Live Stream | 123
Polyrhythms, 12 Strings, Open Mics, Downward Slides, Pain While Playing
Ray asked about polyrhythms, vertical vs horizontal scales, and 12 string guitars.
Wayne followed up about an open mic that went really well AND asked about downward sliding vs upward sliding.
Mateus was experiencing some pain while playing guitar.
STI asked about relative minors - not fully understanding.
Jeff has chord changes and lyrics and was wondering how to get a complete song from here.
You missed this one! Look out for the next one!
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Melody Making | 02
Basic Phrases
Now that you've been listening more closely to phrases, it's time to practice writing your own! This lesson talks about skips, steps, and repeats and gives you a nice starting point for writing your own phrases. Check out the PDF, and post your homework to the community forum via post Melody Making 02 | Basic Phrases
HOMEWORK - Writing basic phrases
• Practice making phrases using the diagrams on the PDF (attached at bottom of post)
Your phrases must all follow these rules:
1. Use no more than 7 notes
2. Stay within an octave
3. Experiment with a mix of skips and steps
4. Experiment with repeating notes
5. Experiment with long and short notes
6. Share your favorite 3 phrases with the community
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Live Stream | 121
Small Hand Help, Tracking Progress, Open Mics, What To Play When People Ask
Question 1 - Jesse asked for some tips for small handed folks
Question 2 - Wayne asked two questions: How to track progress and how to start playing with other people. I'm starting a little series about playing with other people
Question 3 - Ray asked how not to panic and draw a blank when someone asks you to play something!
Question 4 - Jeffrey asked how to properly copyright a song
Question 5 - Mark asked how to visualize triads on the fingerboard
Question 6 - Jeff asked for tips on mixing vocals in a DAW
Question 7 - we just kind of hung out for a while and I asked for feedback on Patreon layout and stuff
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Melody Making | 01
Overview
Welcome to Melody Making! In my opinion, this is one of the most overlooked, under-explained aspects of music education. Melody making involves all the most important ethereal stuff in music: repetition, arrangement, holistic attention - but it also requires specific and clear music theory understanding when it comes to keys, scales, and chord progressions.
By the end of this course, you'll have a better sense of how to make melodies AND how to apply these concepts to other areas of musicianship.
Recommended prerequisites:
- Music Theory for Guitar
- Music Theory Monday lessons 1, 3, 4, 5
Listening for this lesson:
"Hey, Good Lookin'" by Hank Williams •SPOTIFY• •YOUTUBE•
"Ain't No Sunshine" by Bill Withers •SPOTIFY• •YOUTUBE•
"Two of Us" by The Beatles •SPOTIFY• •YOUTUBE•
The homework for this lesson:
Pick 5 songs
• Analyze either the verse or chorus melody
• Label the melodic phrases with A, B, C etc
• Phrases that seem the same to you should be labeled with the same letter (eg A and A or B and B)
• Make note of phrases that are NOT the same, but sound similar.
Remember, the goal of this lesson is to practice listening and writing down what you hear. You don't have to be right or wrong, just try to come up with reasons WHY you labeled phrases the way you did. This is one of those situations where you have to learn to swim by jumping in the pool.
Post your marked-up lyrics to the community forum on Melody Making 01.
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Live Stream | 120
Melody Writing, Ranting, How to Start Writing Music
This week was very interesting! I ranted a lot about a few thing I'm very passionate about. I hope it helps a few people.
Question 1 was from Wayne, who asked about Melody Writing which is great because I'm working on a course for that exact topic.
Question 2 from Richard REALLY got me going! He asked if it was important to know how to play all the major and minor scales without having to think about it. My answer was a big long "it depends" that hopefully resonates with everyone wondering what to do right now.
Question 3 from Daniel was an update about a gig last weekend and a question about how to start writing music. Step 1: accept that you're not starting by writing whole songs and 2: get involved with Community Challenges.
Question 4 antcav had a question about how to practice getting into 8th and 16th notes in solos. I mentioned a philosophical concept called "Logical Positivism" which I probably didn't describe accurately, but I think it worked in my analogy!
Question 5 Jeff asked if there is basic interval to maintain between the bass and guitar - a general range for each instrument in a tune
Question 6 I accidentally switched to iPad instead of computer screen while reading Phils question : Is it important to know every basic guitar shape in every position?
Question 7 b b asked my opinion on the best digital amps
Question 8 b b asked my preferred type of reverb - plate, room, hall, spring, other?
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Live Stream | 119
CAGED, Syncopation, Bending Noise, Performing, Vocal Range
Ray had questions about 1. wether I'm doing another CAGED series 2. syncopation and 3. Jimi hendrix timing and 4. the best place to do double stops
Wayne had a question about bending, specifically string noise when bending the high E string
Daniel asked for advise on performing this weekend
Mason had questions about using a capo to adjust the key of a song
Gary asked how to find our vocal range
Jeff asked how to harmonize a written melody
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CAGED Basics II
Lesson 11 | Full Circle
This is it! The final CAGED Basics II lesson!
In this lesson, we start by sliding a pentatonic scale through multiple positions, talking a little about how useful this kind of thing can be for soloing. Then we move into the play-along tune. First, I play through the tune, then I walk you through the variety of shapes and finger choices for each phrase of the tune.
Download the PDF and follow along with the lesson. Use the BPM tracks below to practice the tune. Start slow and work your way up.
Play along tracks:
40BPM
50BPM
60BPM
70BPM (good goal)
80BPM (very nice goal)
90BPM (wow impressive goal)
100BPM (bonus points)
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Community Challenge | 63
Write a melody to poetry
The video gives you plenty of ideas, but the general principals are:
1. Find the meter of the poem - if it's a sonnet, it'll be 10.10.10.10. If it's in common meter, it'll be 8.6.8.6. but you'll likely find all kinds of things in the list of poems below.
2. Once you find the meter, write a chord progression - or at least pick a key and try writing a phrase to the first line of the poem.
3. Write a new phrase for your second line, or repeat your first line again (aka repeat your A phrase or turn it into a B phrase)
4. Arrange your phrases however you deem appropriate. Common Meter lends itself to a melodic structure like ABAC or ABCB, or even just ABAB because the lines are 8.6.8.6, and sonnet meter (10.10.10.10, also called "iambic pentameter") is a little more forgiving - you could do AAAA or AABB or AABC. In general, the options are much more open ended when your poems have an even meter like 8.8.8.8. or 6.6.6.6.
Keep in mind, the poems I've linked below are written in an antiquated version of English - sometimes that actually takes the pressure away because it sounds kind of silly and impersonal. Scroll through a few of these poems, count the meter yourself (like I did in the video) and see which poem you can imagine having a melody.
Post your melodies to the community forum and remember: these should be more like napkin sketches than full songs - no need to try too hard or get anything perfect. The goal is to practice and have fun.
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Live Stream | 118
Playing With Other People, Writing Music to Lyrics, Sweep Picking, Playing Musically
Ray asked if it was important to play with other people and what to do if you can't find people to play with.
Jeff provided some lyrics and asked for tips on how to put music to lyrics
Ray says "please explain the mysteries of sweep picking"
Wayne asked about how to play more musically
Daniel was looking for tips on how to use the CAGED System to solo over the song "Dreams" by Fleetwood Mac
Luke asked about bluegrass flatpicking - what is it and how does it work?
Aaron asked what "playing in the pocket" means
Daniel asked if I could break down Valerie by Amy Winehouse for a solo as well.
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Home Recording Studio: Pros & Cons
Hi Everyone,
In this lesson I'm tackling an important question: should you learn to record yourself? If so, how involved should you get? Should every musician have a home studio or should every musician go to their local pro studio for recording?
I compare the cost of home recording vs the cost of pro studios, how much time it takes to learn to record at home, how to prepare for a recording studio session, and just generally what to expect depending on what path you choose.
What kind of person are you? Are you more of a DIY home studio person or would you prefer to book studio time with a professional engineer?
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Live Stream | 117
Office Hours, Q&A
Question 1 from Tristan boils down to this idea of mixing major and minor scales in a blues situation - I gave a basic blues lesson and explained a range of scales you might find in a blues situation, including the magical mixing of major and minor scales.
Question 2 from Jeff was about exporting (called Bouncing) a track out of Logic Pro X
Question 3 - Keith was asking about fretting hand technique to avoid unwanted string noise up by the 15th fret.
Question 4 - Mason wanted to know how I developed my thumb independence to learn songs like Windy and Warm
There were a few other nice questions at the end - Continue the conversation on the community forum.
MY BAND has been putting out new music, and we'll continue putting out more and more this year - check it out!
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CAGED Basics II
Lesson 10 | Pentatonic Pit Stop
We're in the home stretch with this second-to-last installment of CAGED Basics II.
In this lesson we're exploring the relationship between the D shape and E shape pentatonic scales with a Fix or Foreshadow exercise followed by a practice tune.
Download the PDF (attached below) and use these practice tracks for the tune.
Play along tracks:
75 BPM
85 BPM
95 BPM
104 BPM
Please note: you don't NEED to play the tune perfectly at 104BPM to move on. 85 or 95 BPM is an acceptable goal. It's more about getting the concept and having a clear sense of how you can use these skills in your own writing and practice.
If you'd like to post questions, eureka moments, or your performance of the practice tune, please post to the community forum.
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Live Stream | 116
Office Hors, Q&A
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.
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Community Challenge | 62
Write Something Sad
In the video I talk about a few technical ways make something sound sad, put part of the goal here is for you to explore how you might make something sound sad.
Post what you write to the community forum. Feel free to explain HOW you went about writing something sad.
Fun side note - I was originally feeling like my chord progression was in Am, using dorian mode, but I'm starting to think it might be in E minor - what do you think? Which chord feels like home? Em or Am?
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Practice Thoughts | 17
Becoming A Musician
Hi Everyone,
Weird things start happening when you are in the process of becoming a musician. I talk about a few of them here.
1. As Mateus has noticed, learning music theory and recording software forever changes the way you listen to music. It goes from a mostly sensory experience to a more cerebral experience. With practice, you CAN listen to music without critically thinking about it (I call it "sponge mode") but yes, now you have to practice doing something that used to be easy for you.
2. Sometimes when people learn music theory, they feel like they have to have specific reasons WHY they like the music they like - AND they feel like those reasons should be theory based. I'm here to assure you that you can like music for whatever reasons you want - even if you can't put your finger on it.
ONE FUN THING is that you might start gravitating toward more diverse and specific musicians and genres. You might find yourself saying something like "wow I really like the bass line in this song, but the guitar isn't very exciting and I wouldn't write melodies like that." Then you start listening to that band just for the bass. Or you might say "I love the production (recording style) of this album, but I don't necessarily want to play guitar like that but I love the keyboard parts." Essentially, you might start liking more specific things about artists and dislike more specific things. It's kind of fun.
3. As you become more involved in your instrument, you'll feel more comfortable specializing in the things you like about music. Wether thats engineering, songwriting, soloing, fingerpicking, etc - the more you dive into your interests, the better sense you'll have about what you need to practice. This is what I was going for with my move-to-spain analogy.
Diving into your interests as soon as possible will make guitar more fun AND will help you avoid feelings of inadequacy. This is because when you don't have specific goals, you might feel like you need to at least be somewhat good at everything - thats just not true. Just focus on what you like.
HOW HAS THE LEARNING PROCESS BEEN FOR YOU?
HAVE YOU HONED IN ON SPECIFIC GOALS AS YOU'VE LEARNED MORE?
HAVE YOU TAKEN THE PLUNGE INTO THE MUSICAL AREAS YOU'RE PASSIONATE ABOUT?
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Live Stream | 114
Office Hours, Q&A
Here are the timestamped questions:
Question 1: Ray had questions about big hands and how to hold the guitar to maximize dexterity
Question 2: Wayne and Harsh had questions about warming up - best practices and why.
Question 3: Harsh had a question about how to practice using the D shape chord - I gave some ideas using SPJ Jam Tracks
Question 4: Tristan had some questions about movable pentatonic shapes
Question 5: Stevie was wondering about the difference between a melody and a riff. I muddied the waters more here, but it ultimately comes down to context.
Question 6: Vicenco had questions about keeping the pulse while strumming anything other than the classic patterns. I recommended my strumming course.
Question 7: Harsh had questions about how to identify the key of a song so you can play along and solo - check out my Ear Training series and my Live Song Analysis series.
Question 8: Mathias had questions about how to keep the rhythm and pulse while soloing
Question 9: Omar was curious about how my camera guitar works - I can't say yet!
ASK ME ANYTHING! I'VE NEVER MET A QUESTION I DIDN'T LIKE!
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CAGED Basics II
Lesson 09 | D Shape
We're getting close to the end of this series! Get comfortable with the D Shape pentatonic scale and accompanying major and relative minor chords. Watch the lesson, practice the shapes and scale, do the homework, and learn the practice tune at the end! This one is tricky because it's the first pentatonic shape that can't be played in one position.
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Live Stream | 113
How To Hold The Guitar, Alternate Tunings, Penta vs Full Scale, Ear Training
This was a great stream! Here are the timestamped questions:
Question 1: Ray had questions about which leg to hold the guitar and how to approach using a strap
Question 2: Tristan was wondering about alternate tunings
Question 3: Kenneth had some questions about pentatonic vs full scale
Question 4: Jeffrey was curious about the screws on the bridge of a guitar - what are they for?
Question 5: Matt had a question about learning songs by ear and how to figure out specific tricky parts.
Question 6: Tony wants to easily find every note on the fingerboard and asked if arpeggios are the right next step. We got INTO it
Question 7: Jeff had been working on bass and timing and asked if a metronome is the right place to do that. I recommended a different approach.
Question 8: Sam had a question about bending more cleanly
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