Intermediate​ ​To 

Advanced​ ​Roadmap:  

The​ ​Ultimate​ ​Guide​ ​To 

Pro-Level​ ​Guitar​ ​Skills 
 
 
  
 
Hey,​ ​I’m​ ​Josh. 
 
This​ ​is​ ​the​ ​skeleton​ ​of​ ​every​ ​course​ ​I’ve​ ​ever 
made​ ​(and​ ​a​ ​few​ ​that​ ​are​ ​still​ ​in​ ​the​ ​works).  
 
If​ ​you’re​ ​the​ ​DIY​ ​type,​ ​you​ ​can​ ​use​ ​this​ ​to​ ​roll​ ​your​ ​own​ ​music 
education.​ ​If​ ​you​ ​prefer​ ​a​ ​more​ ​done-for-you, 
do-this-one-thing-today​ ​approach,​ ​I​ ​hope​ ​you’ll​ ​check​ ​out​ ​my 
courses.  
 
This​ ​guide​ ​is​ ​a​ ​roadmap;​ ​the​ ​courses​​ ​are​ ​turn-by-turn​ ​GPS. 
 
Thanks​ ​for​ ​reading,  
 
Josh 
 
ps.​ ​There’s​ ​a​ ​ton​ ​of​ ​extra​ ​resources​ ​available​ ​too—editable 
backing​ ​tracks​ ​(change​ ​the​ ​tempo,​ ​key,​ ​or​ ​style),​ ​intelligent 
flashcard​ ​decks,​ ​and​ ​my​ ​continually​ ​growing​ ​personal 
collection​ ​of​ ​sheet​ ​music…​ ​you​ ​can​ ​unlock​ ​it​ ​all​ ​by​ ​sharing​ ​this 
guide​ ​on​ ​facebook. 
 
CLICK​ ​HERE​ ​TO​ ​SHARE​ ​&​ ​UNLOCK 
 
 
   

2
  

Overview​ ​of​ ​The​ ​Roadmap: 

​ ​ ​ ​​ ​ ​0.​​ ​​ ​Before​ ​We​ ​Begin 

1. Time​ ​&​ ​Feel 
2. Effective​ ​Practice 
3. Music​ ​Theory 
4. Ear​ ​Training 
5. Playing​ ​The​ ​Changes 
6. Reading​ ​Music 
7. Repertoire 
8. Transcribing 

3
Before​ ​We​ ​Begin  

Theory​ ​of​ ​Constraints 

Here’s​ ​a​ ​concept​ ​borrowed​ ​from​ ​the​ ​world​ ​of​ ​manufacturing: 
you​ ​can​ ​only​ ​improve​ ​the​ ​performance​ ​of​ ​the​ ​whole​ ​system​ ​by 
addressing​ ​its​ ​bottleneck. 
 
Let’s​ ​say​ ​you,​ ​me,​ ​and​ ​Dave​ ​Grohl​ ​are​ ​trying​ ​to​ ​make​ ​pizzas​ ​as 
fast​ ​as​ ​we​ ​can.​ ​I​ ​toss​ ​the​ ​dough,​ ​you​ ​ladle​ ​on​ ​the​ ​sauce,​ ​and 
Dave​ ​sprinkles​ ​on​ ​the​ ​cheese.​ ​Then​ ​our​ ​boss​ ​comes​ ​in​ ​and​ ​yells 
at​ ​us​ ​to​ ​pick​ ​up​ ​the​ ​pace. 
 

  
I​ ​pulled​ ​Dave’s​ ​name​ ​out​ ​of​ ​a​ ​hat,​ ​but​ ​amazingly,​ ​this​ ​is​ ​what​ ​comes​ ​up​ ​when​ ​you​ ​search​ ​“Dave​ ​Grohl​ ​pizza.” 

 
You​ ​and​ ​Dave​ ​are​ ​ladling​ ​and​ ​sprinkling​ ​as​ ​fast​ ​as​ ​you​ ​can,​ ​but 
you’re​ ​held​ ​up​ ​by​ ​how​ ​long​ ​it​ ​takes​ ​for​ ​me​ ​to​ ​toss​ ​the​ ​dough. 
The​ ​constraint​ ​is​ ​me.​ ​No​ ​amount​ ​of​ ​improvement​ ​to​ ​sauce​ ​or 
cheese​ ​speed​ ​will​ ​result​ ​in​ ​more​ ​pizzas​ ​per​ ​hour. 
 
 
 

4
Improving​ ​something​ ​that’s​ ​not​ ​your​ ​real​ ​limitation​ ​won’t 
make​ ​you​ ​better​ ​overall. 
 

 
image​ ​lifted​ ​from​ ​this​ ​excellent​ ​primer​​ ​on​ ​the​ ​theory​ ​of​ ​constraints 
 
 
That’s​ ​the​ ​Theory​ ​of​ ​Constraints:​ ​identify​ ​the​ ​constraint,​ ​fix​ ​it, 
repeat.​ ​Improving​ ​anything​ ​else​ ​doesn’t​ ​actually​ ​help. 
 

The​ ​Critical​ ​Path 

Here’s​ ​another​ ​business​ ​world​ ​concept​ ​that’s​ ​a​ ​perfect​ ​analogy 
for​ ​learning​ ​guitar:​ ​the​ ​critical​ ​path.​ ​The​ ​critical​ ​path​ ​is​ ​simply 
an​ ​acknowledgement​ ​that​ ​the​ ​order​​ ​you​ ​do​ ​it​ ​in​ ​is​ ​important.  
 
If​ ​we​ ​stick​ ​with​ ​our​ ​pizza​ ​example: 
 
➔ you​ ​can’t​ ​give​ ​the​ ​pizza​ ​to​ ​the​ ​customer​ ​before​ ​you’ve 
cooked​ ​it 
➔ you​ ​can’t​ ​cook​ ​it​ ​until​ ​you’ve​ ​assembled​ ​it 
➔ the​ ​assembly​ ​has​ ​to​ ​be​ ​done​ ​in​ ​the​ ​right​ ​order 
(dough->sauce->cheese->toppings) 
 
 
 

5
 
 
So​ ​many​ ​things​ ​about​ ​learning​ ​guitar​ ​are​ ​only​ ​difficult 
because​ ​we’re​ ​doing​ ​them​ ​in​ ​the​ ​wrong​ ​order.​ ​Far​ ​too​ ​many​ ​of 
us​ ​ignore​ ​the​ ​critical​ ​path.​ ​For​ ​example: 
 
➔ Working​ ​on​ ​speed​ ​before​ ​time​ ​&​ ​feel?​ W​ aste​ ​of​ ​time. 
➔ Practicing​ ​inefficiently​ ​for​ ​a​ ​long​ ​time?​ ​Waste​ ​of​ ​time. 
➔ Trying​ ​to​ ​learn​ ​theory​ ​with​ ​TAB?​ ​Waste​ ​of​ ​time. 
➔ Studying​ ​modes​ ​before​ ​chord​ ​progressions?​ ​Waste​ ​of​ ​time. 
 
There’s​ ​a​ ​reason​ ​I’m​ ​telling​ ​you​ ​this​ ​stuff:​ ​do​ ​it​ ​in​ ​the​ ​right​ ​order, 
and​ ​you’ll​ ​save​ ​yourself​ ​a​ ​lot​ ​of​ ​wasted​ ​time​ ​and​ ​frustration. 
 
Follow​ ​this​ ​guide​ ​in​ ​this​ ​order,​ ​and​ ​each​ ​successive​ ​section​ ​will 
be​ ​easier​ ​because​ ​of​ ​the​ ​work​ ​you​ ​did​ ​earlier.​ ​And​ ​as​ ​an​ ​added 
bonus,​ ​even​ ​if​ ​you​ ​bail​ ​out​ ​before​ ​the​ ​end,​ ​each​ ​section​ ​(and 
subsection)​ ​will​ ​be​ ​useful​ ​on​ ​its​ ​own. 
 
——— 
 
 
Up​ ​next:​ ​time​ ​&​ ​feel​ ​⇒  
 

   

6
SKILL​ ​ONE:​ ​Time​ ​&​ ​Feel 
Far​ ​and​ ​away​ ​the​ ​most​ ​important​ ​skill​ ​a​ ​musician​ ​can​ ​have 
is​ ​the​ ​ability​ ​to​ ​play​ ​in​ ​time​ ​and​ ​with​ ​good​ ​feel.​ ​Badass 
professionals​ ​are​ ​obsessed​ ​with​ ​getting​ ​the​ ​music​ ​to​ ​groove. 
This​ ​means​ ​not​ ​just​ ​maintaining​ ​an​ ​even​ ​tempo,​ ​but​ ​also​ ​not 
pushing​ ​too​ ​far​ ​forward​ ​(rushing)​ ​or​ ​backward​ ​(dragging),​ ​all 
while​ ​subdividing​ ​the​ ​beat​ ​in​ ​a​ ​pleasing​ ​way. 
 
Sound​ ​super​ ​abstract?​ ​It​ ​is.  
 
That’s​ ​why​ ​most​ ​people​ ​shy​ ​away​ ​from​ ​trying​ ​to​ ​teach​ ​it​ ​(or​ ​end 
up​ ​teaching​ ​it​ ​with​ ​oft-repeated-but-not-especially-helpful 
platitudes).​ ​Here’s​ ​how​ ​you​ ​can​ ​get​ ​your​ ​time​ ​&​ ​feel​ ​together. 

Time​ ​&​ ​Feel​ ​Exercise​ ​One:​ ​Bury​ ​The​ ​Click 

1. Set​ ​your​ ​metronome​ ​at​ ​70bpm.  
2. Adjust​ ​the​ ​volume​ ​so​ ​that​ ​it’s​ ​ever​ ​so​ ​slightly​ ​quieter​ ​than 
your​ ​guitar.  
3. Now​ ​play​ ​along​ ​with​ ​muted​ ​strums​ ​or​ ​staccato​ ​chord 
stabs.  
4. Can​ ​you​ ​hear​ ​the​ ​metronome?  
5. If​ ​yes,​ ​then​ ​you’re​ ​not​ ​truly​ ​on​ ​top​ ​of​ ​the​ ​beat.​ ​You’re​ ​either 
rushing​ ​or​ ​dragging.  
6. This​ ​is​ ​INSANELY​ ​common—most​ ​people​ ​hear​ ​the​ ​beat​ ​in​ ​a 
place​ ​where​ ​it​ ​isn’t.  
7. Resetting​ ​your​ ​feel​ ​is​ ​as​ ​simple​ ​as​ ​logging​ ​enough​ ​time 
with​ ​this​ ​exercise​ ​that​ ​you​ ​can​ ​reliably​ ​make​ ​the​ ​click 
disappear​ ​under​ ​your​ ​playing.  
8. Simple,​ ​but​ ​not​ ​easy.  
9. Once​ ​70​ ​bpm​ ​is​ ​no​ ​longer​ ​challenging,​ ​try​ ​slowing​ ​it​ ​down 
more.​​ ​If​ ​you​ ​can​ ​keep​ ​it​ ​together​ ​at​ ​40​ ​bpm,​ ​you​ ​have​ ​this 
mastered.  
 

7
Bonus:​ ​Record​ ​yourself​ ​into​ ​a​ ​DAW​ ​(GarageBand, 
StudioOne,​ ​Ableton,​ ​etc)​ ​and​ ​view​ ​the​ ​waveforms​ ​of​ ​your 
playing​ ​against​ ​the​ ​tempo​ ​grid.​ ​Humbling,​ ​but​ ​crazy 
effective​ ​in​ ​fixing​ ​your​ ​tendency​ ​to​ ​rush. 
 

 
 

Time​ ​&​ ​Feel​ ​Exercise​ ​Two:​ ​Backbeat​ ​Click 

Listen​ ​to​ ​any​ ​rock​ ​or​ ​pop​ ​song,​ ​and​ ​you’ll​ ​find​ ​that​ ​90%​ ​of​ ​the 
time​ ​the​ ​drummer​ ​is​ ​playing​ ​the​ ​snare​ ​on​ ​beats​ ​2​ ​&​ ​4.​ ​Practicing 
with​ ​a​ ​metronome​ ​on​ ​beats​ ​2​ ​&​ ​4​ ​is​ ​waaaaaaayyy​ ​more​ ​musical 
than​ ​practicing​ ​with​ ​it​ ​on​ ​all​ ​four​ ​beats.  
 
My​ ​favorite​ ​metronomes​ ​make​ ​it​ ​easy​ ​to​ ​start​ ​with​ ​the​ ​click​ ​on 
all​ ​four​ ​beats,​ ​and​ ​then​ ​mute​ ​beats​ ​1​ ​&​ ​3.  
 

 
(Tempo—my​ ​personal​ ​fave​ ​for​ ​iOS)​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​(Pro​ ​Metronome—for​ ​Android​ ​users) 
 
If​ ​you​ ​get​ ​lost,​ ​you​ ​can​ ​still​ ​look​ ​down​ ​at​ ​the​ ​metronome​ ​to 
reorient​ ​yourself.  
 
 
   

8
Bonus:​​ ​Once​ ​you​ ​have​ ​it​ ​down​ ​that​ ​way,​ ​try​ ​leaving​ ​the 
clicks​ ​on​ ​but​ ​halve​ ​the​ ​tempo,​ ​then​ ​count​ ​your​ ​way​ ​into​ ​the 
backbeat​ ​click.  

 
(half​ ​the​ ​tempo,​ ​but​ ​a​ ​click​ ​on​ ​each​ ​beat) 
 
Double​ ​bonus:​ ​If​ ​you​ ​can​ ​do​ ​that,​ ​take​​ ​the​ ​Stars​ ​&​ ​Stripes 
Challenge​. 
 

Time​ ​&​ ​Feel​ ​Exercise​ ​Three:​ ​Cartoon​ ​Gravity 

Bury​ ​The​ ​Click​​ ​fixes​ ​your​ ​tendency​ ​to​ ​rush.  
 
The​ ​Backbeat​ ​Click​​ ​gets​ ​your​ ​subdivisions​ ​groovier.  
 
Cartoon​ ​Gravity​​ ​trains​ ​you​ ​to​ ​maintain​ ​tempo​ ​across​ ​the​ ​whole 
song.  
 
1. Set​ ​the​ ​metronome​ ​to​ ​4/4,​ ​enable​ ​Coach​ ​Mode​ ​(Tempo)​ ​or 
Rhythm​ ​Trainer​ ​(Pro​ ​Metronome) 
2. Set​ ​it​ ​to​ ​play​ ​two​ ​bars​ ​on​ ​followed​ ​by​ ​one​ ​bar​ ​of​ ​silent 
counting.  
3. Play​ ​along​ ​with​ ​that​ ​until​ ​you​ ​can​ ​reliably​ ​play​ ​through​ ​the 
silence​ ​and​ ​still​ ​be​ ​in​ ​time​ ​when​ ​it​ ​resumes​ ​clicking.  
4. Then​ ​up​ ​the​ ​ante:​ ​two​ ​bars​ ​on,​ ​two​ ​bars​ ​off.  
5. Repeat​ ​until​ ​you​ ​can​ ​keep​ ​it​ ​together​ ​through​ ​two​ ​bars​ ​on, 
four​ ​bars​ ​off.  
 
Bonus:​ ​Combine​ ​Cartoon​ ​Gravity​​ ​with​ ​Bury​ ​The​ ​Click​​ ​or​ ​the 
Backbeat​ ​Click​.​ ​Or​ ​both. 

9
 

SKILL​ ​TWO:​ ​Effective​ ​Practice 

I​ ​asked​ ​dozens​ ​and​ ​dozens​ ​of​ ​badass​ ​professional​ ​musicians: 
what’s​ ​the​ ​most​ ​important​ ​thing​ ​you​ ​learned​ ​in​ ​music​ ​school?  
 
Unprompted,​ ​they​ ​answered​ ​almost​ ​unanimously:​ ​how​ ​to 
practice. 
 
​ ow​ ​to​ ​practice.​ ​These​ ​are​ ​the 
Want​ ​to​ ​get​ ​better​ ​faster?​ ​Learn​ h
biggest​ ​levers​ ​you​ ​can​ ​pull: 
 

Effective​ ​Practice​ ​One:​ ​Narrowing 

Practicing​ ​a​ ​whole​ ​song​ ​is​ ​a​ ​terrible​ ​way​ ​to​ ​practice.​ ​You’re 
bound​ ​to​ ​make​ ​a​ ​mistake​ ​somewhere​ ​along​ ​the​ ​way​ ​and… 
Badasses​ ​don’t​ ​practice​ ​making​ ​mistakes.  
 
If​ ​you​ ​can’t​ ​play​ ​the​ ​song​ ​you’re​ ​working​ ​on​ ​perfectly,​ ​you’re 
biting​ ​off​ ​too​ ​much.​ ​What’s​ ​the​ ​most​ ​difficult​ ​part?​ ​Is​ ​it​ ​the 
verse,​ ​the​ ​chorus,​ ​the​ ​bridge,​ ​the​ ​solo?​ ​Ok,​ ​of​ ​that​ ​section, 
which​ ​line,​ ​measure,​ ​or​ ​handful​ ​of​ ​notes​ ​is​ ​giving​ ​you​ ​the​ ​most 
trouble? 
 
Keep​ ​cutting​ ​the​ ​problem​ ​in​ ​half​ ​until​ ​you​ ​have​ ​something​ ​that 
you​ ​can​ ​get​ ​95%​ ​mastered​ ​in​ ​this​ ​one​ ​practice​ ​session.​​ ​Work​ ​on 
only​​ ​that​ ​section​​ ​until​ ​it’s​ ​easy.  
 
Then​ ​repeat​ ​the​ ​process​ ​to​ ​find​ ​your​ ​next​ ​bottleneck.​ ​It​ ​might 
feel​ ​tedious,​ ​but​ ​it​ ​is​ ​MASSIVELY​ ​more​ ​efficient.  
 
Bonus:​ ​Can​ ​you​ ​play​ ​it​ ​in​ ​isolation​ ​but​ ​you​ ​still​ ​mess​ ​it​ ​up​ ​in 
context?​ ​Go​ ​back​ ​and​ ​widen​ ​the​ ​chunk​ ​you​ ​practiced​ ​to​ ​include 
the​ ​notes​ ​or​ ​measures​ ​that​ ​lead​ ​up​ ​to​ ​it. 
 

10
Effective​ ​Practice​ ​Two:​ ​Looping 
Ok,​ ​so​ ​you​ ​found​ ​the​ ​most​ ​difficult​ ​bit​ ​and​ ​you​ ​narrowed​ ​it 
down​ ​to​ ​something​ ​that​ ​you​ ​can​ ​master​ ​today…​ ​now​ ​what?  
 
Loop​ ​it.​ ​Play​ ​it​ ​over​ ​and​ ​over,​ ​without​ ​stopping,​ ​to​ ​a​ ​click. 
 
This​ ​requires​ ​some​ ​idea​ ​of​ ​how​ ​the​ ​phrase​ ​sits​ ​in​ ​the​ ​measure. 
Some​ ​easier​ ​things​ ​will​ ​be​ ​a​ ​measure​ ​(or​ ​less)​ ​long,​ ​but​ ​most​ ​of 
the​ ​time​ ​you’ll​ ​need​ ​enough​ ​rhythmic​ ​awareness​ ​to​ ​know​ ​that 
(for​ ​example)​ ​the​ ​riff​ ​starts​ ​with​ ​the​ ​pickups​ ​“+4+”,​ ​or​ ​that​ ​it​ ​ends 
on​ ​beat​ ​1​ ​and​ ​you​ ​need​ ​to​ ​wait​ ​for​ ​it​ ​to​ ​come​ ​around​ ​again. 
 

 
not​ ​sure​ ​what​ ​this​ ​means?​ ​want​ ​to​ ​see​ ​it​ ​in​ ​action?​ ​video​ ​here​. 

Effective​ ​Practice​ ​Three:​ ​Enjoying 

The​ ​best​ ​musicians​ ​truly​ ​enjoy​ ​their​ ​practice​ ​time.​ ​They​ ​look 
forward​ ​to​ ​doing​ ​it​ ​each​ ​day.  
 
If​ ​you​ ​want​ ​to​ ​be​ ​like​ ​them,​ ​figure​ ​out​ ​how​ ​to​ ​enjoy​ ​your 
practice.​ ​Apply​ ​the​ ​same​ ​creativity​ ​that​ ​you​ ​use​ ​in​ ​your​ ​music​ ​to 
your​ ​practice.  
 
Run​ ​some​ ​experiments.​ ​Make​ ​some​ ​adjustments.​ I​ f​ ​you​ ​can’t​ ​get 
out​ ​of​ ​it,​ ​get​ ​into​ ​it. 
 

11
Ask​ ​yourself:​ ​What​ ​would​ ​change​ ​what​ ​I​ ​need​ ​to​ ​do​ ​into 
what​ ​I​ ​want​ ​to​ ​do? 
 
Maybe​ ​that’s​ ​making​ ​a​ ​game​ ​of​ ​it,​ ​or​ ​competing​ ​with​ ​your 
friend,​ ​or​ ​subbing​ ​a​ ​drum​ ​machine​ ​for​ ​the​ ​metronome,​ ​or​ ​trying 
a​ ​different​ ​teacher’s​ ​method.​ ​Only​ ​you​ ​can​ ​answer​ ​this. 
 
But​ ​Josh!​ ​This​ ​is​ ​totally​ ​obvious!  
Give​ ​me​ ​something​ ​advanced! 
 
Oh​ ​yeah?​ ​It’s​ ​obvious?  
 
Then​ ​let​ ​me​ ​ask​ ​you​ ​something:​ ​are​ ​you​ ​doing​ ​it? 
 
The​ ​world​ ​is​ ​full​ ​of​ ​people​ ​who​ ​are​ ​stuck​ ​on​ ​things​ ​with​ ​obvious 
fixes​ ​they​ ​don’t​ ​implement. 
 
 
——— 

Up​ ​next:​ ​Theory​ ​⇒  

   

12
SKILL​ ​THREE:​ ​Theory 
For​ ​some​ ​reason,​ ​we​ ​guitarists​ ​have​ ​developed​ ​the​ ​notion 
that​ ​“music​ ​theory”​ ​is​ ​some​ ​crazy,​ ​byzantine​ ​system​ ​that’s 
incredibly​ ​difficult​ ​to​ ​learn,​ ​but​ ​teaches​ ​us​ ​the​ ​“right”​ ​way​ ​to 
approach​ ​any​ ​musical​ ​situation.  
 
Total​ ​nonsense. 
 
Theory​ ​is​ ​just​ ​giving​ ​names​ ​to​ ​the​ ​commonly​ ​occurring​ ​things 
in​ ​music,​ ​so​ ​we​ ​can​ ​organize​ ​our​ ​thinking​ ​and​ ​communicate 
our​ ​ideas.  
 
It’s​ ​only​ ​difficult​ ​because​ ​we​ ​have​ ​unaddressed​ ​holes​ ​in​ ​our 
knowledge​ ​further​ ​upstream.  
 
And​ ​even​ ​when​ ​we​ ​get​ ​a​ ​solid​ ​handle​ ​on​ ​it​ ​all,​ ​it​ ​still​ ​doesn’t​ ​tell 
us​ ​what​ ​to​ ​play.​ ​All​ ​it​ ​can​ ​do​ ​is​ ​describe​ ​what​ ​other​ ​people​ ​have 
played​ ​before​ ​us,​ ​so​ ​we​ ​might​ ​stand​ ​atop​ ​their​ ​shoulders. 
 
What’s​ ​the​ ​80/20​ ​of​ ​music​ ​theory,​ ​and​ ​what​ ​order​ ​should​ ​we 
learn​ ​things​ ​in​ ​to​ ​avoid​ ​making​ ​life​ ​difficult​ ​for​ ​our​ ​future 
selves? 
 

Theory​ ​One:​ ​Note​ ​Names 

We​ ​guitarists​ ​have​ ​internalized​ ​the​ ​fretboard​ ​as​ ​a​ ​series​ ​of 
coordinates,​ ​but​ ​music​ ​theory​ ​is​ ​about​ ​giving​ ​those​ ​coordinates 
names.  
 
1. Start​ ​by​ ​finding​ ​the​ ​“natural​ ​notes”​ ​along​ ​one​ ​string.  
2. Natural​ ​notes​ ​are​ ​the​ ​ones​ ​with​ ​no​ ​sharps​ ​or​ ​flats:​ ​A,​ ​B,​ ​C, 
D,​ ​E,​ ​F,​ ​G.  
3. (The​ ​musical​ ​alphabet​ ​repeats​ ​after​ ​G.) 

13
 4. There’s​ ​a​ ​one-fret​ ​distance​ ​between​ ​B​ ​&​ ​C​ ​and 
between​ ​E​ ​&​ ​F.  
5. The​ ​rest​ ​are​ ​two​ ​frets​ ​apart.  
6. It​ ​might​ ​take​ ​you​ ​a​ ​minute,​ ​but​ ​you​ ​can​ ​work​ ​your​ ​way​ ​up 
the​ ​string​ ​and​ ​through​ ​the​ ​musical​ ​alphabet.  
7. Now​ ​put​ ​on​ ​this​ ​backing​ ​track​​ ​in​ ​the​ ​key​ ​of​ ​C​ ​Major,​ ​and 
solo​ ​using​ ​those​ ​notes​ ​while​ ​saying​ ​their​ ​names​ ​out​ ​loud. 
8. Go​ ​slowly.​ ​Use​ ​just​ ​one​ ​finger.  
9. It​ ​should​ ​be​ ​fairly​ ​easy​ ​to​ ​do​ ​them 
ascending/alphabetically.  
10. Descending/reverse​ ​alphabetically​ ​is​ ​a​ ​little​ ​trickier... 
11. ...and​ ​randomly​ ​jumping​ ​between​ ​them​ ​is​ ​tricker​ ​still.  
12. When​ ​random​ ​is​ ​no​ ​longer​ ​challenging,​ ​move​ ​on​ ​to​ ​the 
next​ ​string.  
13. Repeat​ ​with​ ​all​ ​six​ ​strings. 
 
Bonus:​​ ​the​ ​notes​ ​you’re​ ​avoiding—the​ ​ones​ ​with​ ​the​ ​sharps​ ​and 
flats—are​ ​called​ ​“accidentals.”​ ​They​ ​have​ ​two​ ​names:​ ​a​ ​flat 
name,​ ​and​ ​a​ ​sharp​ ​name.​ ​Which​ ​name​ ​you​ ​use​ ​depends​ ​on​ ​the 
context.​ ​For​ ​example,​ ​the​ ​same​ ​note​ ​might​ ​be​ ​called​ ​D#​ ​or​ ​Eb 
depending​ ​on​ ​how​ ​it’s​ ​being​ ​used.​ ​More​ ​on​ ​this​ ​in​ ​a​ ​minute. 
 

Theory​ ​Two:​ ​Pilotage​ ​&​ ​Dead​ ​Reckoning 

These​ ​are​ ​terms​ ​borrowed​ ​from​ ​the​ ​world​ ​of​ ​navigation.  
➔ Pilotage​​ ​is​ ​finding​ ​your​ ​way​ ​by​ ​knowing​ ​something’s​ ​name.  
➔ Dead​ ​Reckoning​ ​is​ ​finding​ ​your​ ​way​ ​in​ ​relation​ ​to 
something​ ​else.  
 

14
Most​ ​guitarists​ ​think​ ​about​ ​guitar​ ​exclusively​ ​with​ ​dead 
reckoning:​ ​“go​ ​up​ ​x​ ​strings​ ​from​ ​the​ ​floor,​ ​then​ ​go​ ​up​ ​y 
frets​ ​from​ ​the​ ​nut.”  
 
On​ ​its​ ​own,​ ​it’s​ ​a​ ​terribly​ ​limiting​ ​system.​ ​But​ ​combined​ ​with​ ​your 
newfound​ ​note​ ​name​ ​knowledge?​ ​It’s​ ​a​ ​terrific​ ​tool​ ​for​ ​filling​ ​in 
the​ ​holes​ ​in​ ​your​ ​understanding,​ ​and​ ​it​ ​works​ ​in​ ​both 
directions—using​ ​shapes​ ​to​ ​find​ ​names​ ​or​ ​using​ ​names​ ​to​ ​find 
shapes. 
 
➔ What's​ ​the​ ​name​ ​of​ ​the​ ​note​ ​on​ ​the​ ​4th​ ​fret​ ​of​ ​the​ ​1st 
string?​​ ​Well,​ ​it’s​ ​in​ ​between​ ​the​ ​G​ ​and​ ​the​ ​A,​ ​so​ ​depending 
on​ ​the​ ​context,​ ​it’s​ ​either​ ​a​ ​G#​ ​or​ ​an​ ​Ab. 
➔ How​ ​do​ ​I​ ​play​ ​an​ ​Eb​ ​chord?​​ ​Well,​ ​if​ ​I​ ​have​ ​a​ ​barre​ ​chord 
that​ ​I​ ​use​ ​for​ ​D​ ​or​ ​E,​ ​I​ ​can​ ​find​ ​Eb​ ​by​ ​putting​ ​that​ ​same 
shape​ ​on​ ​the​ ​frets​ ​between​ ​them. 
➔ What​ ​notes​ ​are​ ​in​ ​a​ ​D​ ​chord?​​ ​I​ ​already​ ​know​ ​the​ ​shape​ ​of 
an​ ​open​ ​D​ ​chord,​ ​and​ ​I​ ​can​ ​use​ ​the​ ​note​ ​names​ ​to​ ​figure 
out​ ​that​ ​it’s​ ​D,​ ​F#,​ ​and​ ​A. 
 
As​ ​your​ ​knowledge​ ​grows,​ ​the​ ​usefulness​ ​of​ ​this​ ​navigational 
pairing​ ​expands.  
 
Bonus​​ ​—​ ​For​ ​an​ ​eye-opening​ ​romp​ ​through​ ​the​ ​powers​ ​of 
pilotage​ ​&​ ​dead​ ​reckoning​ ​as​ ​it​ ​relates​ ​to​ ​building​ ​chords, 
check​ ​out​​ ​Chords:​ ​A​ ​Family​ ​Tree​. 
 

Theory​ ​Three:​ ​Nashville​ ​Numbers 

Music​ ​theory​ ​is​ ​about​ ​understanding​ ​&​ ​communication,​ ​and 
one​ ​of​ ​the​ ​most​ ​popular​ ​means​ ​to​ ​do​ ​both​ ​of​ ​those​ ​things​ ​is 
with​ ​“Nashville​ ​Numbers”​ ​or​ ​“Roman​ ​Numeral​ ​Analysis”​ ​or​ ​“Chord 

15
Scale​ ​Degrees”—all​ ​names​ ​for​ ​putting​ ​numbers​ ​to​ ​chords 
based​ ​on​ ​their​ ​function. 
 
You’ve​ ​already​ ​used​ ​this​ ​if​ ​you’ve​ ​ever​ ​referred​ ​to​ ​a​ ​blues​ ​as 
being​ ​“one​ ​four​ ​five”​ ​or​ ​heard​ ​a​ ​jazzer​ ​talk​ ​about​ ​“two​ ​five​ ​ones.” 
 
The​ ​numbers​ ​are​ ​written​ ​with​ ​roman​ ​numerals.​ ​You’ll​ ​see​ ​them​ ​a 
few​ ​different​ ​ways,​ ​but​ ​I​ ​like​ ​to​ ​use​ ​lower​ ​case​ ​for​ ​minor​ ​chords 
and​ ​uppercase​ ​for​ ​major:​ ​I​ ​ii​ ​iii​ ​IV​ ​V​ ​vi​ ​vii° 
 
Here’s​ ​a​ ​chart​ ​with​ ​all​ ​the​ ​numbers​ ​in​ ​each​ ​key​.​ ​I​ ​think​ ​you’ll​ ​find 
it​ ​illuminating. 
 
Some​ ​ways​ ​you​ ​might​ ​use​ ​this: 
 
➔ easily​ ​transpose​ ​a​ ​song, 
➔ arrange​ ​a​ ​second​ ​guitar​ ​part​ ​with​ ​a​ ​capo,​ ​or 
➔ explain​ ​chord​ ​changes​ ​without​ ​having​ ​to​ ​account​ ​for​ ​down 
tunings. 
 
But​ ​most​ ​importantly,​ ​you​ ​can​ ​use​ ​it​ ​to​ ​begin​ ​seeing​ ​the 
common​ ​threads​ ​&​ ​underlying​ ​patterns​ ​that​ ​are​ ​in​ ​the​ ​music​ ​all 
around​ ​you. 
 
Bonus:​​ ​How​ ​To​ ​Figure​ ​Out​ ​The​ ​Key​ ​Of​ ​A​ ​Song 
 
——— 
 
Up​ ​next:​ ​Ear​ ​Training​ ​⇒  

   

16
SKILL​ ​FOUR:​ ​Ear​ ​Training 
The​ ​internet​ ​has​ ​been​ ​a​ ​boon​ ​for​ ​guitarists.​ ​But​ ​it’s​ ​also 
been​ ​a​ ​massive​ ​hindrance.​ ​How​ ​so? 
 
Online​ ​guitar​ ​tab​ ​in​ ​particular​ ​has​ ​been​ ​a​ ​disaster​ ​for​ ​our 
collective​ ​ears.​ ​Whereas​ ​once​ ​we​ ​would​ ​listen​ ​to​ ​a​ ​song​ ​to​ ​figure 
out​ ​how​ ​to​ ​play​ ​it,​ ​now​ ​we​ ​use​ ​Google.  
 
Professional​ ​badasses​ ​spend​ ​huge​ ​amounts​ ​of​ ​time​ ​and​ ​effort 
to​ ​get​ ​their​ ​ears​ ​dialed​ ​in,​ ​and​ ​that​ ​means​ ​you​ ​probably​ ​should 
too.  
 
Let’s​ ​get​ ​you​ ​started​ ​with​ ​this​ ​free​ ​tool​ ​for​ ​identifying​ ​intervals 
by​ ​ear. 

The​ ​Zen​ ​Nippon​ ​School​ ​of​ ​Chick​ ​Sexing​ ​is​ ​one​ ​of​ ​my​ ​favorite 
educational​ ​institutions. 

 
 
There’s​ ​the​ ​fun​ ​name,​ ​of​ ​course,​ ​but​ ​their​ ​teaching​ ​method​ ​is 
what​ ​makes​ ​me​ ​such​ ​a​ ​fan. 
 
But​ ​let’s​ ​back​ ​up​ ​a​ ​minute.​ ​What​ ​the​ ​hell​ ​is​ ​chick​ ​sexing? 
17
  
Chick​ ​sexing​ ​is​ ​the​ ​practice​ ​of​ ​determining​ ​a​ ​chicken’s​ ​gender 
while​ ​it’s​ ​still​ ​only​ ​a​ ​day​ ​or​ ​two​ ​old.​ ​Farmers​ ​are​ ​looking​ ​for​ ​the 
egg-laying​ ​hens,​ ​but​ ​at​ ​that​ ​point​ ​the​ ​hens​ ​and​ ​roosters​ ​look 
identical. 
 
It​ ​would​ ​take​ ​you​ ​or​ ​me​ ​another​ ​six​ ​weeks​ ​before​ ​we​ ​could​ ​tell 
the​ ​chicken’s​ ​gender,​ ​and​ ​when​ ​you’re​ ​trying​ ​to​ ​raise​ ​hens​ ​to​ ​lay 
eggs,​ ​you​ ​don’t​ ​want​ ​to​ ​spend​ ​your​ ​money​ ​feeding​ ​and​ ​housing 
roosters. 
 
If​ ​you​ ​can​ ​tell​ ​the​ ​difference​ ​between​ ​hens​ ​and​ ​roosters​ ​early 
on,​ ​it’ll​ ​save​ ​you​ ​a​ ​significant​ ​amount​ ​of​ ​money.​ ​So:​ ​chick​ ​sexers. 
 
The​ ​chick​ ​sexer​ ​“reads”​ ​the​ ​chicken’s​ ​butt​ ​by​ ​glancing​ ​at​ ​it​ ​for 
barely​ ​a​ ​second,​ ​and​ ​then​ ​proclaims​ ​it​ ​male​ ​or​ ​female. 
 
Professional​ ​chick​ ​sexers​ ​have​ ​a​ ​97%​ ​accuracy​ ​rate. 
 
But​ ​if​ ​you​ ​asked​ ​a​ ​chick​ ​sexer​ ​to​ ​explain​ ​to​ ​you​ ​what​ ​it​ ​is​ ​that 
she​ ​saw​ ​that​ ​led​ ​her​ ​to​ ​believe​ ​that​ ​a​ ​particular​ ​chick​ ​was​ ​a 
rooster,​ ​she​ ​wouldn’t​ ​be​ ​able​ ​to​ ​tell​ ​you. 
 
Sexers​ ​arrive​ ​at​ ​that​ ​97%​ ​success​ ​rate​ ​using​ ​only​ ​their​ ​intuition. 
Or​ ​perhaps​ ​phrased​ ​more​ ​scientifically: 
 
They​ ​are​ ​using​ ​pattern​ ​recognition​ ​at​ ​a​ ​subconscious​ ​level. 
 
Today​ ​we’re​ ​going​ ​to​ ​start​ ​training​ ​you​ ​to​ ​do​ ​the​ ​same. 
  

18
The​ ​ZNCS​ ​Method 
In​ ​order​ ​to​ ​train​ ​this​ ​subconscious​ ​pattern​ ​recognition,​ ​a 
student​ ​works​ ​alongside​ ​a​ ​teacher.​ ​The​ ​student​ ​picks​ ​up​ ​a 
chick,​ ​looks​ ​at​ ​its​ ​butt,​ ​and​ ​ventures​ ​a​ ​guess. 
 
“Male?” 
 
“Nope,​ ​female.” 
 
They​ ​pick​ ​up​ ​another​ ​one. 
 
“Female?” 
 
“Correct.” 
 
Then​ ​they​ ​do​ ​it​ ​again.​ ​And​ ​again.​ ​And​ ​again.​ ​Thousands​ ​of 
times​ ​per​ ​day,​ ​for​ ​two​ ​years. 
 
Whether​ ​the​ ​student​ ​is​ ​right​ ​or​ ​wrong,​ ​the​ ​teacher​ ​provides​ ​no 
additional​ ​information.​ ​There’s​ ​no​ ​“look​ ​at​ ​how​ ​the​ ​bump​ ​in​ ​the 
vent​ ​is​ ​slightly​ ​larger,​ ​indicating​ ​a​ ​male.” 
 
There’s​ ​only​ ​“correct”​ ​and​ ​“incorrect.” 
 
Constant​ ​testing​ ​combined​ ​with​ ​immediate​ ​feedback. 
 
It’s​ ​a​ ​technique​ ​at​ ​the​ ​heart​ ​of​ ​our​ ​Effortless​ ​Ear​ ​Training 
course.  
 
We​ ​use​ ​intelligent​ ​flashcard​ ​software​ ​to​ ​continually​ ​test​ ​our 
ears.​ ​We​ ​start​ ​with​ ​just​ ​two​ ​intervals,​ ​and​ ​grow​ ​from​ ​there.​ ​With 
the​ ​intervals​ ​dialed​ ​in,​ ​we​ ​move​ ​on​ ​to​ ​chord​ ​progressions, 
chord​ ​qualities,​ ​and​ ​identifying​ ​intervals​ ​over​ ​chords. 
 

19
If​ ​you​ ​want​ ​to​ ​roll​ ​your​ ​own,​ ​here’s​ ​a​ ​spreadsheet​ ​with​ ​every 
note​ ​pairing,​ ​the​ ​answers​ ​for​ ​the​ ​flipside​ ​of​ ​the​ ​card,​ ​and 
which​ ​cards​ ​go​ ​into​ ​each​ ​deck​.​ ​Nothing​ ​about​ ​making 
these​ ​flashcard​ ​decks​ ​is​ ​difficult,​ ​but​ ​it​ ​is​ ​pretty​ ​time 
consuming.  
 
If​ ​you​ ​want​ ​the​ ​first​ ​ten​ ​flashcard​ ​decks​ ​all​ ​done​ ​for​ ​you,​ ​they’re 
yours​ ​for​ ​free​ ​with​ ​the​ ​deluxe​ ​roadmap​.  

Setting​ ​Up​ ​Unit​ ​One​ ​of​ ​Effortless​ ​Ear​ ​Training: 

1. Download​ ​Anki​. 
2. Make​​ ​or​ ​download​​ ​decks. 
3. Open​ ​the​ ​first​ ​deck​ ​and​ ​select​ ​Tools​ ​>​ ​Study​ ​Options 
4. “Max​ ​new​ ​per​ ​day”​ ​should​ ​be​ ​set​ ​to​ ​30,​ ​maybe​ ​lower. 
5. “Order”​ ​should​ ​be​ ​set​ ​to​ ​“Display​ ​in​ ​random​ ​order” 
6. Set​ ​a​ ​DAILY​ ​recurring​ ​alarm​ ​in​ ​your​ ​phone​ ​for​ ​a​ ​time​ ​of 
day​ ​when​ ​you​ ​know​ ​you’ll​ ​have​ ​5​ ​minutes​ ​to​ ​spare. 
7. Headphones​ ​are​ ​a​ ​big​ ​help. 
8. Try​ ​not​ ​to​ ​think​ ​about​ ​the​ ​answer,​ ​just​ ​make​ ​a​ ​guess—your 
brain​ ​will​ ​get​ ​good​ ​at​ ​this​ ​pretty​ ​quickly. 
9. After​ ​a​ ​few​ ​days,​ ​the​ ​number​ ​of​ ​cards​ ​to​ ​review​ ​will​ ​slow​ ​to 
a​ ​trickle. 
10. DO​ ​NOT​ ​CONTINUE​ ​ONTO​ ​THE​ ​NEXT​ ​DECK​​ ​until​ ​your 
workload​ ​from​ ​all​ ​previous​ ​decks​ ​has​ ​dropped​ ​well​ ​below 
five​ ​minutes.​ ​We​ ​want​ ​this​ ​to​ ​be​ ​effortless,​ ​not​ ​a​ ​twenty 
minute​ ​slog​ ​that​ ​you’ll​ ​abandon​ ​as​ ​soon​ ​as​ ​your​ ​life​ ​gets​ ​a 
little​ ​hectic. 
11. This​ ​is​ ​doubly​ ​true​ ​once​ ​you​ ​get​ ​to​ ​Deck​ ​Six​ ​and​ ​Deck 
Ten—they’re​ ​reviews​ ​of​ ​all​ ​the​ ​intervals​ ​you’ve​ ​learned​ ​so 
far,​ ​so​ ​they​ ​have​ ​a​ ​lot​ ​more​ ​cards.​ ​The​ ​first​ ​few​ ​days​ ​of 
those​ ​decks​ ​might​ ​take​ ​you​ ​ten​ ​full​ ​minutes. 
12. To​ ​repeat:​ ​make​ ​sure​ ​the​ ​cards​ ​you​ ​need​ ​to​ ​review​ ​for 
decks​ ​1-5​ ​have​ ​slowed​ ​almost​ ​to​ ​a​ ​stop​ ​before​ ​you​ ​open​ ​6; 
same​ ​for​ ​1-9​ ​before​ ​you​ ​open​ ​10. 

20
SKILL​ ​FIVE:​ ​Playing​ ​The​​ ​Changes 
 
“It​ ​totally​ ​opened​ ​up​ ​the​ ​fretboard​ ​for​ ​me!”  
 
“It​ ​was​ ​a​ ​complete​ ​game​ ​changer!”  
 
These​ ​are​ ​things​ ​you​ ​hear​ ​guitarists​ ​say​ ​about​ ​learning​ ​modes.  
 
But​ ​99%​ ​of​ ​the​ ​time,​ ​what​ ​they’re​ ​actually​ ​talking​ ​about​ ​is 
playing​ ​the​ ​changes—​highlighting​ ​key​ ​notes​ ​from​ ​each​ ​passing 
chord​. 
 
And​ ​indeed,​ ​modes​ ​are​ ​one​ ​way​ ​to​ ​learn​ ​to​ ​play​ ​the​ ​changes.  
 
Unfortunately,​ ​learning​ ​modes​ ​directly​ ​is​ ​boring,​ ​labor 
intensive,​ ​and​ ​frequently​ ​misleading.​ ​Fortunately​ ​for​ ​us,​ ​there’s 
a​ ​better​ ​way​ ​to​ ​approach​ ​it,​ ​one​ ​that’s​ ​easy,​ ​fun,​ ​and​ ​shows 
obvious​ ​benefits​ ​almost​ ​immediately. 
 
Our​ ​goal​ ​here​ ​is​ ​to​ ​be​ ​able​ ​to​ ​find​ ​any​ ​chord​ ​(and​ ​its 
pleasant-sounding​ ​neighboring​ ​notes),​ ​anywhere​ ​on​ ​the​ ​neck, 
in​ ​real​ ​time,​ ​as​ ​the​ ​chords​ ​change.​ ​It’s​ ​no​ ​small​ ​task,​ ​but​ ​none​ ​of 
the​ ​individual​ ​steps​ ​are​ ​difficult. 
 
You​ ​can​ ​use​ ​this​ ​as​ ​a​ ​“push”​ ​system,​ ​where​ ​you​ ​systematically 
map​ ​out​ ​all​ ​the​ ​common​ ​chord​ ​movements​ ​in​ ​all​ ​the​ ​keys​ ​in​ ​all 
the​ ​positions​ ​across​ ​all​ ​the​ ​strings.  
 
Or​ ​you​ ​can​ ​use​ ​this​ ​as​ ​a​ ​“pull”​ ​system,​ ​where​ ​you​ ​solve​ ​your 
most​ ​pressing​ ​problems:​ ​how​ ​do​ ​I​ ​solo​ ​over​ ​that​ ​G#​ ​chord​ ​in 
Santeria? 
 
We’ll​ ​“push”​ ​the​ ​chords​ ​in​ ​G​ ​major​ ​here,​ ​but​ ​you​ ​can​ ​use​ ​this 
same​ ​framework​ ​to​ ​solve​ ​your​ ​other​ ​problems​ ​as​ ​they​ ​arise. 

21
Phase​ ​One​:​ ​Vertical​ ​Mapping 
1. Start​ ​with​ ​the​ ​lowest​ ​occurrence​ ​of​ ​the​ ​I​ ​chord​ ​on 
strings​ ​123.​ ​Let’s​ ​use​ ​the​ ​key​ ​of​ ​G: 

 
2. Now​ ​move​ ​each​ ​note​ ​up​ ​its​ ​string​ ​to​ ​the​ ​next​ ​occurrence​ ​of 
the​ ​chord​ ​tones. 
3. G​ ​—>​ ​B,​ ​D​ ​—>​ ​G,​ ​B​ ​—>​ ​D 

 
4. This​ ​is​ ​your​ ​second​ ​voicing​ ​of​ ​the​ ​G​ ​triad. 
5. Repeat​ ​that​ ​process​ ​of​ ​moving​ ​each​ ​note​ ​up​ ​its​ ​string​ ​to 
the​ ​next​ ​chord​ ​tone. 
6. B​ ​—>​ ​D,​ ​G​ ​—>​ ​B,​ ​D​ ​—>​ ​G 

 
7. This​ ​is​ ​your​ ​third​ ​voicing​ ​of​ ​the​ ​G​ ​triad.​ ​The​ ​fourth​ ​one​ ​is 
exactly​ ​the​ ​same​ ​as​ ​the​ ​first​ ​voicing,​ ​only​ ​12​ ​frets​ ​higher. 

 
 

22
Phase​ ​Two:​​ ​Triads​ ​In​ ​Time 
1. Fire​ ​up​ ​this​ ​backing​ ​track​. 
2. Now​ ​practice​ ​playing​ ​them,​ ​switching​ ​between​ ​the​ ​voicings 
in​ ​time​ ​and​ ​musically. 
3. So​ ​far,​ ​pretty​ ​boring. 
 

Phase​ ​Three:​​ ​Common​ ​Changes 

Here​ ​it​ ​gets​ ​a​ ​little​ ​more​ ​interesting. 
 
1. Repeat​ ​step​ ​one​ ​with​ ​the​ ​IV​ ​chord​ ​(in​ ​the​ ​key​ ​of​ ​G​ ​it’s​ ​C). 
2. You’ll​ ​find​ ​that​ ​the​ ​same​ ​three​ ​shapes​ ​get​ ​repeated​ ​in​ ​the 
same​ ​order. 

 
3. Take​ ​a​ ​minute​ ​to​ ​play​ ​those​ ​voicings​ ​over​ ​this​ ​C​ ​backing 
track​. 
4. Now​ ​practice​ ​switching​ ​between​ ​G​ ​voicings​ ​and​ ​C​ ​voicings 
over​ ​this​ ​backing​ ​track​. 
 
Less​ ​boring,​ ​and​ ​super​ ​useful—now​ ​you​ ​know​ ​a​ ​bunch​ ​of​ ​ways 
to​ ​move​ ​between​ ​G​ ​and​ ​C. 
 

Phase​ ​Four:​ ​Meet​ ​The​ ​Neighbors 

And​ ​now​ ​for​ ​something​ ​really​ ​interesting. 
 
1. Put​ ​that​ ​backing​ ​track​​ ​on​ ​again. 
2. But​ ​this​ ​time,​ ​play​ ​individual​ ​notes​ ​from​ ​the​ ​chords. 

23
 3. This​ ​is​ ​“chord​ ​tone​ ​soloing,”​ ​if​ ​only​ ​barely.​ ​We​ ​need 
more​ ​notes! 
4. Which​ ​other​ ​notes​ ​work?​ ​Find​ ​out​ ​by​ ​trying. 
5. Experiment​ ​with​ ​the​ ​notes​ ​one​ ​and​ ​two​ ​frets​ ​both​ ​up​ ​and 
down​ ​from​ ​each​ ​chord​ ​tone.  
6. Some​ ​will​ ​sound​ ​cool.​ ​Some​ ​will​ ​be​ ​clunkers. 
7. Some​ ​will​ ​only​ ​sound​ ​good​ ​in​ ​passing. 
8. Pay​ ​attention​ ​to​ ​where​ ​they​ ​fall. 
 
Instead​ ​of​ ​learning​ ​all​ ​the​ ​notes​ ​in​ ​a​ ​mode​ ​and​ ​then​ ​winnowing 
them​ ​down​ ​to​ ​the​ ​useful​ ​ones,​ ​we’re​ ​starting​ ​with​ ​the 
guaranteed-to-work​ ​notes,​ ​and​ ​expanding​ ​outward.​ ​It’s​ ​vastly 
easier,​ ​more​ ​useful,​ ​more​ ​malleable,​ ​and​ ​more​ ​musical. 
 

Phase​ ​Five:​​ ​Take​ ​It​ ​For​ ​A​ ​Spin 

Speaking​ ​of​ ​which,​ ​let’s​ ​make​ ​some​ ​music. 
 
1. Put​ ​on​ ​this​ ​backing​ ​track​,​ ​and​ ​take​ ​a​ ​solo​ ​on​ ​those​ ​three 
strings. 
2. Pay​ ​attention​ ​to​ ​the​ ​chord​ ​tones. 
3. Extra​ ​credit​ ​for​ ​moving​ ​decisively​ ​from​ ​one​ ​chord​ ​tone​ ​to 
another​ ​as​ ​the​ ​chords​ ​change. 
 

Phase​ ​Six:​​ ​Repeat​ ​On​ ​Other​ ​String​ ​Sets 

1. Repeat​ ​phases​ ​one​ ​through​ ​five​ ​on​ ​strings​ ​234. 
2. The​ ​second​ ​time​ ​through​ ​it​ ​should​ ​go​ ​much​ ​faster, 
because​ ​you’re​ ​really​ ​only​ ​learning​ ​one​ ​new​ ​string. 
3. After​ ​you​ ​take​ ​a​ ​solo​ ​with​ ​strings​ ​234,​ ​take​ ​one​ ​with​ ​1234. 
4. Repeat​ ​phases​ ​one​ ​through​ ​five​ ​for​ ​strings​ ​345​ ​and​ ​456. 

24
Phase​ ​Seven:​ ​Repeat​ ​With​ ​Other​ ​Chord​ ​Changes 
1. Now​ ​that​ ​you’ve​ ​made​ ​a​ ​detailed​ ​map​ ​of​ ​the​ ​fretboard 
for​ ​I-IV​ ​in​ ​G,​ ​add​ ​new​ ​chords. 
2. Map​ ​V​,​ ​then​ ​work​ ​through​ ​I-V​​ ​and​ ​I-IV-I-V​. 

 
3. Map​ ​vi​,​ ​then​ ​work​ ​through​ ​I-vi​​ ​and​ ​I-V-vi-IV​. 

 
4. Map​ ​ii​,​ ​then​ ​work​ ​through​ ​I-ii​​ ​and​ ​vi-ii-V-I​. 

 
5. Map​ ​iii​,​ ​then​ ​work​ ​through​ ​I-iii​​ ​and​ ​ii-iii-vi-V​. 

 
(​Here’s​ ​a​ ​Youtube​ ​playlist​​ ​of​ ​each​ ​of​ ​those​ ​backing​ ​tracks​ ​in 
order.) 
 

25
(Want​ ​the​ ​ability​ ​to​ ​edit​ ​tempo,​ ​key,​ ​&​ ​genre?​ ​The​ ​iRealPro 
files​ ​are​ ​included​ ​with​ ​the​ ​deluxe​ ​upgrade,​ ​available​ ​for 
free​ ​here​.) 

Phase​ ​Eight:​ ​Repeat​ ​In​ ​Other​ ​Keys 

The​ ​temptation​ ​is​ ​to​ ​repeat​ ​phases​ ​one​ ​through​ ​seven​ ​for​ ​each 
successive​ ​key.​ ​Don’t.​ ​Instead,​ ​do​ ​phase​ ​one​ ​with​ ​all​ ​12​ ​keys. 
Then​ ​do​ ​phase​ ​two​ ​with​ ​each​ ​key.​ ​Then​ ​phase​ ​three​ ​with​ ​each 
key.​ ​And​ ​so​ ​on. 
 
This​ ​way​ ​is​ ​better​ ​training,​ ​much​ ​more​ ​useful,​ ​and​ ​will​ ​leave​ ​you 
better​ ​prepared​ ​when​ ​you​ ​(inevitably)​ ​get​ ​distracted​ ​midway 
through​ ​the​ ​process​ ​and​ ​abandon​ ​ship​ ​for​ ​awhile. 
 
(This​ ​is​ ​massively​ ​easier​ ​with​ ​the​ ​iRealPro​ ​app​​ ​and​ ​the​ ​playlist 
inside​ ​the​ ​Deluxe​ ​edition​—one​ ​click​ ​and​ ​you’re​ ​transposed​ ​to​ ​a 
new​ ​key.​ ​You’ll​ ​also​ ​get​ ​tracks​ ​for​ ​“borrowed”​ ​chords.) 
 

See,​ ​Visualize,​ ​Hear 

As​ ​you​ ​work​ ​up​ ​your​ ​ability​ ​to​ ​play​ ​the​ ​changes,​ ​you’ll​ ​peel 
through​ ​a​ ​few​ ​different​ ​layers.​ ​First​ ​you’ll​ ​work​ ​on​ ​seeing​ ​the 
changes​ ​on​ ​the​ ​fretboard.​ ​Then​ ​you’ll​ ​start​ ​visualizing​ ​them 
while​ ​your​ ​eyes​ ​are​ ​watching​ ​the​ ​chart.​ ​Later​ ​you’ll​ ​begin 
orienting​ ​yourself​ ​with​ ​what​ ​your​ ​ear​ ​tells​ ​you​ ​is​ ​nearby.​ ​Then 
you’ll​ ​start​ ​to​ ​anticipate​ ​the​ ​changes,​ ​leading​ ​the​ ​listener’s​ ​ear 
along​ ​the​ ​progression. 
 
Bonus:​​ ​You’ll​ ​also​ ​start​ ​to​ ​notice​ ​some​ ​patterns​ ​emerge​ ​in​ ​the 
notes​ ​that​ ​connect​ ​chord​ ​tones.​ ​Just​ ​like​ ​there​ ​are​ ​only​ ​so 
many​ ​triad​ ​chord​ ​shapes,​ ​there​ ​are​ ​only​ ​so​ ​many​ ​scale​ ​shapes 
inside​ ​the​ ​major​ ​scale​ ​and​ ​its​ ​modes.​ ​Rather​ ​than​ ​study​ ​these 
as​ ​big,​ ​two-octave​ ​behemoths​ ​that​ ​you’ll​ ​rarely​ ​use,​ ​practice 
them​ ​as​ ​three-string​ ​sets​ ​in​ ​one​ ​position,​ ​while​ ​playing​ ​over 
changes.​ ​I​ ​think​ ​you’ll​ ​find​ ​them​ ​much,​ ​much​ ​easier​ ​to​ ​master 
and​ ​deploy​ ​in​ ​real-world​ ​situations. 
26
SKILL​ ​SIX:​ ​Reading​ ​Music 
I​ ​know,​ ​I​ ​know:​ ​Reading​ ​music​ ​is​ ​scary!  
 
But​ ​guess​ ​what?​ ​When​ ​you​ ​were​ ​playing​ ​the​ ​changes​ ​in​ ​the​ ​last 
section?​ ​You​ ​were​ ​reading​ ​music! 
 
Most​ ​of​ ​the​ ​music​ ​that​ ​a​ ​working​ ​guitarist​ ​is​ ​called​ ​on​ ​to​ ​read​ ​is 
no​ ​more​ ​difficult​ ​than​ ​the​ ​chord​ ​change​ ​charts​ ​in​ ​those​ ​videos. 
 

 
(iRealPro​ ​screencap)​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​(rhythm​ ​section​ ​chart) 
 
As​ ​for​ ​the​ ​rest​ ​of​ ​it,​ ​the​ ​little​ ​dots​ ​on​ ​the​ ​staff? 
 
Well,​ ​let​ ​me​ ​start​ ​by​ ​acknowledging​ ​that​ ​reading​ ​music​ ​is 
legitimately​ ​more​ ​difficult​ ​for​ ​guitar​ ​than​ ​for​ ​most​ ​instruments. 
But​ ​it’s​ ​not​ ​nearly​ ​as​ ​difficult​ ​as​ ​it’s​ ​made​ ​out​ ​to​ ​be​ ​(and 
frequently​ ​less​ ​difficult​ ​than​ ​the​ ​torturous​ ​workarounds​ ​we 
develop​ ​to​ ​avoid​ ​notation). 
 
Here’s​ ​your​ ​plan​ ​of​ ​attack. 
 

Phase​ ​One:​ ​Know​ ​Your​ ​Rhythms 

Step​ ​One:​​ ​Describe​ ​rhythms​ ​with​ ​beats. 

1. Count​ ​along​ ​with​ ​songs.​ ​90%+​ ​of​ ​them​ ​are​ ​in​ ​4/4,​ ​meaning 
four​ ​beats​ ​to​ ​the​ ​measure.  
2. Practice​ ​counting​ ​“1234”​ ​as​ ​well​ ​the​ ​“​and​”​ ​on​ ​the 
upbeats—“1+2+3+4+”. 

27
 3. Now​ ​practice​ ​identifying​ ​where​ ​specific​ ​hits​ ​and 
melodies​ ​land​ ​rhythmically.​ ​What’s​ ​the​ ​rhythm​ ​of​ ​the 
first​ ​few​ ​notes​ ​of​ ​Yesterday?​ ​The​ ​first​ ​few​ ​notes​ ​of​ ​the 
solo​ ​in​ ​Hotel​ ​California?​ ​The​ ​pickups​ ​to​ ​Folsom​ ​Prison 
Blues?  
 

Step​ ​Two:​ ​Learn​ ​to​ ​read​ ​basic​ ​rhythms. 

There​ ​are​ ​only​ ​so​ ​many​ ​one-beat​ ​rhythmic​ ​chunks,​ ​and 
badasses​ ​train​ ​themselves​ ​to​ ​read​ ​them​ ​at​ ​a​ ​glance.​ ​Learn 
these,​ ​then​ ​combinations​ ​of​ ​them: 
 
➔ quarter 
➔ two​ ​eighths 
➔ four​ ​sixteenths 
➔ eighth​ ​and​ ​two​ ​sixteenths 
➔ two​ ​sixteenths​ ​and​ ​an​ ​eighth 
➔ sixteenth-eighth-sixteenth 
➔ dotted​ ​eighth​ ​and​ ​a​ ​sixteenth 
➔ eighth​ ​note​ ​triplets 
 

Step​ ​Three:​​ ​Read​ ​some​ ​basic​ ​charts. 

For​ ​many​ ​tunes,​ ​the​ ​chart​ ​is​ ​no​ ​more​ ​complex​ ​than​ ​the​ ​ones 
you​ ​saw​ ​when​ ​you​ ​were​ ​playing​ ​the​ ​changes,​ ​only​ ​with​ ​rhythm 
slashes​ ​added.​ ​Play​ ​through​ ​a​ ​few​ ​of​ ​these.​ ​You’ll​ ​find​ ​a​ ​bunch 
of​ ​them​ ​in​ ​my​ ​chart​ ​library,​ ​included​ ​with​ t​ he​ ​deluxe​ ​edition​. 
 

Phase​ ​Two:​ ​Know​ ​The​ ​Notes​ ​Separately. 

Step​ ​Four:​​ ​Know​ ​all​ ​the​ ​notes​ ​on​ ​the​ ​fretboard​ ​by​ ​their​ ​names.  
Provided​ ​you​ ​worked​ ​through​ ​this​ ​guide​ ​in​ ​order,​ ​you​ ​already 
did​ ​this​ ​in​ ​the​ ​Theory​ ​section. 
 

28
Step​ ​Five:​​ ​Know​ ​all​ ​the​ ​notes​ ​on​ ​the​ ​staff​ ​by​ ​their​ ​names.  
If​ ​you​ ​still​ ​have​ ​to​ ​work​ ​your​ ​way​ ​through​ ​Every​ ​Good​ ​Boy 
Does​ ​Fine​ ​in​ ​order​ ​to​ ​figure​ ​out​ ​a​ ​note​ ​name,​ ​spend​ ​some​ ​time 
with​ ​flashcards.​ ​There’s​ ​a​ ​deck​ ​included​ ​with​ t​ he​ ​deluxe​ ​edition​. 

Step​ ​Six:​​ ​Know​ ​the​ ​key​ ​signatures.  

You’ll​ ​also​ ​need​ ​to​ ​know​ ​the​ ​key​ ​signatures​ ​at​ ​glance,​ ​so​ ​rock​ ​a 
flashcard​ ​deck​ ​for​ ​that​ ​too.​ ​(Included​ ​in​ t​ he​ ​deluxe​ ​edition​.) 
 

Step​ ​Seven:​​ ​Read​ ​in​ ​position. 

The​ ​trouble​ ​with​ ​most​ ​of​ ​the​ ​Mel​ ​Bay/Hal​ ​Leonard​ ​method 
books​ ​is​ ​that​ ​they​ ​teach​ ​you​ ​to​ ​read​ ​open​ ​position​ ​first…​ ​but 
the​ ​ability​ ​to​ ​read​ ​open​ ​position​ ​doesn’t​ ​translate​ ​well​ ​into​ ​most 
keys.​ ​That’s​ ​why​ ​professionals​ ​usually​ ​read​ ​“in​ ​position,”​ ​by 
which​ ​I​ ​mean​ ​“with​ ​the​ ​CAGED​ ​shapes.”  
 
This​ ​has​ ​the​ ​added​ ​benefit​ ​of​ ​laying​ ​nicely​ ​under​ ​your​ ​fingers 
with​ ​few​ ​position​ ​shifts,​ ​which​ ​allows​ ​you​ ​to​ ​keep​ ​your​ ​eyes​ ​on 
the​ ​page.​ ​Revisit​ ​the​ ​CAGED​ ​shapes​ ​if​ ​you’re​ ​not​ ​already 
familiar​ ​with​ ​them.​ ​(No​ ​need​ ​to​ ​get​ ​too​ ​crazy​ ​with​ ​them 
though—you’ll​ ​have​ ​plenty​ ​of​ ​practice​ ​in​ ​phase​ ​three.) 
 

Phase​ ​Three:​ ​Binge​ ​Read 

Step​ ​Eight:​​ ​Read​ ​through​ ​each​ ​of​ ​these​ ​books,​ ​as​ ​quickly​ ​as 
possible.  
Preferably​ ​in​ ​no​ ​more​ ​than​ ​three​ ​sittings​ ​for​ ​each​ ​one.​ ​Why?​ ​It 
just​ ​plain​ ​works​ ​better​ ​than​ ​the​ ​drip​ ​drip​ ​drip​ ​method. 
 
➔ Music​ ​Reading​ ​For​ ​Guitar​​ ​-​ ​David​ ​Oakes 
➔ Modern​ ​Method​​ ​-​ ​William​ ​Leavitt 
➔ The​ ​Higher​ ​Frets​ ​On​ ​All​ ​Strings​​ ​-​ ​Emile​ ​Schole 
 

29
Step​ ​Nine:​​ ​Get​ ​real. 
Pick​ ​a​ ​chart​ ​from​ ​my​ ​library​ ​and​ ​try​ ​to​ ​read​ ​it​ ​while​ ​playing 
along​ ​with​ ​the​ ​recording​ ​in​ ​real​ ​time.​ ​Repeat​ ​this​ ​with​ ​a​ ​new 
chart​ ​each​ ​day. 
 
(Access​ ​to​ ​my​ ​chart​ ​library?​ ​Included​ ​with​ ​Deluxe​.) 
 
Congrats,​ ​you’re​ ​a​ ​reader​ ​now.​ ​Don’t​ ​let​ ​it​ ​get​ ​stale!​ ​Keep 
reading. 
 
——— 
 
 
Up​ ​next:​ ​Repertoire​ ​⇒  

   

30
SKILL​ ​SEVEN:​ ​Repertoire 
I​ ​always​ ​joke​ ​that​ ​no​ ​matter​ ​how​ ​many​ ​songs​ ​I​ ​learn,​ ​I​ ​still 
need​ ​to​ ​learn​ ​200​ ​more.​ ​For​ ​some​ ​reason,​ ​no​ ​one​ ​outside​ ​of​ ​the 
jazz​ ​community​ ​talks​ ​about​ ​this.  
 
But​ ​every​ ​badass​ ​professional​ ​I’ve​ ​ever​ ​met​ ​knows​ ​a​ ​ton​ o ​ f 
songs.  
 
And​ ​they​ ​really​ ​really​ ​know​ ​them,​ ​so​ ​they’re​ ​totally​ ​unfazed 
when​ ​someone​ ​calls​ ​Every​ ​Little​ ​Thing​ ​She​ ​Does​ ​Is​ ​Magic​ ​in 
some​ ​weird​ ​key,​ ​or​ ​asks​ ​the​ ​guitarist​ ​to​ ​pick​ ​up​ ​the​ ​horn​ ​lines​ ​of 
You​ ​Are​ ​The​ ​Best​ ​Thing​,​ ​or​ ​calls​ ​Down​ ​On​ ​The​ ​Corner​​ ​with​ ​a 
second​ ​line​ ​groove. 
 
So​ ​what​ ​tunes​ ​should​ ​you​ ​learn? 
 
Start​ ​with​ ​your​ ​most​ ​likely​ ​gigging​ ​scenario.  
 
➔ Are​ ​you​ ​playing​ ​solo​ ​acoustic​ ​in​ ​a​ ​fancy​ ​restaurant?  
➔ Playing​ ​in​ ​a​ ​high​ ​energy​ ​bar​ ​band?  
➔ Heading​ ​to​ ​a​ ​jazz​ ​jam​ ​session?  
➔ Hanging​ ​out​ ​with​ ​horn​ ​players?  
➔ Working​ ​a​ ​wedding? 
 
Pick​ ​the​ ​one​ ​that​ ​best​ ​describes​ ​you,​ ​and​ ​start​ ​learning​ ​the 
repertoire.​ ​When​ ​you​ ​have​ ​enough​ ​to​ ​take​ ​a​ ​gig,​ ​go​ ​play​ ​it.  
 
Know​ ​what​ ​you’re​ ​going​ ​to​ ​find?​ ​That​ ​a​ ​bunch​ ​of​ ​other​​ ​tunes 
get​ ​called.​ ​That​ ​people​ ​will​ ​request​ ​songs​ ​you​ ​don’t​ ​know.​ ​That 
there’s​ ​a​ ​song​ ​you​ ​know​ ​where​ ​most​ ​bands​ ​skip​ ​the​ ​studio 
ending​ ​in​ ​favor​ ​of​ ​one​ ​from​ ​some​ ​obscure​ ​live​ ​recording​ ​you’ve 
never​ ​heard​ ​of.  
 

31
When​ ​that​ ​happens,​ ​take​ ​notes!​ ​I​ ​tape​ ​an​ ​old​ ​business​ ​card 
to​ ​my​ ​guitar​ ​(blank​ ​side​ ​up)​ ​and​ ​write​ ​down​ ​the​ ​requests 
people​ ​have. 
 

Solos​ ​&​ ​Duos 

Here​ ​are​​ ​the​ ​75​ ​songs​​ ​we​ ​play​ ​most​ ​often​ ​at​ ​our​ ​duo​ ​gig.  

Bar​ ​Bands 
The​ ​most​ ​popular​ ​party​ ​band​ ​in​ ​Chicago​ ​plays​​ ​these​ ​85​ ​songs 
the​ ​most. 

Jobbing​ ​Bands 
Wedding​ ​bands​ ​pretty​ ​much​ ​always​ ​have​ t​ heir​ ​repertoire​​ ​online. 

Jazzers 
The​ ​University​ ​of​ ​Oregon​ ​has​​ ​a​ ​nice​ ​list​ ​of​ ​jazz​ ​tunes​,​ ​further 
divvied​ ​up​ ​by​ ​waltz/Latin/rhythm​ ​changes,​ ​etc. 
 
Again,​ ​there​ ​are​ ​“push”​ ​systems​ ​(preempively​ ​learn​ ​someone 
else’s​ ​list​ ​of​ ​tunes),​ ​and​ ​there​ ​are​ ​“pull”​ ​systems​ ​(learn​ ​songs​ ​for 
a​ ​gig​ ​or​ ​because​ ​you’re​ ​getting​ ​requests​ ​for​ ​them). 
 
——— 
 
 
Up​ ​next:​ ​Transcribing​ ​⇒  

   

32
SKILL​ ​EIGHT:​ ​Transcribing 
I’ve​ ​listed​ ​Transcribing​ ​last,​ ​but​ ​really​ ​it​ ​spans​ ​most​ ​of​ ​this 
list.  
 
➔ Transcribing​ ​begins​ ​with​ ​theory​,​ ​when​ ​you​ ​see​ ​how​ ​a 
progression​ ​fits​ ​into​ ​nashville​ ​numbers​ ​and​ ​gets 
transposed.  
➔ It​ ​definitely​ ​involves​ ​ear​ ​training​​ ​so​ ​you​ ​can​ ​hear​ ​clearly. 
➔ Once​ ​you’re​ ​comfortable​ ​playing​ ​the​​ ​changes​,​ ​you​ ​should 
be​ ​listening​ ​to​ ​what​ ​other​​ ​people​ ​have​ ​played​ ​over​ ​those 
changes​ ​(and​ ​begin​ ​incorporating​ ​that​ ​into​ ​your 
vocabulary). 
➔ If​ ​you’re​ ​truly​ ​do​ ​the​ ​“scribing”​ ​part​ ​of​ ​transcribing,​ ​you’re 
working​ ​on​ ​the​ ​flip​ ​side​ ​of​ ​reading​—writing​ ​it​ ​down.  
➔ And​ ​of​ ​course,​ ​the​ ​best​ ​way​ ​to​ ​build​ ​your​ ​repertoire​​ ​is​ ​to 
transcribe​ ​tunes​ ​by​ ​ear. 
 
The​ ​reason​ ​I​ ​saved​ ​it​ ​for​ ​last​ ​is​ ​that​ ​it’s​ ​easy​ ​to​ ​miss​ ​the​ ​most 
beneficial​ ​aspects.  
 
Transcribing​ ​isn’t​ ​just​ ​learning​ ​to​ ​play​ ​something​ ​by​ ​ear,​ ​it’s 
also: 
 
➔ paying​ ​attention​ ​to​ ​the​ ​context:​​ ​what​ ​chord​ ​is​ ​under​ ​this 
cool​ ​lick? 
➔ analyzing​ ​using​ ​intervals:​​ ​how​ ​are​ ​the​ ​notes​ ​related​ ​to​ ​the 
chord?  
➔ writing​ ​it​ ​out:​​ ​doing​ ​so​ ​helps​ ​cement​ ​it​ ​in​ ​your​ ​mind​ ​& 
strengthens​ ​your​ ​reading​ ​skills. 
➔ transposing:​​ ​can​ ​you​ ​find​ ​it​ ​in​ ​all​ ​12​ ​keys? 
➔ transforming:​ ​adapting​ ​a​ ​few​ ​notes​ ​to​ ​reflect​ ​the​ ​intervals 
of​ ​a​ ​slightly​ ​different​ ​chord​ ​underneath. 

33
 ➔ playing​ ​the​ ​changes:​ ​you​ ​don’t​ ​really​ ​know​ ​it​ ​until​ ​you 
can​ ​bust​ ​it​ ​out​ ​at​ ​tempo​ ​in​ ​any​ ​key. 

A​ ​few​ ​pointers: 

Start​ ​with​ ​the​ ​most​ ​lyrical​ ​players​ ​in​ ​your​ ​favorite​ ​genre.
Eric​ ​Clapton,​ ​John​ ​Mayer​ ​&​ ​Warren​ ​Haynes.​ ​Wes​ ​Montgomery,​ ​& 
Joe​ ​Pass​ ​&​ ​Herb​ ​Ellis.​ ​Vince​ ​Gill,​ ​Brent​ ​Mason,​ ​&​ ​James​ ​Burton. 
You​ ​can​ ​work​ ​your​ ​way​ ​up​ ​to​ ​the​ ​crazy​ ​stuff​ ​a​ ​little​ ​later. 

Get​ ​the​ ​tools​ ​&​ ​learn​ ​how​ ​to​ ​use​ ​them.  

Everyone​ ​I​ ​know​ ​uses​ ​Transcribe.​ ​It’s​ ​not​ ​super​ ​pretty,​ ​but​ ​it 
works​ ​great.​ ​It​ ​has​ ​some​ ​non-obvious​ ​tools​ ​under​ ​the​ ​hood​ ​that 
make​ ​it​ ​a​ ​real​ ​joy​ ​to​ ​use—​here’s​ ​a​ ​video​ ​showing​ ​my​ ​favorite 
Transcribe​ ​tricks​. 
 
I​ ​use​ ​Sibelius​ ​to​ ​write​ ​things​ ​out,​ ​but​ ​it’s​ ​damned​ ​expensive. 
There​ ​are​ ​cheaper​ ​stripped-down​ ​versions​ ​of​ ​both​ ​Sibelius​ ​and 
Finale.​ ​Some​ ​folks​ ​like​ ​GuitarPro​ ​7​ ​and​ ​I​ ​dig​ ​its​ ​guitar-centric 
sounds​ ​&​ ​workflow,​ ​but​ ​I​ ​understand​ ​it’s​ ​not​ ​super​ ​stable.​​ ​These 
Moleskines​​ ​are​ ​great​ ​(&​ ​cheap)​ ​too. 

Get​ ​yourself​ ​some​ ​speakers​ ​or​ ​over-ear​ ​headphones.

Even​ ​cheap​ ​ones​ ​are​ ​better​ ​than​ ​trying​ ​to​ ​infer​ ​the​ ​bass​ ​note 
from​ ​the​ ​tiny​ ​little​ ​speaker​ ​in​ ​your​ ​laptop​ ​or​ ​earbuds. 

Keep​ ​a​ ​list​ ​of​ ​what​ ​you’ll​ ​transcribe​ ​next.  

Transcribing​ ​should​ ​be​ ​a​ ​regular​ ​part​ ​of​ ​your​ ​journey.​ ​It​ ​gets​ ​a 
helluva​ ​lot​ ​easier​ ​the​ ​more​ ​you​ ​do​ ​it.​ ​Stack​ ​the​ ​deck​ ​in​ ​your 
favor​ ​by​ ​keeping​ ​a​ ​list​ ​of​ ​solos,​ ​licks,​ ​&​ ​progressions​ ​that 
grabbed​ ​your​ ​attention. 

Start​ ​small​ ​(but​ ​consistent). 

“Transcribe​ ​a​ ​George​ ​Benson​ ​solo”​ ​is​ ​a​ ​massive​ ​undertaking. 
“Transcribe​ ​two​ ​bars​ ​today”​ ​is​ ​much​ ​more​ ​achievable,​ ​not​ ​to 
mention​ ​sustainable​ ​over​ ​time.​ ​Talent​ ​compounds. 
34
 

Some​ ​Parting​ ​Thoughts 

A​ ​dozen​ ​years​ ​ago,​ ​when​ ​I​ ​was​ ​making​ ​the​ ​switch​ ​from 
bartender​ ​to​ ​professional​ ​musician,​ ​I​ ​would’ve​ ​loved​ ​to​ ​have 
had​ ​a​ ​detailed​ ​list​ ​like​ ​this. 
 
It​ ​would’ve​ ​saved​ ​me​ ​years​ ​of​ ​frustration​ ​and​ ​wandering​ ​down 
dead-end​ ​paths. 
 
So​ ​here​ ​they​ ​are,​ ​the​ ​biggest​ ​areas​ ​of​ ​focus​ ​that’ve​ ​allowed​ ​me 
to​ ​build​ ​a​ ​career​ ​in​ ​music.​ ​I​ ​hope​ ​you​ ​try​ ​them,​ ​and​ ​use​ ​them, 
and​ ​tinker​ ​with​ ​them,​ ​and​ ​improve​ ​them,​ ​and​ ​argue​ ​about​ ​them. 
 
I’m​ ​not​ ​the​ ​final​ ​authority​ ​on​ ​this.​ ​I’m​ ​no​ ​guru.​ ​I’m​ ​a​ ​person​ ​just 
like​ ​you,​ ​who’s​ ​trying​ ​to​ ​figure​ ​out​ ​how​ ​to​ ​get​ ​better​ ​and​ ​better. 
 
I’d​ ​love​ ​to​ ​hear​ ​how​ ​this​ ​helped​ ​you,​ ​and​ ​how​ ​it​ ​could​ ​be​ ​better. 
 
You​ ​can​ ​email​ ​me​ ​anytime​ ​at​ ​[email protected] 
 
And​ ​if​ ​you​ ​did​ ​find​ ​this​ ​helpful,​ ​I’d​ ​love​ ​it​ ​if​ ​you​ ​told​ ​some​ ​other 
people.​ ​Email,​ ​Twitter,​ ​Facebook,​ ​in​ ​person,​ ​whatever. 
 
Don’t​ ​forget​ ​to​ ​claim​ ​your​ ​upgrades​.  
 
If​ ​you​ ​want​ ​a​ ​more​ ​comprehensive​ ​take​ ​on​ ​all​ ​this,​ ​delivered​ ​in 
bite-sized​ ​daily​ ​doses,​ ​check​ ​out​ ​my​ ​courses​.​ ​If​ ​this​ ​guide​ ​is​ ​a 
roadmap,​ ​the​ ​courses​ ​are​ ​turn-by-turn​ ​GPS. 
 
See​ ​you​ ​out​ ​there, 
 
Josh 

35