory concept you learned from this song as the starting point for your creation (bass line walking down, modal/bluesy stuff, etc

If this all feels WAY too much for you, that is ok! Here is a more basic option:

• Find something you like about this song - wether thats the drums, the bass, the piano - the vocals - the energy of the song in general - and just think about that while you sit down to write. Don't get too specific about mimicking any one aspect. Just try to write something with the song in mind and see what happens.

Those of you going with the simple option, let us know in your community forum post.

Those of you going with the more specific option, let us know what specific element(s) you were trying to emulate, mimic, or conceptually integrate into your creation.


On my livestream tomorrow I'm going to do a live song analysis and write something myself. Keep an eye out for that post. We'll see how it goes.

Post your creations to
the community forum. They can be anything from a rough 8 second phone recording to a full blown multitrack DAW production. Whatever you're comfortable with or have time for.

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CAGED Soloing | 04

C Shape | I - V Progression

In this video, we'll be focusing on the relationship between the I and V chord shapes using a C shape as our I chord.

To get comfortable with this relationship, start out playing fragments of the C shape over the I chord and fragments of G shapes over the V chord. This is not soloing yet, but seeing, exploring, and actually playing the chord shapes will REALLY help you "feel out" the chord tones when you sit down to start making melodic fragments. If you need a refresher on all the CAGED shape fragment possibilities, check out CAGED Basics.

Once you start getting comfortable with the CAGED chord shapes, you can branch out into the relationship between the pentatonic scale, the the major scale, and each chord. This is where you can begin creating phrases using melody-making "rules" or guidelines spelled out in Music Theory Monday lessons 17, 18 & 19.

Use this Jam Track in A Major for your I - V progression practice

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CAGED SoloingScott Johnson
Community Song Analysis | 04

The song I want you to figure out is Signed, Sealed, Delivered by Stevie Wonder, one of my all time favorite artists. This song was recorded at Hitsville U.S.A. Studio A in Detroit in 1969 and 1970, not far from where I live right now. I had the honor of being in the room where this was recorded! Gives me goosebumps when I think about it!

I'd recommend paying close attention to how the bass line and chords interact. There are some cool modal things going on and the bass line lets you in on it.

For song analysis, I don't require you to figure anything out by ear, but you're welcome to go about it that way if its fun for you. I think for some of you, that would be a really fun challenge. For those of you who don't want to, you can google chords and things and play along a bit and see how that feels.

Here are the things I'm looking for that you're welcome to post on the community forum:

1. What key is this song in?
2. What is the arrangement of the song? Intro-verse-chorus. etc
3. What are the chord progressions for each section?
- if you wanna get more specific, continue -
4. How is the bass line interacting with the chords (eg. R 5 6 7 or something)
5. Are the chords triads or 7th chords? How does that change the key or modality?

BONUS--------
WRITE A LITTLE MUSICAL *BLURB BASED ON SOMETHING YOU LEARNED FROM THIS SONG. IT COULD BE A CHORD PROGRESSION, A BASS LINE, A MELODY - SOMETHING SIMPLE - EXPLAIN WHAT YOU LEARNED FROM THIS SONG AND HOW YOU APPLIED THAT TO YOUR MUSICAL BLURB

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Community Challenge | 30

Write something intricate

This is a vague one. Open ended. You're free to explore what intricate means to you, or define the way you'd like to be intricate before you start writing.

You could think of it as detailed, lush, interlocking parts - like if you played single notes only on guitar and kept stacking them.

Or you could think of it as an intricate chord progression, where you're focused on specific voicings of each chord - maybe the progression itself is a detailed story. Maybe the melody and chord progressing interlock in some intricate way.

The dictionary definition of intricate is "very complicated or detailed."

You could focus on lyrics that are detailed in some way or complicated. The idea is that some element of your creation feels intricate.

Antonyms of the word include "simple, easy, straightforward, plain, direct"

Having said all that, not every part of your creation needs to be intricate, just a part or concept of your choosing. Have fun and post what you write on the community forum!

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Practice Thoughts | 11

Doing vs Thinking

In this lesson I'm tackling a concept that has been really hard for me to articulate in the past. I have really tried my best to look back and try to figure out how I got here, as well as try to figure out what the incredible musicians in my life all have in common.

Also, I chose the words "thinking" and "doing" for simplicity. There are probably more precise or specific words I could have used, but these will have to do! The category of "thinking" is in no way related to how smart you are, it's just a word to describe your general approach to playing music.

I made an effort to pinpoint this really crucial concept: balancing and deliberately practicing two somewhat opposite things.

On the one side, you have thinking - being mindful and painfully aware of as much as possible while you're practicing AND making sure to be very specific about what your goal is. Am I writing music right now? Am I trying to implement a specific technique? How do I achieve this specific goal?

On the other side you have pure experiential creativity. NOT thinking, just doing. Wether that's playing a solo, writing a chord progression, adding a melody over the top of something - developing the ability to just create without thinking (too hard) and without needing to stop and ask "what EXACTLY am I doing?"

The best musicians I know are good at both things, and my goal is to help you practice both things to the best of your ability.

Once you watch this video, consider which category you tend to occupy: do you lean toward thinking or toward doing? Neither camp is better or worse, but if you consider which one you tend toward, it might be easier to see what you need to practice!

THINKERS: Your job is to learn to let go sometimes. NOT all the time! Just sometimes. You don't always have to know what you're doing. I'd recommend these prescriptions:
Loose soloing: find a jam track on YouTube or My Website and just explore making phrases in the key - not worrying about the chords, not worrying about chord tones - just tinkering and exploring without thinking too hard. Have fun and let go!
Vague Community Challenges: Try writing little compositions for the community challenges that say things like "write something sad" or "write something spooky" without
• Try writing random chord progressions without thinking too hard about what key you're in!

DOERS: Your job is to sometimes sit down and do things exactly, specifically, and know what you're doing the entire time with absolutely ZERO guesswork. This can be tough, but here are some ways to approach it:
Specific Community Challenges: check out Community Challenges with specific technical theory concepts, like "write something using a i - III - VI - V" or "Write something with a secondary dominant."
Write with a specific goal: Write music with a very specific goal and write everything out along the way so you're sure you've got it right. Imagine a math problem where you're supposed to show your work. Imagine someone like me is going to ask you to explain every aspect of your composition.
CAGED Soloing: My CAGED Soloing series requires you to very specifically map out shapes on the guitar AND write specific melodic phrases over these progressions so you KNOW where that phrase starts and ends. It's a lot of work, but the more you do it, the easier it gets!

If you've got more questions, or you'd like to get into a discussion about this, come hang out on the community forum.

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Live Stream | 68

Office Hours, Q&A

This was a great Q&A!

Question 1 was from Mateus regarding soloing. Why do all these jam tracks start with the I chord? And in what key is the chord progression A Major to F Major?

Question 2: Escanor was curious about why chord charts don't include the low E string when showing an A Minor chord.

Question 3: Tasha was curious about guitar pedal essentials. What are the basic pedals to start with?

Question 4: Sev was curious about the advantages or disadvantages of learning guitar and bass simultaneously.

Question 5: Lounge Actor was curious about general guidelines for creating a chorus in a completely different key! I talk a little about ways to tinker with this concept, borrowing a little from classical and romantic. I wrote a little tune and played around with jumping into different keys. If you write something with a key change in it like this, post it in the community forum thread for this post!

Question 6: Rene, a new guitarist, was wondering when it will really feel like you're playing guitar. And some other good questions.

Question 7: Riccardo was curious about the shapes for soloing in harmonic minor using the CAGED system.

Question 8: Russ was curious about half diminished (aka m7b5) chords. Do they just take time or is there something to them?

Question 9: Rene wanted to know if it was too much to learn piano and guitar simultaneously.

Question 10: Gary asked if there are major and minor CAGED shapes. Yes, but the approach can be weird. I explain a little bit. Actually a lot.

Question 11: Sev was curious about my band, Hot Bodies in Motion. We're working on new music, coming out sometime this year!

Question 12: Sidinei was wondering - specifically - how many times through must we practice the exercises before we move on. In other words, when is the right time to move on? When we get the exercise perfectly? When we get it good "enough?" When?

Question 13: Are there any classes about reharmonization? Yes. Music Theory Monday has these lessons: MTM 24 | Reharmonization Basics, 25 | Reharmonization with 7th Chords, and Music Theory Monday 26 | More Reharmonization

Thanks for hanging out and I hope you can catch the next one! If you have any followup questions, come hang out on the community forum.

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Community Challenge | 29

Write something in harmonic minor.

Now, to be more specific, I might call it "write something that uses harmonic minor." If you've watched my Music Theory Monday Series, you're familiar with the harmonic minor scale and the resulting chords that come with. If you haven't watched that series yet, I recommend at least watching the first three episodes or so.

For example I'll use the key of B Minor

Natural B Minor uses these notes:
B C# D E F# G A B

and has these chords:

i = Bm
ii° = C#°
III = D
iv = Em
v = F#m
VI = G
VII = A

harmonic minor scales use a sharp 7th note like this:
B C# D E F# G A# B

And the most significant impact this has on our chords-in-a-key is that the v chord (F#m) becomes a major V chord, but more specifically, it becomes a dominant 7th chord (F#7) which resolves back to i (Bm) beautifully.

You are welcome to participate in whatever capacity you like! Wether you write a fully complete song with guitar, lyrics, bass, drums or you just record an 8 second rough sketch to your phone, all submissions are equally welcome. The only requirement is that you write it AFTER reading this post.

I'm going to be pretty flexible on the other "rules" here because harmonic and melodic minor get thrown together in the same situations often, but to put it simply:

if you write a chord progression starting with natural minor chords, then just turn the V chord dominant, you've essentially written a harmonic minor chord progression.

Melodically, if you write a melody over that progression and make sure the 7th note of the scale is sharp when then V chord is happening, you've basically written a harmonic minor melody over your progression!

Post your creations on the community forum!

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Practice Thoughts | 10

When To Start Performing

Here is some food for thought about how/when to start performing. There is a delicate balance to find for yourself between practicing enough to feel confident on stage AND waiting for the right moment/people/location to get started.

I start with the most basic way to practice performing and that is to record yourself. Don't book studio time! Just record to your phone or a simple device to listen back. For most people, this gives you the first chance to imagine what you sound like and imagine how other people might hear you. With this sneaky trick, you can practice playing in front of people without actually playing for anyone! It's a great first step.

From there I guide you through some positive ways to imagine listening back to your own recordings and practice being less fearful and less critical. This is a great way to start learning how to perform - how to develop your mindset toward performing in front of people, how to walk yourself through some of the jitters, and how to imagine you're listening to someone else.

Then we gradually walk through a handful of ways to approach getting on stage with some questions - should you start playing for family or strangers? Should you play alone or with another musician? Will you perform something difficult or something simple? And more!

I hope you enjoy this lesson and I hope you're able to make safe choices while we all navigate how to perform and attend live music events again during a pandemic!

If you'd like to discuss elements of this lesson, let's talk about it on the community forum!

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CAGED Soloing | 03

C Shape | I - IV Progression

In this lesson, we'll see how a I IV relationship looks when using a C shape as your I chord. This updated CAGED Soloing series is spending a lot of time on just one shape, showing the relationships between two chords at a time: The I chord and another chord.

Your practice for these lessons can consist of playing fragments of the C shape over the I chord and fragments (or a full bar) of the E shape for the IV chord. If you need a refresher on all the CAGED shape fragment possibilities, check out CAGED Basics.

Once you start getting comfortable with the CAGED chord shapes, you can branch out into the relationship between the pentatonic scale, the the major scale, and each chord (I and IV). This is where you can begin creating phrases using melody-making "rules" or guidelines spelled out in Music Theory Monday lessons 17, 18 & 19.

Use this Jam Track in E Major to practice making chord fragments and melodic fragments. Remember, music practice doesn't always have to be musical and beautiful. Exploring and getting comfortable takes time. Have fun and share your progress, frustration, excitement, etc on the community forum. AND remember, there is no perfectly correct way to do this. All of my lessons just show a set of considerations. You can veer off from there when it feels right. Have fun!

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CAGED SoloingScott Johnson
Community Challenge | 28

Write something in the Key of D Major

The rules:
1. You might write something new - that means something you've written AFTER reading this post
2. Your creation must be in the key of D (if you use modal substitutions, thats OK, as long as a D Major Chord feels like home)

If you're not sure how to do that, I recommend watching Music Theory for Guitar, then Music Theory Monday.

Your creation DOES NOT have to be a full song - it can be a 7 second voice memo recorded on your cell phone. It does not have to be fancy or complicated. It does not have to have words, or even a melody. It could just be a simple chord progression, strummed on your guitar. This challenge is just about making SOMETHING. As long as it's in the key of D Major, it's welcome! Whatever you have time for! You certainly can write a full song with guitar, drums, bass, vocals, etc if you want to, BUT you do not have to.

Post your creations to the community forum.

P.S. I think D Major is my favorite major key. I don't know why. Maybe because the chord shapes feel good on guitar. Maybe the key of D Major just sounds nice to my ears. I don't know why! But I love the key of D Major. Do you have a favorite key?

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