Community Challenge | 45

Write Something Lethargic

Often, the key to getting something to sound lethargic is to get your arms and fingers to mimic how it feelsto be lethargic. Lazily sliding from one note to the next, arriving to your notes late, playing behind the beat as if the drums have to pull you along - these are all ideas.

Explore, have fun, and try your hardest to write something with some lethargic elements to it. When you feel like you've got something - wether it's a VERY simple chord progression, a melody, or a full blown song, post it to the community forum.

Remember, not everything you write needs to be a complete song, not everything you write needs to be finished, and not everything you write needs to show people who you are. This is just practice. Have fun with it!

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Unison Note Finder

Navigating Options On The Fingerboard

This is a little one-off lesson I've been thinking about doing for a long time. Stringed instruments are weird, and guitar is no exception. One weird thing about stringed instruments is that many duplicate or "unison" notes can be found all over the fingerboard. In other words, you can play the exact same chord or scale or riff in multiple places. These tones are not different octaves, they are the same frequency.

I've attached two PDFs, one is a detailed, high color, printer-unfriendly recap of this lesson with a few examples. The other PDF is unison-finder scratch paper with subtle colors that are (hopefully) more printer friendly for those of you who want to print.

Here are a few questions for the community to ponder and discuss in the comments below or in the community forum: If your fingers are already comfortable, would there be any musical reason to play the same phrase or chord on different strings? Have you found that you prefer voicings on any particular set of strings, like strings 2, 3, & 4 or 4, 5, & 6? Is there a specific situation where you've used this unison note finder method to make something easier or better sounding?

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Live Stream | 85

Office Hours, Q&A

Question 1: Leo was looking for methods to find the key of a melody.

Question 2: Conor wanted to know when to move on to the next lesson AND what, in my opinion, are the fundamentals of music and also the fundamentals of guitar.

Question 3: Sean was looking for tips to keep ideas organized.

Question 4: Will was working on figuring out chords in a key in the CAGED System and basically stumbled upon some stuff that I'm laying out in my New CAGED Soloing series.

Question 5: Tasha was looking for tricks to feel inspired to write music.

Question 6: Gregg was looking to expand soloing range - I strongly recommend CAGED Basics I and II

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Live Stream | 84

Office Hours, Q&A

Here are the timestamped questions from this week:

First off, some stuff fell on me, so that was fun.

The first question, was from Leo, who asked about singing and playing, but more specifically about "playing through a mistake." We got into a good discussion about it!

The second question, from Graeme, was asking why we play guitar in the left-right orientation that we currently do, as opposed to playing "left handed." I do not know, but I made a guess.

The third question was from acrvr who was essentially asking about how the guitar seems to be laid out in a "V of V of V of V of V...." kind of format.

The fourth question was from Tim, who asked wether it's best to lean into or try to avoid writing from a comfort zone where you tend to keep writing similar things.

The fifth question from David, was about how a capo affects things on the fingerboard.

MJ asked the sixth question: "what makes a voice suitable for singing?"

That was it! If you have more follow up questions or relevant info related to any of these questions, feel free to get involved on the community forum.

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CAGED Basics II

Lesson 03 | A Shape

Check the chapter markers on the video above for the Lesson, Homework, and Practice sections and download the PDFs at the bottom of this post.

In this video, I break down the A Shape, it's relative minor shape (the G minor shape), and how the A Shape Pentatonic scale overlays on top. There is a huge difference between knowing your pentatonic scales vs seeing how they interact with the CAGED System. As this lesson continues, I hope you start to appreciate how the CAGED System helps music theory come to life on the guitar neck.

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Live Stream | 83

Office Hours, Q&A

Here were the questions for this week - please excuse the occasional mic malfunctions - I'm working on fixing that!

Question 1: Andy was wondering which CAGED Shapes are best for 7th and 9th chords. I talked about it a bit, and recommended both my Interactive Scratch Paper and my Rubiks Cubelessons to get comfortable with each CAGED Shapes' 7th chord possibilities.

Question 2: Wasn't really a question, but Mark wanted to show off a guitar project with jumbo frets! Looks great! You can see the post here, too.

Question 3: Trevor was hoping to troubleshoot some pedal noise problems. I gave a few tips, but if anyone has tips for Trevor, let him know in the comments or community forum! Also, please report back if you've made some progress, Trevor!

Question 4: Riccardo was curious if I prefer oldschool pedals and amp or newschool amp and pedal modeling box (like a Helix) directly into a monitor or something similar.

Question 5: Mathias wanted to know what to practice for only ten minutes a day. I launched into my soapbox routine about how you HAVE to be specific about your goals, or what to practice won't make any sense. And a lot more helpful advise.

From there we kind of had a discussion about practice in general. It was great, despite the occasional mic malfunctions. I'll get that fixed for the next stream.

If you have follow up questions, or for this stream in particular, if you, Trevor, find the noise issues in your pedal board, please let us know in the community forum.

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Community Challenge | 44

Write Something With Guitar

I gave this one an EXTREMELY low bar because I want to invite new people to try participating in community challenges.

The only rules are:

1. Write something with one guitar - no DAW, no multi-layered recording - just use a single guitar without drums, bass, keys.
2. Record what you've written with your phone or recording software and upload it to the community forum.

You don't need to write a song, you don't need to write a rough draft of a song. It could be a little pentatonic riff that takes 5 seconds to play. It could be a set of chords you like together. It doesn't have to be amazing, it just has to be something you came up with.

IF YOU ARE A NEW PATRON and this is your first community challenge, feel free to say hello and introduce yourself in the comments below! Welcome!

Have fun, and if you've written something you like, you can share an mp3 OR a link to a video or mp3 on the community forum.

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Live Stream | 82

Office hours, Q&A

Question 1: Mateus was curious about how to make an improvised melody sound like the chords are changing when there is no backing track.

Question 2: Mr K wanted to know if I have any advanced guitar setup tips. I launched into a little lesson about what your truss rod does and got into a few other little things.

Question 3: Kyle wanted to know if the classic blues riff we're all familiar with has a name. I don't know, but I went into a detailed lesson about Maj6 chords and how they relate to bass lines, rhythm guitar, and ultimately back to this riff.

If you have any follow up questions or want to continue the discussion, come hang out on the community forum.

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Live Stream | 81

Office Hours, Q&A

Another great stream with great questions, here they are, linked to the specific spot in the stream where they are addressed:

Question 1 was from Greylight, who wanted some ideas for how to stay focused on the current lesson rather than bouncing around. Or, to put it another way, how do you know when you knowthe material?

Question 2 was from Mr K, who was wondering what steps might be involved in setting up a guitar to be tuned a whole step higher! We discussed a few of the risks as well as comparing and contrasting what situations you'd simply just capo on the 2nd fret vs actually tuning your guitar higher. I also mentioned "Mitchell's Abrasive Cord."

Question 3 from Other Person was about how to practice as a beginner/someone coming back after 20+ years. As always, I ask Other Person for some more specific goals before I map out a little practice diagram (attached below)

Question 4: was curious about buying Kontakt software - it's great software, but make sure you can't get that stuff from Logic Pro X.

Question 5 as some point D Walker was curious about the software people use to remove different instruments from a track. I don't know! Does anyone know? Feel free to comment about it or send a link in the community forum.

Question 6: MJ was hoping for chat's recommendations on Tele's or Jaguar's in the Squier realm. Do you have a recommendation?

Question 7: Juan FM was wondering if there is always some sort of frustration or if the beginning phases of guitar are just inherently frustrating? When will there be more lightbulb moments?

Do you have follow up questions? Want to continue one of the topics mentioned here? Come hang out on the community forum.

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Community Challenge | 43

Write Something With Improvisation.

We'll keep it loose for this challenge. You could START by improvising a melody or chord progression and then refining from there, or you could include a section to improvise. You could try a multitrack recording where you improvise each layer. It's all about exploring. Use improvisation at the beginning or at the end of your process. The only rules are:

1. You must write something AFTER reading this post - you can't post something you've already written.
2. You must give a brief explanation of how improvisation played a part in your composition.

To be clear, improvisation means you're making something up as you go. HOWEVER, you can pick a key (ie. the Key of D Major) and you can pick a specific scale (ie. D Major Scale or D Major Pentatonic Scale.) You could pick a set of chords (ie. D Em F#m G A Bm C#dim) and improvise a chord progression by playing random chords from the set. Or you could write a chord progression like "D Bm Em F#m" and try coming up with a melody on the fly. There are lots of options!

Have fun, and if you've written something you like, you can share an mp3 OR a link to a video or mp3 on the community forum.

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Live Stream | 80

Office Hours, Q&A

This was my first stream from my new studio in Orange County, CA and it was a good one!

The first question was from Martin, who wanted some advise about how to prepare for a jam session with another guitars, a pianist, and a drummer and bass player.

The second question was from Graeme, who was wondering how to branch out with practice time while working on CAGED Soloing.

The third question was a combination of Sean and Tim's questions about how to differentiate a verse, chorus, and bridge. It got a bit etherial, but it made me think we should spend some time digging in on these concepts.

The fourth question from Ethan, who was wondering about sliding in and out of chord tones along the fretboard using the G or D strings.

The fifth question was from Mark, who first had a comment about a cool interval exercise to help remember intervals and note names up the fingerboard. Mark's question was about writing a melody to lyrics. So gave an example by writing a melody to his lyrics and showing my thought process.

I introduce everyone to Betty

The sixth question was from Martin again, wondering HOW to go about practicing the skill of figuring out the key of a song - Austin had a similar question.

The seventh question was from Lyn who wanted to know how to figure out the chords in the key of B flat. I gave a little example, but my Music Theory Monday series is all about that kind of stuff.

If you want to ask follow up questions or continue a discussion about any of these topics, come hang out on the community forum.

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CAGED Basics II

Lesson 02 | C Shape

Welcome to Lesson 2 of CAGED Basics II. Please watch Lesson 1 first.

In this lesson, I'll help you get much more familiar with the relationship between the C shape triad, the A Minor shape triad, and the C shape pentatonic scale. Check out the PDF attached at the bottom of this post.

Each episode of this series has a Lesson section, a Homework section, and a Practice section. My goal with this format is to first get you familiar with the concept in the Lesson section, then let you get to know the concept for yourself in the Homework section, then finally give you something to play that uses the concept in the Practice section. You can find bookmarks embedded in the video above for each section.

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Community Challenge | 42

Write Something With Arpeggios

You don't have to write a whole song. You don't even have to write a whole section. A chord progression would be fine! Record it to your phone and upload it to the community forum! If you want to get a little fancier, you could use recording software to write a whole song with bass, drums, guitar, a vocal melody, lyrics, etc - if you WANT to do that, you absolutely can. But you don't have to.

The goal of the Community Challenge is to remind of the joy of MAKING music. Yes, learning songs is important. Yes, practicing technique is important. Yes, learning music theory is important. But to me, making music is the most fulfilling and satisfying musical action one can take.

In this case, just write a little something - even just a chord progression or a guitar melody - and make sure that you're using arpeggios somewhere in there.

An arpeggio is simply playing the notes of a chord, in order. It could be root, third, fifth or third, fifth, root or fifth, root, third. Or if you want to get fancy, you could include 7ths and 9ths or something.

If you need to brush up on (or learn) your roots, thirds, and fifths, I recommend checking out Music Theory for Guitar.

Post your creations to the community forum

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Community Challenge | 41

Make Your Own Limitations and Stick To Them

This challenge is a bit of a tightrope. The goal is to FIRST sit down and decide on some limitations for yourself. This could be something technique focused like:
• Only ever play two notes at a time
• Play as many open notes as possible at all times
• Only use bar chords
• Write a melody that emphasizes hammer-ons

Or you could go music-theory focused:
• Only use minor chords
• Only use major chords
• Write in a specific mode
• Implement fifths and major sixths into your melody

Or you could go emotion-based:
• Write something sad
• Write something happy, with a sad section
• Write something hopeful

The idea is that you come up with parameters/limitations for yourself FIRST, and THEN you start writing. Again, you don't have to write something difficult - it could be simply a chord progression or a single-note melody. But you must try as hard as you can to fulfill the limitations you've put on yourself.

Have fun! And remember, you're not setting out to create the masterpiece of your life, you're just practicing creating your own music.

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Practice Thoughts | 12

Don’t Aim For Normal

I've been trying to figure out a way to articulate this concept for a long time. And I don't think I did a perfect job in this video, but I think I get my point across.

BUT I'm going to reiterate this idea here anyway -

Basically, I'm trying to contrast these two ideas:

1. Everyone want's to know what "normal" or "standard" is when they pursue a new job, a new hobby, a new skill, etc. This is a good, healthy, thing to do! People tend to do this when learning music too, which isn't inherently a bad thing to do...

HOWEVER,

2. When it comes to being a musician, our favorite artists are not known for being "standard" or "normal." They are known for pushing a style to a new level, pushing a technique outside of what is standard, adding layers and new ways to look at music theory, helping people question what "normal" is.

So how do we balance these things? Or, maybe a better question is why do we balance these things?

The number 1 reason this is important is because of BURNOUT.

For those who aren't familiar with the concept, burnout often occurs when you've pushed yourself too hard for too long, or you've spend too much time doing something you don't enjoy or that feels exhausting for you.

Musical burnout can happen when you focus too much on "things I think I'm supposed to learn" and not enough time on "things I'm really excited to learn."

In my opinion, the best way to avoid burnout is to make a list. Start by making this list one time, but likely you'll want to make this list over and over so you can continuously course correct.

Here is the list: On one side, list the things you think you're probably supposed to learn. On the other side, list the things you're REALLY excited to play - however general or specific.

Then ask yourself "what steps can I take toward fulfilling the things on the EXCITING list?"

THEN ask "are the things I feel obligated to learn keeping my from focusing on the stuff I'm excited to learn?" OR "Are the things I feel obligated to learn making me feel exhausted?"

My philosophy when it comes to learning music is simple: Everything helps with everything

What I mean is, anything musical you're curious about, excited about, or just sounds fun is going to be something that keeps you actively engaged in music. If you're interested in bass guitar, TRY it out! You don't have to say "maybe I should get better at guitar first."

The most exaggerated example of this kind of thinking that I've heard MORE than once is the phrase "if I want to learn guitar, should I learn piano first?" The answer is NO! This kind of thinking sounds productive, but it leads to burnout. just focus on the things that sound fun now, because those are the things that will keep you wanting to pick up your guitar every day.

The one exception I mention is this: if you want to understand what you're doing, play with other people, write music OR just write your own parts in a band setting or recording studio - music theory is the common thread for ALL genres, all styles, etc. It's very important to learn and thats why I focus on it.

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CAGED Basics II

Lesson 01 | Minor Chords Overview

Before starting on this CAGED Basics II series, please make sure you're comfortable with the concepts in Music Theory for Guitar and CAGED Basics.

CAGED Basics II is all about how to integrate minor chords and scales into the CAGED System. My goal with this series to to help you understand the logic and usefulness of layering this kind of information on top of the basic CAGED shapes you're already familiar with. This first lesson is an overview and introduction, so the concepts are broad. The following lessons will go into much more detail.

The video above has chapter markers labeled "Lesson," "Homework," and "Practice." Below, I've attached a PDF for each section as well.

The Lesson section helps you understand what I'm talking about, the Homework section helps you get to know the concepts for yourself, and the Practice section helps you apply the concepts to guitar with a fun practice track.

Check the Patreon post description for links to the BPM Practice Tracks.

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Community Challenge | 40

Write something with fingerpicking.

This is pretty straightforward - You could write a folky chord progression on acoustic guitar. You could write an electric guitar part using fingerpicking. You could play a melody without a pick. It could be something elaborate or something simple. A five second blip recorded to a cell phone or a full blown multitrack song recorded in your home studio. Whatever it is, here are the only rules:

1. You must write something new, something that didn't exist before you read this post.
2. You must use your fingers to perform at least the initial/main guitar part.

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Community Challenge | 39

Write Something “Sign Painter Style”

What the heck do I mean by "sign painter style?"

To be honest, I'm not sure yet. But I watched this video of a guy doing some brush lettering this week and I was feeling inspired.

Sometimes when you're writing music, it can be useful (and fun!) to draw inspiration from something or someone outside of music. In this case, we've got a guy showing how a steady hand and a lot of practice can result in some beautiful lettering. He's not doing anything very complex. He's not stopping to think. Not second guessing or analyzing his progress so far. There isn't room for that. He's just doing something he's done a million times.

For musicians, it's easy to write a little bit, and then stop to wonder if it could be different. I've also had this thought more than a few times: "If it's hard for me to play, it must be good music." This is not always the case. In fact, I try to ignore that reasoning because it usually leads me down the wrong path.

On the flip side, there are things most of us do that are not very difficult at all for us. Maybe it's a pentatonic scale. Maybe it's a few chords you're very comfortable with. Maybe there is a certain scale in a certain position that you always warm up with. Use these things as your starting point.

For this challenge, try writing something thats easy FOR YOU, being sure to emphasize the "FOR YOU" part.

Whatever comes naturally, whatever feels comfortable, whatever that stuff is that you usually noodle around with, try starting there.

You don't have to record in one take, but if you're doing take after take and still not getting it, that might mean you're not in your comfort zone!

Wether you write a whole song, a chord progression, multiple tracks, or a very simple single-guitar pentatonic noodle, start writing from a place where you're very comfortable. The results might feel simple, because they will be easy for YOU.

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Live Stream | 78

Office Hours, Q&A

If the above link isn’t working for you, here is a link to watch directly on YouTube: https://youtu.be/r7xRZTNwpx4

Here's how it works: bring your questions to the comments below, the community forum, or save them for the live chat.* Questions can be about anything you want - guitar technique, music theory, gear, songwriting - your choice! Also, feel free to link a video of you playing if you have a technique question!

I'll do my best to answer your questions and give examples of how you can practice developing skills related to your question.

Keep in mind, you can always watch later if you can't make it live! Check back a few hours after the stream for a numbered list of each question and a timestamped link to each answer.

*Please note: you may need a youtube/gmail account to ask questions in the live stream, but you can watch without one.

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