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This Video: July 06, 2012 | Search Videos by Title/Date.
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Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m 17 years old, and no matter what I write, it’s too simple and lacks depth. I wanted to know if there is a way to give sections a significance throughout the song, making the song unique in it’s own way. I’d really appreciate if you’d be able to help me, my frustration is at a certain point where I’m starting to lose confidence in my composing skills.
Michael – Berlin, Germany

A: As musicians we tend to think of our style of art as a language and just like any language, without structure, without clear intonation and meter, the communication of our musical ideas can sometimes suffer. Because music is both self-expression and communication, our listener should be able understand the musical flow of each section of our songs. So, what is a song section? Examples of this are; a verse, a chorus, the bridge, perhaps an intro. and usually some type of ending. Some songs have lyrics, others are instrumental. But, one thing is for sure, each part must be understood and accepted by both the musician and the audience. I’m sure you’ve heard this before, but songs that tell a story and have a catchy hook, will tend to connect extremely well with an audience. To create good structure we need a song writing road map. Unfortunately, as composers each of us needs to build our own song writing road map, but I can get you started with a few significant tips on this topic, watch the video to learn more!

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I like the sounds of having multiple guitar parts played in a harmony. I understand how to make a two-part harmony with one melody getting another interval on it (mostly just by 3rd’s). But, I’d like to know how things could work if there were three parts. Could you make a lesson covering how three guitar parts could be performed together harmonized?
Ken – Kula, HI. USA

A: The most common 3-part harmonies involve the Root, third and the fifth of each scale tone (as we would relate them to the key signature). Another way is to expand upon an existing harmony and take the tones out further from the; 5th, up through the 7th and the 9th. Another idea for doing this work, would be to create layers of different melodies that operate against a foundational line and remain within the key signature, (but do not follow one particular interval across each of the melody tones). This is more complex, but with the information in this lesson you should be able to have some initial success.

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This Video: December 12, 2014 | Search Videos by Title/Date.

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Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: Over the last year, one of the main interests I’ve had is with songwriting and recording. It’s not going too bad, but I have concerns. They are mostly with how my song structures, arrangements and recordings sound weak. Can you make a lesson covering the “strengthening” of a songs structure. I need to have some ways to strengthen the arrangements and the recording of my songs. Thanks for all the lessons!
Jason – Edmonton, Alberta CANADA

A: One of the most exciting and involved periods of our musical development is when we begin arranging and recording our original music. It is important to keep in mind that there are multiple layers to the process of arranging and the eventual recording of a song. Arranging and recording isn’t a quick process and it should never be rushed. In this lesson I cover several important ideas that will help with the “Strengthening of Song Structure.” These will include; altering the feel of the meter, layering guitar parts, (in unison, and through harmonies). And, composing themes that build and repeat to draw the listener in and help them anticipate certain melodic and harmonic movements.

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Andrew Wasson of Creative Guitar Studio answers questions from off of his Guitar Blog website…

Q). I’m wondering why I keep seeing different types of chord analysis? Some of it is done with all upper-case roman numerals. Other times, I’ll see it done where the minor chords are given as lower-case roman numerals, and the major chords are all upper-case. Yet other times, I’ll see that the analysis was done by using regular numbers instead of Roman Numerals. This all has me really confused. Could you make a lesson clarifying all of this chord analysis stuff? Thanks a lot!
David — Minneapolis, MN. USA

A). A system of using some kind of numbered approach to analyze the movement of chord changes in a progression is what musicians call, “Harmonic Analysis.” The common issue that will often arise with musicians around the world who learn various types of Harmonic Analysis becomes one of simply which method of Harmonic Analysis they just so happened to be taught during their own musical education. In this video, I’ll cover the Top Four methods that are generally used for analyzing chord progressions musically. Hopefully, dispelling some of the myths and confusion surrounding this very important musical ability.

As always, Thanks for writing in!
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This Video: April 08, 2011 | Search Videos by Title/Date.
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Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’ve been working with my guitar teacher on soloing. We are using simple two chord jams covering 8 beats in 4/4 time. My problem is that my lines are not really sounding very good. They don’t make much sense. Everything I play just sounds like twisting strands of detached notes. My teacher hasn’t been of much help, he just keeps telling me to play with more soul and feeling. This frustrates me even more, because that kind of remark comes across as a really empty comment to me. I wish I could come to Creative Guitar and study with you, but your studio is over a thousand miles away. My birthday is May 21st, and I’m getting a webcam and I will definitely be ordering a Skype lesson from you. I really hope you can read and maybe even answer my question! Thanks for all that you do on YouTube!
– Ian, Hamilton, ON. Canada

A: For most players – the early days of soloing and making improvised music on the guitar can feel like there’s a huge lack of musical sense. Some players I’ve taught here in the studio use blinding speed to cover this up, but this certainly doesn’t solve the problem either. I can remember many years back when I was studying with Scott Henderson at GIT, he said several times that Music is a language and the sentences of your music need to clarify the subject or topic. Without this, your music could come across as nonsense. So, in this video I’ll be covering a few tips to help Ian and others when during the practice of soloing problems occur leaving you with a feeling that your phrases don’t make sense.

The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements:
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