Alternate Tuning, How To Tell If You're Getting Better, Bad Habits
Here are the questions from this week, timestamped in order:
Question 1: Ray asked about how to get into alternate tunings and if they fit with the CAGED System
Question 2: Harsh asked how to tell if you're getting better. how to tell if you need outside help, and how to get back into it after a break.
Question 3: David showed a specific fingerpicking technique and asked if it was ok or bad. I voted "bad" and gave suggestions, including methods of muting.
Question 4: Jeffrey asked if bass and ukulele are similar to guitar. We went over similarities and differences.
Question 5: Vicenco has problems playing with a pick. I gave some tips for how to hold the thing, and some exercises to practice getting comfortable with the mechanics.
Question 6: Mateus talked about a new music nerd ability to listen to music with an ear for whats going on instead of just absorbing how it feels. We talked about ways to deliberately hang out in either camp.
Question 7: Jeff had a question about bass muting. I gave some tips
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In this lesson I first talk about harmonizing a scale in thirds. Then I talk about bouncing from Root and 3rd to 3rd and 5th over a jam track. Then I add 5th and 7th. Then I start applying my melody making guidelines from MTM 17-19, showing how you can move through the scale in thirds to play harmonized melodic parts.
I LOVE this kind of this and I think you will too. I recommend being familiar with MTFG and MTMfirst, but I think you could learn a lot from this lesson after just a few MTFG lessson.
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Oll Korrect
In this Practice Thought, I'm drawing from the funny history of the word "okay" to demonstrate some similarities between the english language and music. Hopefully this will breathe some new life into the old trope "music is a language" and give you some encouragement to explore how you speak the language of music.
It's important to remember as you move along that music isn't about right vs wrong, it's about understandable vs unintelligible. English has words that morph and change their meaning, while music has concepts that feel different to a population over time. This gives us a more solid foundation to say "if it feels good, it is good" in music.
However you feel about it, I hope this video is interesting and encouraging. If you have any eureka moments or just general thoughts, please share in the comments below!
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Writing While Fingerpicking
Here are the questions:
Question 1: Ahmed asked for helping figuring out how to write to fingerpicking.
Question 2: Ray asked about my iPad app - I used GoodNotes
Question 3: Rich shared a cool chord progression and had some trouble figuring out what key it was in.
Question 4: Ray asked what the ideal practice session looks like
Question 5: Tristan asked how to spice up transitions between chords
Question 6: Jeff asked for tips on how to add bass practice into a routine
Question 7: Joe is struggling to aim well on Folsom Prison Blues strumming pattern
Question 8: Kenneth asked some specific questions around CAGED Basics - do you play other chords within the shape or switch pentatonic shapes?
Question 9: Graeme asked a similar question!
Question 10: Paul asked if I have lessons about arpeggios - Yes! CAGED Basics
Question 11: James asked what software I use for recording - I use Logic Pro
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Lesson 08 | Pentatonic Pit Stop
This is the 8th lesson in my CAGED Basics II series, where I'm systematically working through the relationship between major and minor chord shapes in the CAGED System and how the Pentatonic Scales can overlay on top of this info. In this lesson, we're diving into the relationship between the G Shape and the E shape. You'll start with an exercise to help you think about the Fix or Foreshadow situations involved in switching between these two shapes, and you'll end with a fun tune that spans the G Shape and E shape.
Please note: I played the practice track a little fast because my software required it, but you don't need to play the tune faster than 85BPM to move on to the next lesson, which will be out soon!
Check out the PDF as well!
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Write Something With A Lot Of Space
The video helps explain what I'm talking about here. Have fun! And remember, you don't need to write your best work, just write something.
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The questions:
Harsh was wondering about these kinds of practice bands. Are they worth it? Useful? I gave some thoughts about these, but also about a general approach to practice that might answer these types of questions down the line.
Ray was hoping for a quick round up of guitar embellishments. This isn't the way I think about things, but I tried to give quite a few examples of the types of chord embellishments that translate to lead concepts using Music Theory Monday info.
Anthony was looking for some ways to practice timing. I gave a little talk about the sacred metronome. Happy Birthday to you and your daughter!
David asked me how I keep track of all the song ideas I've written.
Ray F asked about loop pedals and buying pedals in general. I forgot to mention you need a power supply too. If you need info about that, ask about it in the comments or community forum.
Mateus asked about mixing major and minor scales in a Major Key song. I talked about the blues IV chord trick.
Jeff graciously helped me figure out my face-to-face chat system (still needs some work) with a question about how to handle two bends in quick succession. Right hand muting? Left hand muting? How to handle that.
Jason asked what the Rubiks Cube series is about. I gave a taste
Continue the discussion on the community forum.
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13th Chords
We're tackling the final boss of extended chords: the 13th chord.
This is the final boss because we don't have any more notes to add to a chord after the 13th. Sure, there are some jazz substitutions that include notes outside the scale, but we won't be going there with this course.
When it comes to diatonic chords (ie chords using only notes from the key you're in) the 13th chord represents the use of all available notes.
In this lesson we start with the rigid concept, then break it down into a more broad idea that musicians typically interact with.
If you find more voicings other than the ones I diagramed in the PDF, feel free to post them on the community forum (bug me if you don't see a link here.)
If you have more questions, feel free to ask me on the next Office Hours.
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EQ, Slide Guitar, Moveable Shapes, Chet Atkins
The questions:
Mark R asked if I could walk through how to EQ a track
Ray had questions about slide guitar and the fitting context for 11th and 13th chords. Here is a slide guitar lesson I made last year
Ethan asked about something related to notifications: Basically, I try to send an alert that the stream is starting roughly an hour beforehand, but you can also subscribe to my little Patreon YouTube channel and click the bell for notifications, I think - has anyone tried this and does it work?
Harsh had a question about what to practice on the days when it's a drag to pick up the guitar.
Roscopico had a question about movable shapes, relative keys, and dominant chord.
Andy had a question about Chet Atkins style barrel rolls and another question about thin vs thick picks.
Harsh had another question about whether I have more beginner tracks for technique and stuff. I don't. I'm trying to fill a specific niche here on my Patreon, but maybe someday I'll have a beginner track. I gave some beginner picking advise.
David asked how I switch cameras
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Music Theory Is Not Music
In this practice thought, I'm using some nerdy philosophy to draw out the difference between music theory and music. Sometimes they get confused for each other and it's important (and hopefully encouraging) to remember the difference between them.
Throughout your musical journey, you'll likely have bouts of insecurity (it happens!). Sometimes those bouts of insecurity will revolve around a thought like this "Oh no! What if I don't understand enough music theory? What if other musicians think my music is boring and simple?"
This practice thought is a friendly reminder to ponder these ideas:
a) Music Theory is a tool to describe what you're doing, not a system of rules to dictate what you ought to do
b) Never confuse music theory for music
c) Never worry about how "simple" your music is (some of my favorite songs have only 2 chords, for example)
d) Make music for yourself and for fun, not for the musicians who have learned all the theory (unless thats actually fun for you!)
e) I like music that makes me feel, not music that makes me think
These are some of the mantras that I like to keep in mind while I'm writing music - do you have mantras you use when you're being creative?
If you feel like I got some philosophical terms wrong or you want to continue the discussion and share your personal writing mantras, feel free to hang out in the comments.
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Write something using G Am Em D
Check out the video for more details and to watch me give some examples.
If you get into the habit of writing a little something once a week or so, you'll start seeing guitar differently. You'll figure out songs quicker. You'll learn new things quicker. You'll have more ideas when you jam with people. You'll be a better band mate. There are only benefits to learning to write, even if you have no intention of becoming a songwriter!
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Bill Withers, Practice Tracks, Creativity, String Gauge
Great stream, as usual. Lots of great questions. Here they are:
Sirot had some questions about the chord progression for Bill Withers' Just the Two of Us
D B had a question about wether I had more practice jam tracks than just C Major and A Minor
Harsh was wondering about a good approach to the creative sections of MTFG and CAGED Basics
Mateus was having issues with a guitar after switching from 10 gauge to 12 gauge strings.
Graeme wanted my take on the issue of hanging guitars. I just realized that I've only ever used "String Swing" brand guitar hangers and I've never had an issue, but I remembered there are some cheaper brands of floor stand that have caused issues for other people's guitars.
Stevie wanted advice on 1) recording guitar amps and 2) setting up a pedal board in the ideal arrangement.
D B was lookingfor good sheet music resources online. I like https://imslp.org for the classics and google image searching "*name of jazz standard* Real book" and seeing if I can find something printable.
Ahmed was feeling overwhelmed by the idea of having to learn all new riffs for each mode.
Jeffery wanted to know if it's alright to practice with a mixer, or do you need to hear the room?
Ray had some questions about fingerstyle technique - pinky plant or not?
Graeme and Ray had questions about more fingerpicking lessons AND using a THUMB PICK.
D B asked about private lessons - do I do them anymore?
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11th Chords
This lesson covers 11th chords. We start with how to make them using the every-other-note concept you're already familiar with, and then go into the reality of using these chords in the wild.
Check out the PDF and let me know how you feel about these chords in the comments. Do you like the rich, sometimes intense sound? Not everyone does. If you find some voicings of 11th chords that you like, post them on the community forum.
I didn't go into the most detail possible in this video. That felt too intense, but if you have more questions let me know in an Office Hours or something.
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Chord Substitution, Stronger Melodies, Switching Chords
Here were the questions, linked to the appropriate timestamp:
Sirot was wondering about two things: chord substitution and secondary dominants.
Mark was looking for tips on how to pick up the rhythm of a song AND how to create stronger melodies.
Ray was looking for practice advise about switching chords, especially the tricky ones. Ray, you had another question I missed about how much you should be looking at the neck when you play guitar. My answer: A LOT. ENOUGH TO HAVE A CLEAR CLEAR MENTAL PICTURE OF WHAT YOUR HANDS ARE DOING! Then, you can practice gradually looking away as long as you know that your hands are doing what you want them to do.
Jeff wanted to know how I craft my guitar tones
Graeme liked my recommendation of listening to Leo Kottke and asked for more music to listen to.
BazLightyear wanted to know what to move on to the next lesson in MTFG
Alo asked for some basic daily exercises
Got followup questions? Want to have a related discussion? Come hang out on the community forum.
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Write Something In A Minor
The goal of a community challenge is for YOU to write in a fun, low pressure environment. No need to write a whole song, no need to write multiple parts. You start from your comfort zone and write from there. Wether thats a single-note melody, a chord progression or a whole multitrack song. You can record what you write with your cell phone, your ipad, or your home studio. Post what you write to the community forum.
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Don’t Move The Goal Post
In this Practice Thought, we'll discuss the idea of moving the goalpost. This is a common problem: we set a goal, and then if we reach it, we say "well that doesn't count because it was too easy" and then we set a goal farther away, and then if it's not too difficult it doesn't count again.
Sometimes this feedback loop can happen almost instantaneously to the point where someone can't even sit down to practice because it doesn't count unless it's the most intense, mind-blowing practice.
The way to counteract this is to enjoy and focus on small goals - maybe even keep a journal of small goals that you've set and reached.
I see people getting discouraged because they are not as good as they think they ought to be. Journaling practice is a good way to counteract that. Always set one small goal at a time and don't worry about how easy it ought to be or how long it ought to take you. Progress is progress and each small step adds up to quite a distance over time.
Always set your goals in a realistic, achievable place and don't move them once you get started.
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7th vs add9 Chords, CAGED Chords, Backing Tracks
Graeme had a question about 7th vs add9 chords
Tony had a question about playing full six-string CAGED Shapes
Jeff was wondering what kinds of things to focus on while playing with a backing track
Harsh asked if it is necessary to know exactly what notes you're playing all the time.
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