Community Challenge | 50

Write something in the Key of G Minor

This is a pretty straightforward challenge. All you have to do is write something using the chords and/or scale of G Minor.

The easiest way to participate might be to write a simple riff or melody using a G Minor scale or even a G minor pentatonic scale. With this method, you could make things a little fancier by using a melodic or harmonic minor scale. Dorian or Phrygian modal melodies would count as a “G Minor” melody as well. We don’t need to stay in natural minor for this exercise. Just explain what scale(s) you’re using when you post your creation.

If you want to get a little more involved, you could write a chord progression with a melody over the top. In this case, you’d want to make sure you’re targeting chord tones with your melodies, especially if you’re mixing natural minor and harmonic or melodic minor, because some of the chords in melodic minor will clash with some of the scale notes in natural minor.

While I’d STRONGLY recommend figuring out the G Minor scale and chords using WHWWHWW, and reviewing Music Theory Monday if you don’t know how to do that, I’ll break everything down below:

G Minor Scale:

G - w - A - h - Bb - w - C - w - D - h - Eb - w - F - w - G

G Minor chords (natural minor):

i = G-Bb-D = G minor

ii° = A-C-Eb = A diminished

III = Bb-D-F = Bb Major

iv = C-Eb-G = C minor

v = D-F-A = D minor

VI = Eb-G-Bb = Eb Major

VII = F-A-C = F Major

If you want to explore harmonic minor, think about how you have the option of sharping the 7th note of the scale (F to F#) and think about playing that sharp note while playing a D Major chord instead of D minor. There is more to it, but that’s the essence of harmonic minor.

If you want to explore melodic minor, think about using F# and E natural, which would be a sharp 6th and 7th note, and the chords that go with those notes would be C Major chord for E natural and D Major for F#. Keep in mind, “E Natural” means “E NOT-flat.” In the key of G minor, E is flat to fit WHWWHWW, so when you talk about wanting to sharp an Eb, you say “E Natural.” Think of it as “E that is typically flat in this situation, but not right now.”

Post your creations on the community forum.

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Community Challenge | 49

Write Something With An Odd Number Of Measures

This is going to be fun. I had a writing session recently where I realized that I not only enjoy writing in even measures, but that I get thrown off by odd measures and have to REALLY concentrate playing along with a progression that is 3, 5 or 7 measures long.

As a review, a measure is just a count of 4 (like 1 2 3 4) or a count of 3 (1 2 3) if you’re in 3/4 time signature. A measure and a bar are the same thing. In other words a "four bar progression" is a "progression consisting of four counts of four, as in 1234 1234 1234 1234."

Read more on the Patreon post…

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Live Stream | 88

Phrasing and Low Tunings

Here are the questions for this stream:

Question 1: Mr K was wondering how to set up a guitar for drop C tuning with heavier strings.

Question 2: Adam wanted a better sense of what the word "resolve" means in music.

Question 3: Ahmed had a question about phrasing

Question 4: Ahmed was ALSO wondering if you have to THINK about the name of each note you're playing. No, but I go into more detail!

Question 5: Graham asked if watching and learning famous solos and phrases is a good way to learn good phrasing. Yes, BUT

Question 6: Mojo Jeff asked if I have plans to teach any funk guitar rhythm. I already have to some degree in my Strumming Patterns series on 16th note patterns.

Question 7: Zoe had a question about thirds - I went into a pretty fun example of how thirds can be so fun! I played along to this jam track from my SPJ Jam trackschannel.

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CAGED Basics II

Lesson 05 | G Shape

In this lesson, I'm continuing to use the CAGED framework of triads to flesh out more information on the fingerboard, this time with the G Shape.

Like the previous lessons, we've got a lesson section, homework section, and practice section.

Get comfortable with these concepts, enjoy practicing the tune, and move on to the next lesson, where you'll get to practice playing a tune that slides around all three pentatonic scales we've covered so far.

The PDFs are attached below.

Post your questions, eureka moments, frustrations, practice track progress, etc related to this lesson on the community forum.

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Community Challenge | 48

Write Something “House” Inspired

Your goal is to write something vaguely inspired by "house music." What is house music? The wikipedia article says its "a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute. It was created by DJs and music producers from Chicago's underground club culturein the late 1970s, as DJs began altering disco songs to give them a more mechanical beat."

Part of what inspired me for this challenge is the thought of having students try to write a riff or chord progression to a constant foot stomp to simulate that four on the floor beat, which is a fancy way to say the kick drum just hits 1 2 3 4 1 2 3 4 over and over.

So thats the simplest cell-phone recording version of this challenge: try writing a riff or chord progression to your own foot tapping 1 2 3 4 1 2 3 4.

If you want to get fancier with it, you could use recording software. Make a beat that starts with that constant kick on 1 2 3 4, then build snare on 2 and 4 and get fancier from there.

Post your creations to the Community Forum! Have fun! Don't aim to write a masterpiece! Just aim for fun.

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Live Stream | 87

Office Hours, Q&A

Please remember: THERE ARE NO DUMB QUESTIONS WHATSOEVER! I believe that every question has wonderful secrets to reveal about the world. This is a place to ask even the simplest of questions.

These were the questions for this week:

Question 1: Stevie was wondering where to start with Melody Writing. I gave examples of my guidelines from Music Theory Monday lessons 17, 18, and 19 and talked about how the theory is one thing, but how to do it on guitar is another thing, which is why my CAGED Soloing Series is really about making melodies on the guitar.

Question 2: Max was wondering if there were any free sites that map out modes, scales, etc. My answer is to use this awesome interactive scratch paper that a Patron named Graeme coded: The interactive note name scratch paper. This combined with learning music theory around here will go a LONG way.

Question 3: Magela asked how to keep modes in mind while writing melodies, as a follow up to question 1.

Question 4: Ahmed was wondering if I intend to do more videos on melodies and riffing. I recommended the above melody lessons again. What would you like, Patrons? What interests you? More melody lessons?

Question 5: Magela was wondering if I know anything about the "drop 2" system. I don't, but I guess I'll have to look into it now!

Question 6: Jason wanted some tips on staying motivated. I had a LOT of ideas!

Question 7: Graeme was curious about the tonal differences between tonewoods, specifically rosewood vs maple fingerboard. I forgot to mention that while the sound difference might be subtle, I MUCH prefer the rosewood fingerboard for ease of maintenance. Maple has to be refinished after a refret, but rosewood and ebony just need some lemon oil.

Question 8: Georgiy has been playing for a while and trying to figure out how to bridge the gap between theory and application. I recommended participation in the weekly community challenges and some structured ways to go about writing. The things I recommended should lead toward being able to solo, jam, write, etc.

I started talking about Get Lucky and general right hand strumming techniques.

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Community Challenge | 47

Write Something Using Dorian Mode

There are a few ways to build a mode: starting from scratch with whole steps and half steps, adapting a familiar scale, or using the "which note of a major scale is it based on" method.

I'll quickly run through all three methods.

Dorian mode, in whole steps and half steps, is WHWWWHW

With scale-degree numbers, it looks like this:

1-w-2-h-3-w-4-w-5-w-6-h-7-w-8

Using "A" as the 1st note, we get a scale like this:

A-w-B-h-C-w-D-w-E-w-F#-h-G-w-A

Using "E" as the 1st note, we get a scale like this:

E-w-F#-h-G-w-A-w-B-w-C#-h-D-w-E

If we start with the second method - adapting a familiar scale - a Dorian scale is simply a natural minor scale with a sharp sixth note.

For example:

A Minor Scale: A B C D E F G A
A Dorian Scale: A B C D E F# G A

C Minor Scale: C D Eb F G Ab Bb C
C Dorian Scale: C D Eb F G A Bb C

D Minor Scale: D E F G A Bb C D
D Dorian Scale: D E F G A B C D

The "which note of the scale" method gets confusing for a lot of people, but it's also the method that makes it easiest to figure out which chord goes with each note of the scale.

Dorian mode is like creating a new scale based on the SECOND note of a major scale. The way you can think about it is like this:

"If I want X note to be the start of my Dorian scale, I can to go BACK a whole step from X and build a major scale and keep X as my root note."

Let's try is. If I want to build a Dorian scale based on "A" I can go back a whole step to G and build a major scale. Then use the second note "A" as the root note for Dorian.

G Major: G - w - A - w - B - h - C - w - D - w - E - w - F# - h - G
A Dorian: A - w - B - h - C - w - D - w - E - w - F# - h - G - A

The reason this method is SUPER useful is that it makes it a lot easier to figure which chords go with which notes of the scale:

Chords in the Key of G:

I = Gmaj
ii = Am
iii = Bm
IV = Cmaj
V = Dmaj
vi = Em
vii° = F#°

Chords in the Key of A Dorian:

i = Am
ii = Bm
III = Cmaj
IV = Dmaj
v = Em
vi° = F#°
VII = G
I have some lessons about this stuff in Music Theory Monday. A great starting point with Dorian chord progressions is to start with a simple i IV progression and slowly add other chords into the mix to see if "i" continues to feel like home.

Have a blast and remember, this is writing PRACTICE, so nothing needs to be perfect or even "good" for you to post it. It's all about experimenting and learning how YOU write to further your musical development.

Post what you come up with on the Community Forum.

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CAGED Basics II

Lesson 04 | Pentatonic Pit Stop

Hi Everyone,

Instead of introducing another pentatonic shape, this lesson breaks down a variety of ways to practice moving between the two pentatonic scales we've covered so far. There are more options than I've laid out in this exercise, but I think this gives a great start for those of you looking to mesh scale shapes together in a seamless way.

And of course, you don't always HAVE to slide between shapes, but sliding makes it a little more fun and helps connect the scales in a tangible way.

You can just google the word "metronome" and you'll find a variety of options.

Post your questions, elations, frustrations etc below or on the community forum.

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Live Stream | 86

Office Hours, Q&A

Question 1 from Mateus was about bending up to a note, then doing vibrato while staying bent, though it took me a minute to fully understand the question, I gave some good general pinky tips on the way there.

Question 2 from Ethan was pretty straightforward: "Are there more CAGED Basics II lessons coming?" And the answer is yes. Very soon.

Question 3 from Monster Zit was about how much time to spend on lessons: commit everything perfectly to memory or get the concept?

Question 4 from Ronnie was about the CAGED system. I launched into a mini lesson about one of my favorite CAGED concepts laid out in CAGED Soloing and the improved NEW CAGED Soloing, found here.

Question 5 was from Brock, who wanted some tips on how to get cleaner sounding notes from the guitar.

I explained a fun little mode exercise that I like

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Community Challenge | 46

Write Something With A Fast Tempo!

As usual, there is no need to spend a ton of time on these projects. The idea is to think of the community challenge as your weekly sketchbook. If you're planning to write something that might take 5 to 10 hours, that likely means you'll NEVER participate. Think about writing a little something that takes you 5 to 10 minutes to come up with. It doesn't have to be a complete thought, it doesn't have to have a melody. It just has to be music.

The idea is to get into the habit of writing SOMETHING without putting too much pressure on yourself. Just try to have fun with it! When you've written something you like, you're welcome to record it as simply as possible - with a cell phone for example - or with recording software using drums, bass, guitar, etc. Whatever you have time for. If you feel that you never have time for the community challenges, you're putting too much pressure on yourself to be the most amazing musician.

When you've written something you like, feel free to post it on the community forum thread for this post!

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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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