Guitar Serious Fun

Enjoy the chart below, with transcript…Have you ever seen the abbreviation “Sus” in a chart and thought, “What does that actually mean?”  Today we're going to talk about…suspensions with music on the guitar.I encourage you to catch the video version of this article while it's available. This way, you'll see and hear everything demonstrated. You can find the video right here: If you've ever seen a suspenseful movie, or if you've ever had the unfortunate experience of having an account suspended, or your driver's license suspended, you have experienced suspense.But what do all of these scenarios have in common? They are all temporary. A suspenseful movie can't be suspenseful the entire time – it just wouldn't work. A suspended account is usually restored to good standing when the balance is paid, and a suspended driver's license can eventually be reinstated.So, I'm not talking about something being permanently taken away – I'm talking about something being temporarily suspended, and eventually – wait for it – resolved.So, let's take a moment to discuss what suspensions can look and sound like on the guitar, and why they're important.So, when we see the term “sus” in a chart, that's short for a SUSpended chord. First of all, the most common chord we'll find suspensions for is going to be on the Dominant, the V chord in a Major key. And second of all, the most common type of suspension or “sus” chord we're going to experience is the “sus4.” We could go in all sorts of additional directions, but for now, let's keep things pretty simple.So, let's say we're in the key of G Major, a very guitar-friendly key. The Dominant or V chord in G is D.  But today, we're not just going to play it as a D Major chord, we're going to play it as a Dsus4 chord.Now, my background in music began with a classical degree, which included several years of collegiate music theory, so I'm going to offer you an additional level of musicality here. It involves a three-word process.  That process is: “Preparation,” “Suspension,” and “Resolution.”Because, if we think about it, it's nice to be able to prepare ourselves for suspense, so we can anticipate it just a bit. The plot thickens in a movie. We get a warning notice that our account is about to be suspended. The cop car behind us fires up the lights on his roof to let us know we're about to be pulled over, which could lead to a suspended license.So “Preparation” is the first step. The second step is the actual “Suspension.” This is where things are in a temporary state of suspense that is typically not restful. The suspenseful scene happens in the movie, putting us on the edge of our seats. Our account is suspended, so we can't have access to it. Our license is suspended so it's temporarily taken away.So, with this suspension, there's a bit of tension. There's tension, but in this musical scenario, this is a good sort of tension. But as I mentioned, we aren't going to stay in suspense indefinitely. Eventually, we get to the third step, “Resolution,” where the Suspension ends. The suspense in the movie plot winds down, if only temporarily, as it comes to a resting point in the story. The account is restored. The license is reinstated.So, again, think through those three words as we continue - “Preparation,” “Suspension,” and “Resolution.”So here we are in the key of G Major. The I chord in G Major is…G Major, right? The IV chord is C Major, and the V chord is D Major. Now, to bring this right to your fingers in an easy manner, I'll actually use some “color” chords, so the chords will actually be easier to play, and they also won't be pure Major chords, but they'll still totally work for this exercise.The most important note in this suspension exercise is the high G note on the 3rd fret of the 1st string.  I want you to watch this note carefully, because it's going to remain for three chords, but it will have a different identity in each.I'll analyze the first chord as a G5 chord with no 3rd.  So, in the G chord, this high G is the root, right? But then, when we move to a C2 chord for the IV chord, we still keep that G up on the 3rd fret of the 1st string, and now it's the 5th of that chord. It's at this stage that we start to feel the “Preparation.” In other words, we're ramping up to the Suspension.Next up is the V chord, D, but we're going to keep the high G note on that 3rd string, thereby rendering this chord a Dsus4. Why is it a Dsus4? Because the high G is now the 4th degree of the D chord.Now, typically a D Major Chord won't have a G in it, but rather an F#, right? But here, with this chord, the Vsus4 is providing the Suspension we're after. Right now, it's not a Major chord.So now we've been put in suspense. It's not a restful chord. It's a chord where we're temporarily “on edge” just a bit.But what follows a Suspension, ideally? You know it – Resolution.All we need to do is take that high G note that we've had with us all along, and let it resolve down to the F#, thereby establishing the D Major chord, on its way back to…the G chord. See how the Vsus4 chord moves to a Major V chord, and finally back to the I chord?It's actually quite pleasing to the ear. (Catch the video for the demonstration of this.)Is there more? Always. Can we create a Sus2 chord? Yep.Can we create suspensions with 7 chords? Yeah buddy. Can we play suspensions as bar chords? Of course.Can we play a suspension without preparing or resolving it? We're technically not playing them functionally as suspensions, but…sure.Can suspensions resolve to minor chords? Yes, but that tends to sound a little more “Foreign” in some cases (catch the video for my music reference.)As you can see, we can go much further. But it all starts here with this simple process of KNOWING what a suspension is, and then experimenting with the intentional approach of Preparing, Suspending and Resolving. Want to go deeper and transform your guitar journey? Check out what we offer at www.GuitarSuccess4U.com. Keep showing up, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Enjoy charts and tables below, with transcript…If you play an A Major chord like most people, you're missing out. I'll show you why, and what to do about it.I encourage you to catch the video version of this article while it's available so you can watch me demonstrate these concepts. You can find the video right here:Chords exist in context. Am I right? We typically won't play a song that consists of a single chord, because that would be…boring.So, if we want to play chords well in context, this begs the question – do guitar chord fingerings really matter? Let's find out.I'm going to list three Major keys that are pretty common with guitar players: the keys of A, E and D Major. Which chord do all of these keys have in common? The A Major chord.In the key of A, the A chord is the Tonic, the I chord.In the key of E, the A chord is the Subdominant, the Major IV chord. And in the key of D, the A chord is the Dominant, the Major V chord.It's a pretty widely-used chord. And yet… a lot of guitar players are really making more work for themselves with the fingering they use.  Now, when we fret a note, it's best to press down as close to the fret as we can, for a clean articulation.Unfortunately, some of the guitar educational materials I've come across teach the A chord with fingers 1, 2, and 3 in a row. Even if we slightly adjust to fingers 2, 3, and 4, the situation is not improved by much, because there's not quite enough room for our adjacent fingers to be well-situated on the second fret in these configurations.So, what do we do?  For almost 30 years, I have taken the approach I'm about to show you, and it is truly a game-changer. And it's actually really simple. Check it out.I use fingers 2, 1 and then 3. A better way to get situated is to place 2 and 3 on the 2nd fret, like you're voicing an open A7 chord and then drop in the 1st finger, wedging it right between those other two fingers.Again, not all three notes will be right up next to the fret, but this is still a vast improvement to what we had before. Remember, even if a finger is not right next to the fret, it can still sound clean; it just needs to press harder, the further it is away from the fret. So now that you've been exposed to this new fingering for the open A Major chord, what can I do to validate its usefulness?That's right – I'm going to place it in context.Remember how we talked about the keys of A, E and D? Let's say I wanted to move from A to E and back, whether that's in the key of A or the key of E. Both scenarios apply here.Watch what happens if I use the “old” way of fretting the A chord.  If I start with the less optimal fingering, I have to lift all three fingers to move to the E chord.  Then when I go back, I again have to lift all three fingers. Doable, but not ideal. (The accompanying video demonstrates this clearly.)What if I tried our new and improved fingering?The first finger stays on the 3rd string and provides an anchor point because although it slides down a single fret, it doesn't have to be lifted from the string. Way better. (Watch the video for the economy of movement.)Ok, how about the transition from A to D and back? Even though I do have something of an anchor note on the 2nd string with my 3rd finger, the other two fingers have to re-locate entirely both ways.It works, but is there a better way? Yep. Our new way.Try it, and then watch with delight as only one finger needs to lift up to relocate as the other two fingers provide anchor points both directions.So, not only is it a cleaner articulation to play A Major this way, we have a much cleaner transition to and from a couple very closely-related chords.  So yes, I believe guitar chord fingerings do matter.This may be significant to you, or it may not.But if we're going to play this chord a few thousand times in our lifetime, wouldn't it be better to play it more effectively? And wouldn't it be nice to gain even more visual independence from this chord in context?Hopefully this gave you a window into my approach to teaching the guitar, and how I like to zoom in for more precision and artistry, which enhances our musicianship and just helps us PLAY better.Side note: here at GuitarSerious Fun, I published an article/video called “Do Guitar Chord Voicings Matter?” I encourage you to check that out as well.You can find us on social media with GuitarSuccess4U on YouTube, Instagram and Facebook. But if you want the real experience, join GuitarSuccess4U. We have a 30-day money-back guarantee.See you there!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Have you ever made a mistake onstage while playing your guitar? What's the best thing to do in the moment, and afterwards? I encourage you to catch the video version of this article while it's available. It takes our discussion to the next level. You can find the video right here:It's happened to all of us. We're playing our guitar in a worship or performance setting, and somehow, we play something differently from how we've rehearsed it. And by differently, I mean wrong. It's clearly not what we planned to play.So, what do we do? I'll offer several options for what we can do, and then I'll let you decide which option is the best course of action. I can't promise not to “lead the witness,” but I think it's important to see what the options are. These are six options I can choose when I make a mistake.#1. Visibly express my disappointment.Body language is the most powerful form of communication.So, if I make a mistake and then I…shake my head, frown, smile awkwardly, roll my eyes, or simply look surprised, I've just nonverbally communicated to the people I'm serving that I've made a mistake.#2. Ignore the mistake and never speak of it.This is the extreme opposite. If I know I've made a mistake but I not only ignore it, I actually never take time to think through what happened, this doesn't allow me to benefit from the experience. And if I try to convince myself that I haven't actually made a mistake, I just might be avoiding reality.#3. Visibly show no response, but internally combust.Some of us wear our emotions on our sleeves, but others keep them all inside.If I'm visibly displaying that I'm doing fine, but inwardly, I'm having a conniption because of a mistake I just made, it just might not be the healthiest choice for my emotional or mental state.#4. Keep thinking about the mistake even while playing the song.Once a mistake has happened, there can be a temptation to look back at the spot in the chart, or think back to the spot in the song, even as we're trying to complete the song.But to use an analogy, if I drive over a bump in the road and I look back at that bump while I keep driving forward, I may encounter even bigger “bumps” ahead, if you know what I mean.#5. Move on, but beat myself up for weeks or months afterwards.If I make a mistake, but finish the service or the concert on a strong note, that can be good.But what if I focus on my mistake, hold it over my head, maybe even apologizing profusely when I talk to my collaborators, the congregation, or members of the audience afterwards?What if, for weeks or months at a time, I belabor the mistake and keep reminding myself of what happened, speaking self-critically the whole time? Profitable? I don't think so.Lastly…#6. Recover gracefully…but evaluate objectively later.This last option, if you haven't already decided for yourself, is my preferred approach, because it's only by learning from our mistakes that we can truly grow.Some would say that mistakes are easier to learn from than successes. If we know something worked, but we don't know exactly why, it can be more difficult to learn from the experience.However, if we make a mistake, we can examine it from a few different angles objectively, and decide how to better prepare for a similar experience in the future. This will help us avoid making (or at least reduce the possibility of making) the same mistake. Having an intentional time set aside, sometimes with fellow team members on what might be called “Honest Monday,” can be a good opportunity.The key is not to be too hard on ourselves. If we skirt the edge of 100% negative self-talk, it can be pretty damaging. It can even make it hard for us to keep the joy of music alive.If we can separate ourselves from our musical offerings and be objective enough to say “That was a mistake, and here's how I plan to avoid it in the future,” this simple approach can be tremendously effective.The more specific we can be about our recovery strategy, the better. If it's a chord transition, we can work those chords. If it's a tuning issue, we can practice tuning every time we get ready to play (and this is a great habit for any guitarist.) If it's a tempo issue, we can practice with a steady drummer or percussionist who keeps us honest, or at least practice with a metronome.And the next level is to play the song (with the challenge spot) for an “audience.”  By the way, have you heard my definition of an audience?  Here it is. An audience is: one or more people who are listening, giving their undivided (or even divided) attention, thereby compelling us to finish the song we're playing.This puts us under a healthy amount of pressure, much more so than practicing on our own. If you're having a hard time convincing someone to listen to you play, become your own audience.Put your smartphone on a tripod, spin it to “selfie” video mode, and hit “record.” The pressure will go up, and the added blessing is that you can go back and watch yourself play.Hopefully, these insights have given you some tangible strategies, as well as some behaviors to avoid, the next time you make a mistake with your guitar onstage. Mistakes are inevitable. But every mistake can be an opportunity to learn and to grow. My hope is that you'll take those opportunities. Keep showing up, and I'll see you next time.Interested in going deeper? Please check out www.GuitarSuccess4U.com.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Do you know how to transpose chord progressions on the guitar? If you don't, please spend a few minutes with me.If you think you've got it figured out, you still might learn something new here.I encourage you to catch the video version of this article while it's available. It goes much deeper than I can with my typed words, and you'll be able to hear the chord progressions too. You can find the video right here: Here are three tips to make transposition smooth and effective.1.       We need to know all the diatonic chords in our starting key. Do you know all seven chords in C Major? Wait for it…2.       We need to assign numbers to the chords.Now, my background began in classical music, so I trained with Roman numerals.  But just as effective is the Nashville Number System.As you'll see from my chart below with chords in C and A Major, there are specific cases and indicators for degrees that the Roman numerals and Nashville Numbers can guide you along with.With Roman numerals, capital numbers are Major, and lower-case numbers are minor. With Nashville Numbers, we just use Arabic numerals, and we indicate the qualities of the chords with just a number to imply a Major chord, and a number followed by a lower case “m” to indicate a minor chord.Using numerals or numbers, we need to be able to identify each chord as a number, but then also to identify each number as a chord.  So, for example, in the key of C Major, what is the number for C? What about the number for F? Check the chart above to confirm your answer.Let's go the other way. In the key of C Major, what is the name of the minor vi chord? How about the minor ii chord? Again, you can check your work.So, if I wanted to play the progression I V vi IV (or 1 5 6m 4) in C, what would the chords be? C G Am F. It's a very popular progression. Let's do the reverse process. If I played the progression C Em F G, what would the chordal analysis be in terms of numbers? I iii IV V (or 1 3m 4 5). Another very useful progression. Lastly,3.       We need to know the chords and numbers in our destination key.If we have a destination key we want to transpose to, it would be helpful for us to know those diatonic chords, and to be able to familiarize ourselves with them in the same fashion as numbers. For our purposes today, I've chosen the key of A Major (also reflected in the chart I've provided).Now let's put this knowledge to practical use.Let's go back to our first progression of chords in C with C G Am F and let's transpose that progression to the key of A. If we know the corresponding numbers and chords in the key of A, we know that the chords for that progression would be…A E F#m D.  Transposition accomplished!Now let's create a new progression in A with I IV ii V (or 1 4 2m 5). Those chords are A D Bm E. Based on how well we know the chords in C, we use numbers and transposition to crank out C F Dm G. Transposition accomplished again! The accompanying video will add much more dimension and understanding to what you're reading here.Now there are a couple subtle ways to check our work. If we know the distance from A to C, which is up a minor 3rd, we can take each chord in the key of A, and move “vertically” to its corresponding chord in the key of C. (The video has more.)Another method is to think “horizontally” from the tonic to the other chords within each key. The tonic is the home I chord, so this would be the A Major chord in the key of A, or the C Major chord in the key of C. (The video again has more.)As you can see, this process is going to help us a lot. It's just a matter of some simple memory work and repetition.Want to go deeper? Please watch the video for a more advanced progression with some borrowed chords.Are you ready for some application to validate these tools? Let me ask some questions, all of which end in a positive answer. Can we transpose from the key of A back to the key of C? Of course!Can we take a progression in a less guitar-friendly key that either requires lots of bar chords or a capo, and transpose it to a guitar-friendly key with fewer bar chords and more open chords? Yeah buddy! Can we transpose from one minor key to another minor key? Yep!Can we transpose from the Dorian mode with one key center to a Dorian mode with another key center? You betcha!As you can see, there are all kinds of possibilities when we know how to transpose.  If you have a worship song and you want to transpose it, you can use this method. You can write out the transposition with numbers, or verbally call it out on the fly as you play with your band. There are digital tools that can do this for you, but if you want to grow in your ability to transpose, I encourage you to try some of this mentally and manually.I've transposed more charts than I can count. And if you can analyze and learn a song by number, and you've got a good grasp of several keys, you can quickly transpose that song into any of those keys.Transposition facilitates easier fingerings, preferred chord voicings, better vocal ranges, and more. See the relevance?Want to go deeper? Check out www.GuitarSuccess4U.com.Really serious about next steps? Check out our new free web masterclass at www.GuitarSuccess4U.com/formula.Thanks for checking out today's episode of Guitar Serious Fun!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here.You can also watch the video version embedded below (psst - did you know that GuitarSuccess4U has a YouTube Channel? Please subscribe!

Transcript included below…I'm coming to you today with a bit of an announcement and update, as we continue forward.When I began creating this blog and podcast two years ago, I wasn't sure exactly how far I would take it, but I'm very pleased to celebrate the fact that for two solid years, I've been able to release an episode every single week, with today being episode 105.I have colleagues who are podcasters who sometimes take a few weeks off, but thanks to the blessing of the opportunity to batch content, as well as the Lord's provision of a lot of creativity and perspectives on how to encourage you, I can celebrate that I've been able to consistently churn out some pretty encouraging and practical stuff, without a single break.I don't claim the glory for this – it's all glory to God.  I just want to celebrate.  Two years is a significant achievement for content creation on such a consistent basis.  I also want to give a shout-out to my podcast guests, who include Dawn Jones, Erin Pakinas, Mo Higgins and Jerry Chambers.  Their insights have added much more depth to what I've put together, because they've provided outside perspectives that have really enhanced this experience.In 2019, we launched GuitarSuccess4U, our online paid offering, which I've mentioned after many of these episodes here at Guitar Serious Fun.  And if you haven't learned about it yet because you've only recently subscribed, I do cordially invite you to consider joining us.The website for this experience is GuitarSuccess4U.com.  As you'll discover if you explore the website, we have a lavish, yet accessible offering for beginning and intermediate Christian guitarists. This means that it's not for everyone…but the people it's for really resonate with what we've put together.  And it's so much more than a guitar learning experience; it's the opportunity to go deep with our passions for the Lord and music and how they intersect.In the process of building out GuitarSuccess4U, my wife and I studied under Stu McLaren through a training experience called Tribe.  They've since changed their name to The Membership Experience.  Based out of Ontario, Canada, they've offered some solid counsel that has launched us forward into our teaching process of taking my 30 years of experience and imparting it through the portal and community that GuitarSuccess4U provides.One thing Stu is famous for saying is “Do more of what works, and less of what doesn't.” Which brings me to the change that's coming here at Guitar Serious Fun.  We've had a steady increase in followers and readers, but as we've checked our analytics over the past two years for how many folks have read the blog or listened to the podcast, the increase has not been as “up and to the right” as we would have liked.I love to create long form content, but in the case of this podcast, it's a lot like a journal.  As one of our Guitar Successors shared with me, some of what I've put together here has likely been for…me.  And it's been a great way to process my thoughts and journey.It has also, of course, been for you – my listeners or readers. Now, I know from our list of subscribers that a significant portion of those who follow Guitar Serious Fun are already members of GuitarSuccess4U.  Which is awesome. Perhaps you are not yet a member but are considering GuitarSuccess4U, and I sincerely hope you do.  I challenge you to find as meaningful and affordable of an experience as what we offer.So, this podcast and blog, Guitar Serious Fun, has been exactly that.But the avenues that seem to be gaining more traction and momentum for our ministry in this season are our GuitarSuccess4U YouTube channel and our GuitarSuccess4U Instagram account. You can find us on YouTube at youtube.com/@guitarsuccess4u.You can also find us on Instagram at instagram.com/guitarsuccess4u.We are posting almost daily on both YouTube and Instagram, and some of our shorts, vids and reels are getting some pretty good reach.  As of today's episode of Guitar Serious Fun, we have almost 900 followers on YouTube and almost 600 followers on Instagram.  Contrast this to just over 60 followers here.Now again, hear me when I say how grateful I am for your willingness to experience what I've put together.  Your investment of time and attention is a huge blessing to me.  But it is indeed time for a change. So, the change that's going to happen is this: at this point, I will be doing less of these episodes. Not that it's “not working” – but it's working less than I'd like, and as you know, we've all only got so much time to allocate to creating content, especially free content.  I love to create content.  It's something that gives me a lot of joy, and I have a working list and folder of concepts that are steadily making their way into the light.  People are loving a lot of what I'm putting together, and I've never experienced writer's block, which I guess is something that many people have struggled with.So I have no complaints.  Instead, a lot of gratitude!My wife and I serve under a 501(c)(3) non-profit ministry, appropriately called “David Harsh Ministries,” and our Board of Directors has graciously counseled us to take the new approach of a monthly episode of Guitar Serious Fun, so for the foreseeable future, that's what we'll do.The episodes that will be forthcoming will be audio versions of mini topical guitar lessons.  So, you can look forward to practical, encouraging episodes that will all link to a video version of what you'll hear, sometimes accompanied by some charts and tables.Speaking transparently, my intention is not to turn the Substack for Guitar Serious Fun into a paid experience, at least not at this stage, but instead to help you gain more awareness of how we can serve you inside GuitarSuccess4U. So…what do I need from you? Well, I think the best thing you can do is comment after today's episode.  Share your thoughts.  Let me know which episode or episodes of Guitar Serious Fun resonated with you and provided encouragement or wisdom.And then, consider providing some topics we could expand upon for future episodes of Guitar Serious Fun, future videos on YouTube, or future reels on Instagram.Will you do this?  Will you grab 5 minutes to share some feedback with us? Believe me, some entire episodes of Guitar Serious Fun have come to life as the result of a single question.I want to thank you for your time today and for however long you've been experiencing these episodes.  I do look forward to our monthly connection here.And I again hope to serve you inside GuitarSuccess4U, where I'm serving our members with most of my time and energy, as we desire to impact the Kingdom of God through a legacy of learning, as our members fulfill their callings in worship leading, songwriting, and the enjoyment of music at whatever level this season calls for.Thanks for reading, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to www.GuitarSuccess4U.com/10AlternateTuningMyths. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript and table included below…Have you always wanted to play in alternate tunings, but felt a little intimidated by the process? Not anymore.Let's dispel 10 myths together and find some hidden treasures when it comes to alternate tunings.The 6 machine heads on our guitars are like a 6-digit combination lock, and the alternate tunings we can access with them can be incredibly enjoyable. Here are 10 myths I'm going to dispel about alternate tunings.  You ready?Myth #1 – “Alternate tunings are too difficult to get into.”By definition, an alternate tuning is any tuning that's different from standard tuning, so even Drop-D can fall into this category. This is the best place to start. All you do is start with a standard-tuned guitar and then tune one string down – your 6th string, until the 12th fret harmonic matches the open 4th string D (watch the video to see how.)Myth #2 – “Alternate tunings can be achieved with a partial capo.” If were to take a standard tuned guitar and place a partial capo on strings 5, 4, and 3 on the second fret, and play those notes open, they would sound an Esus4.If I tune another guitar to DADGAD and place the capo on the second fret, I'll have access to the same open notes that sound an Esus4. And although some of the chords might sound similar on both guitars (see the video), that's where the similarity between the partial capo and the alternate tuning end.Look at this closed voicing A Major scale on a standard-tuned guitar with a partial capo, and contrast it to a DADGAD capo 2 guitar.Myth #3 – “You can figure out the tuning of a guitar from an audio recording.” Sometimes. Not always. I wrote a song in DADGAD and recorded it on an album with my capo on the 3rd fret. Later, a friend liked the song so much that he taught it to himself from the recording, and played it in standard tuning, but with a lot more fretted notes. Myth #4 – “The tuning dictates the key.” Not necessarily. I actually learned a beautiful fingerstyle song by Pierre Bensusan in DADGAD while studying with him in France called “L'Alchimiste,” and that song was in DADGAD but in the keys of C and F Major…without a capo. Pretty wild.Myth #5 – “Alternate tunings require a dedicated guitar.” I think it depend on how quickly you can re-tune. I caught Michael Hedges in concert a couple times and he had two 6-string guitars for the whole show – one he played onstage, while his technician re-tuned the other one offstage. He must have played in upwards of two dozen tunings with just those two guitars. At my concerts and when I lead worship, I use at most, three guitars. I try to keep my guitars in neighboring tunings as well, and to plan my sets accordingly.Myth #6 – “Each tuning takes a long time to learn to play in.” Actually, once you've re-tuned, you can be creating great music in minutes. There's something sweet about exploring a new tuning for the first time, and finding chord voicings that are just not possible in standard tuning or even partial capo positions.Myth #7 – “Once you re-tune, you have to re-learn the instrument.” As I mentioned, you don't have to re-learn everything in a new tuning. Some strings, if they remain in their original pitches, can allow for some of the same figures we know, like three-string chord voicings or melodic fragments. Some tunings are nice for specific textures, drones, or certain keys. But a new tuning doesn't necessitate re-learning the entire guitar from square one. Myth #8 – “Alternate tunings require special string gauges.” If we keep the same strings proprietary to their standard locations on the guitar, I recommend medium gauge – 13 to 56, from high to low, because a set of these strings splits the difference between the heavy gauge strings and light gauge strings.Myth #9 – “Your tunings drastically affect your collaborators' choices.”As long as you're in concert pitch and playing chords or melodies, this really doesn't affect your collaborators in a major way.You might have a little fun mystifying your bass player who thinks they know which notes you're playing, especially on your low strings, but no, tunings don't affect other musicians, at least not logistically. They may actually inspire your collaborators artistically, which could be really cool. Lastly…Myth #10 – “There are only a limited number of alternate tunings out there.”  Think about my analogy of a combination lock for a moment. There are lots of possibilities, especially if there are six digits on your lock. If we were to compute each string as having a combined range of an octave (in other words, each string could theoretically be tuned down a Perfect 5th and up a Major 3rd), how many alternate tuning possibilities could there be on a 6-string guitar?  Answer: 2,985,984 tunings! A six-string acoustic guitar in good shape is primed and ready for exploring alternate tunings, so I encourage you to step out and take the risk. Who knows? You might write an arrangement or a brand-new song in a new tuning…today. Maybe you'll find a way to arrange a worship song you love, in an alternate tuning, perhaps combined with a capo across all 6 strings for the key where it works best for your voice, your band, or both. I hope you do.As we wrap up, without going too deep into a discussion about gear, I will say that there are automated tuners, tuning levers and pegs that can be added to a guitar to customize the precision and speed with which someone can re-tune their guitar.  Guitarist Adrian Legg is a prime example of someone who has leveraged these kinds of tools. But a six-string acoustic guitar in good shape is primed and ready for exploring alternate tunings, so I encourage you to step out and take the risk.  Who knows?  You might write an arrangement or a brand new song in a new tuning…today.  Maybe you'll find a way to arrange a worship song you love, in an alternate tuning, perhaps combined with a capo across all 6 strings for the key where it works best for your song, your band, or both.  I hope you do.And if you're looking for more insights into discovering some hidden treasures that the guitar and music have to offer, I would be honored to be your guide in a one-of-a-kind online experience called GuitarSuccess4U.  I've never seen anything like what we have, therefore, I had to create it.  We have a 6-stage Success Path, proven strategies for multi-modal learning, a collection of hand-picked guest experts, and a community of like-minded Christian guitarists who just might be on a similar journey to you.  Will you discover what we've worked so diligently to create? Please take a moment to visit GuitarSuccess4U.com and see what we're up to. It could change your guitar world, and transform your musical world.I hope to see you inside GuitarSuccess4U. Keep showing up, have serious fun as you play your guitar, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript below…Today we're going to talk about what it means to love our listener as we play the guitar. At the school where our children attend, one of the values that is consistently brought forward when writing papers is the idea of “Loving your reader.”This means writing clearly, and writing well.  In fact, they even give out penmanship awards for the younger students to affirm their work in this area.I'd say that as guitarists, loving our listener is tremendously important, whether the listener is enjoying our guitar live in person, over a live stream, or on some sort of audio or video recording. Today, during this brief discussion, I'll offer five ways to love your listener.  There will always be more, and your suggestions are welcome in the comments, but let's start with these five.1. Tune your guitar.I offer this suggestion because a significant portion of the song offerings I've heard over time have been played well, but on guitars that are slightly out of tune. This actually undermines the entire offering. There are a variety of ways to tune, from using a tuner, to a tuning fork, to referencing a piano, to using the highly advanced method of equal temperament with harmonics and beats. But even a simple smartphone app can act as a bridge from being out of tune to being in tune.  People may not know which string is out of tune, but they'll know intuitively if a guitar is not in tune. Your listener likes to listen to guitars that are in tune.2. Want to play well.What does this mean?  I basically desire to inspire you to play your guitar well.  Some folks I've heard are basically “phoning it in.” They grab their guitar, start strumming, and are generally ok with what comes out. But here's the thing: they may be playing some unnecessary strings with their chords (E.G. the low open E under a D chord.) Or they may be strumming too aggressively for the interpretation of the song. Or they may be ignoring the opportunity for dynamic variation.  So, I encourage you to play cleanly, accurately, and artistically.3. Desire variety within limitations.Within the scope of artistic interpretation, we can vary our chords, strumming patterns, and picking patterns, even within the song.  Some folks default to just a handful of strumming patterns for their entire worship repertoire, rather than thinking through what the song might need. And color chords or different voicings can add so much.  Think about what the limitations are of the song, and work within those, but bring variety and elegance, based on what you can offer in this season.  This applies to worship leading, but also songwriting.4. Wave the flag of quality over quantity.In GuitarSuccess4U, I teach my highly unique “Chord Kite Diagram” strategy, where my members are able to zoom in on just four chords and their combined transitions, for clean movements between them. This translates to a much more pleasing offering.  Contrast playing four chords well, with someone who can play 40 chords…sloppily.  I think you know what would show love to your listener here: quality over quantity, especially with music.  Lastly…5. Don't be a perfectionist.Perfectionism can be the enemy of progress.  If we refuse to offer our gifts until they're “perfect,” we could be missing out on all sorts of opportunities.  But if we stay “human” in our delivery, considering these other ways of bringing quality and elegance, we'll provide something very enjoyable.People enjoy hearing music from people.  Not machines, not A.I., not something mechanical, but real people playing real music.Tom Jackson, a gifted performance coach with whom I have studied, once said that “Going from bad to good is easy; going from good to great is really tedious.” Basically, to really buckle down and work towards a quality delivery with your guitar playing won't necessarily take hours, days, weeks, or even months.  It may take years or even decades.   But the good news is that we're in this for the long game.  We're going to play our guitars for many, many, many, many years, Lord willing.So, will all this hard work be worth it? Yes.Don't let the long game discourage you.  Think about how well you want to play, and do what you can today to love your listener.  And enjoy the process.And then, more opportunities will open up for you to play your guitar, and you'll get better, and better…and better.And then more doors will open.Proverbs 22:29 says: “Do you see someone skilled in their work? They will serve before kings; they will not serve before officials of low rank.”And Psalm 33:3 says: “Sing to the Lord a new song; play skillfully, and shout for joy.”And yes, there will be joy.I hope these thoughts gave you some ideas for how to enhance your playing.  If you're ready for the next level and a clear, battle-tested success path that leads to loving your listener even more, as you discover the guitar and the joy of music in a Christ-honoring community, please check out GuitarSuccess4U.com. Trust me – there's more wisdom, encouragement, and inspiration waiting for you here than you can imagine.Keep playing your guitar, keep having serious fun, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today, we're going to talk about five ways to “die to self” as worship guitarists, and the beautiful blessings that can result when we do.My wife and I are blessed to have two amazing daughters.  But with the privilege of having kids comes the need for sacrifice.  In saying “yes” to having kids, we inevitably say “no” to some other things, at least for a season. Can we both just head out on a road trip for a week?  Not without making arrangements to have the kids looked after.  Can we both work on ministry tasks straight through dinner and late into the night? Well, with our family culture, we don't usually do that, because we value the privilege of sharing a meal to debrief the day, and we also spend a few minutes with our kids at bedtime praying together.These sorts of intentional sacrifices involve a certain amount of what could be called “dying to self.” And because of our examples, our kids discover what that's about as well as they wait for the fun activities while prioritizing academics and chores.  We also eat nutritious food for our meals, and sometimes follow with dessert.  We don't typically eat dessert as a meal, right?So much of what I'm about to share with you today boils down to refining and sharpening our characters.  The symptom is how and when we play our guitars.  The real issue is the flesh, whether we want to talk about it or not.So, let's courageously talk today about some ways we can intentionally “die to self” for the glory of God and the benefit of others, as well as the maturity of our souls as worship guitarists.1. Delayed GratificationDelayed gratification is a huge missing component of our culture in today's world.  We want fast food.  We want overnight shipping.  We want instant results.   Food that is cooked fast might taste decent, but it's often less nutritious. Overnight shipping has ruined us in some ways.  I'm old enough to remember sending a check in the mail to order something, and reading the fine print on the order form that said “Please allow 6 to 8 weeks for delivery.” If our Amazon Prime order were to take even a week to arrive, we'd probably get a little antsy and frustrated, right? You're probably sensing where I'm going when it comes to music and guitar.  Many of us really want instant (or close to instant) results with the songs we want to play. I had one student come to my teaching studio who had never played the guitar before.  He said that the first song he wanted to learn was “Purple Haze” by Jimi Hendrix, and he wanted to learn it in its entirety during our first lesson. I cautioned him and encouraged him to be a bit more realistic at the beginning…and after that conversation, I never saw him again.Some guitarists want to learn songs or develop skills, but they don't want it to take a lot of time.  They long for shortcuts and hacks that reduce practice time to a fraction of what it might normally take.And unfortunately, some guitar products or sales people promise all sorts of instant results in the short term.  This might provide some momentum, but long-term, it's been my experience that these students will lose momentum when the more intermediate music comes along…because it will take more effort and more time to get results.Now, there's something to be said for practicing smarter, with greater focus, and at an optimal time of day after having good rest and with good hydration.  To that end, practice sessions can be shorter, and results can come more quickly.But the reality is that quality practice will still take some amount of time.  To expect to learn a significantly difficult guitar song in a matter of, say, 15 minutes total, is not a way to set ourselves up for being able to play the song well.So, we can “die to self” as we flex our “delayed gratification” muscles and wait patiently as we practice diligently. 2. Hard WorkI remember cramming for tests in college.  But it's my conviction that effective practice cannot be crammed, for the very reason that we won't have the songs under our fingers long-term, even if we can summon parts of them right away.And complete songs are much more of value than fragments of songs.  Have you ever heard someone start a song, and then trail off as the song just kind of falls apart?  We all have. So, as we wrap up this section, let's remember that diligent, consistent practice is a way for us to “die to self.” My father taught me the value of hard work throughout my entire childhood, and it has served me well, and also the people I've served and served with.Many blessings, including good musical execution, are waiting on the other side of good old-fashioned hard work. 3. Setting Aside Personal PreferencesI have some very specific musical tastes.  And believe it or not, as a worship leader, some of the songs I've led over the course of my career have not been my absolute favorites.A person I served with on staff at a church was absolutely baffled to learn that I wouldn't always choose songs that were personal favorites of mine.But here's why – and you may already know this.  The songs aren't just for my worship journey.  There are many people in the congregation I'm ministering to who might have a deep appreciation for some of those songs that aren't my personal preference.The only hard line I need to draw is that the songs I lead must be Biblical.  To lead songs that don't reconcile with Scripture is to lead people astray.  And so, I'm always vigilant about the message of the songs I sing (and even write.)So, if a worship guitarist is on a team (whether in a leadership or support position), and a song they are playing on is not a personal favorite, can they “die to self” and still diligently prepare and lead that song well?  That's my hope as I share these words.4. Being a Good ListenerIn our membership in GuitarSuccess4U, I'm privileged to host multiple guest expert interviews with some of the most gifted musicians I've ever collaborated with.And they offer some real pearls of wisdom in these interviews.One expert, a multi-instrumentalist and producer named Brian Reding, stated that a musician who has less experience will often play more during a song.  In some ways, it's a sign of insecurity or immaturity.  To draw a parallel, it's a lot like the person you might meet at a social gathering who mostly wants to talk about themselves and not really ask anyone else about their interests.Imagine a less mature guitarist who has come to worship rehearsal.  His or her mindset might be, “Well, I'm here.  I've brought my guitar.  I may as well play the whole time.”But here's the problem: there's only so much sonic space in the musical texture, and the guitar is just one part of that texture, as are the other instruments and voices.  If the guitarist is playing all the time, it could actually muddy the texture and make it hard for other instruments to artistically express themselves.Brian's wisdom about less experienced musicians wanting to play a lot is very telling.  The flipside is that more experienced musicians will actually do something I love to observe: they will look for places not to play. Now, that might seem counterintuitive, but following my analogy, if music is like a conversation, we would do well to exchange information.  How do we do this?  By listening.I love watching a highly gifted musician play on a team for a song, especially for the first time. They're often waiting to start playing until they've listened a bit to what's going on around them.  Then they play, and perhaps they might momentarily tacet (which is a musical expression for not playing), before coming back in.And when they do come back in, guess what?  It means more.  Picture a bass player or a drummer laying out for the penultimate chorus.  When he or she rejoins the band for the final chorus, it can feel just right.  And people who don't understand music will still appreciate it.I love the conversation of music, and I love collaborating with musical “conversationalists,” because they know when to “speak” and when to “listen.”  And then the “conversation” is much more meaningful.  It's very honoring when someone asks me about my world, rather than just constantly talking about theirs. So, if you're a musician, much as it may be tempting to play the whole time, consider this challenge: “Don't just do something; sit there.” So, we can “die to self” as musical collaborators as we look for places not to play, and listen well so as to contribute more gracefully to the musical conversation.5. Putting on LoveThis last action is inspired by Colossians 3:14.  If we put on love, we'll do all of these things well, and for the right reasons.If we don't, we'll do these things with some resentment or bitterness.  Any amount of annoyance that creeps into these actions will actually invalidate them before the Lord.Imagine if I verbally expressed gratitude, but wasn't grateful.  Imagine if I stated that I wanted to serve, but served only with an agenda and frustration at having to do so.If we put on love, we are submitting to the Lord and making intentional efforts to ensure that our motivations are pure.  We “die to self” as we put on love in all these endeavors.Wrap-Up: The Flesh Must DieWhen you saw the title of this article, I wonder if it made you just a little bit curious.  That was my intent.It can be easy to maintain the status quo of what we've always done as worship guitarists, but sometimes we need a message to shake us up and grab our attention.  That's been the intent of this collection of thoughts.Remember, the flesh wants what it wants, but without inviting the Lord to guide and strengthen us, it will try to get its way.  So, our fleshly tendencies need to…die.As we wrap up, I'll re-cap the five ways we can die to self as worship guitarists:1. Delayed Gratification2. Hard Work3. Setting Aside Personal Preferences4. Being a Good Listener5. Putting on LoveI hope at least one of these has given you pause, and challenged you to make some slight changes to your trajectory as a worship guitarist. One more verse – “I have been crucified with Christ.  It is no longer I who live, but Christ who lives in me.”  (Galatians 2:20a).If we truly acknowledge the meaning of this verse – that our sinful self has been put to death and that Christ lives in us, we can walk in His strength, for His glory, in all that we do…including through our musical offerings.Let's do that.  And let's watch what happens when we do.Now, if you're looking for more opportunities to be challenged and encouraged, I want to encourage you to check this out.  Encouragement is a high value to me and to my members in GuitarSuccess4U.  So much so, that the second lesson of every month is actually an “Encouragement Lesson.”Add to this that our Zoom calls are opportunities for real-time encouragement as a community.Interested?  Want to learn more?  Check out GuitarSuccess4U.com.  This could be the game changer you've been waiting for.  It certainly has been for many of the guitarists I'm serving in this one-of-a-kind community.Thanks for experiencing Guitar Serious Fun.  I hope this has inspired and challenged you.  I also hope you'll like and share this episode with someone.  When you do, I encourage you to share it in a way that helps the recipient understand that you want them to be sharpened by it as you have been.  Keep having serious fun as you play your guitar, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today, alongside our special guest, Jerry Chambers, we're going to talk about what to say “no” to on a Sunday morning so we can say “yes” to the most important things.If you recall Episode 89 of Guitar Serious Fun called “Leading Worship Whether You're Up or Down,” and you were blessed by it, I think you'll be doubly blessed today, because Jerry Chambers is back one more time for a follow-up episode. If you haven't had a chance to experience our episode “Leading Whether You're Up or Down”, please take some time when you can to spin through it – I think you'll be glad you did, and you'll get a better sense of our guest's approach to worship leading.Once again, here's a little bit about our special guest today.  A third-generation worship leader, Jerry Chambers has a passionate heart for knowing God and worshipping Him with others, as well as helping new churches with all-things worship and tech. He holds a Masters of Church Music degree from Southwestern Seminary, and has served at churches in Oklahoma, Texas, Germany and Washington.Jerry and his wife, Judy, have two daughters and two sons who have huge hearts for serving and living alongside the needy at home and around the world.  I met Jerry in 2017 when we were both presenters at the Worship Catalyst Experience at the Northwest Ministry Conference in Redmond, Washington, and I was blessed to be able to sit in on a little bit of what Jerry was sharing with the attendees.  We've stayed in touch over the past few years, and in an effort to bring in some more outside wisdom to our listeners here at Guitar Serious Fun, I approached Jerry, and he graciously accepted. Many of our listeners who are pursuing serious fun on the guitar are involved with music at church, and that's definitely something I've been a part of for almost three decades, whether on staff, volunteering, or serving as a guest worship leader.  So, in an effort to round out the content experience here at Guitar Serious Fun, I've invited Jerry back to share some more of his thoughts.One of the key phrases that Jerry shared with the attendees at the conference we were both teaching at was “Not on Sunday.”  And I can't even begin to tell you how much this has helped me to keep my priorities aligned as I've served in worship endeavors in various settings.  In fact, when Jerry and I have connected over the past few years, I still drop the hashtag “Not on Sunday” to him, and he smiles, mostly because he knows it's coming.This topic of “Not on Sunday” is a bit more on the administrative end of things, but I think it's absolutely essential to our process.  The administrative details are meant to “undergird” the artistic and theological aspects, so that we can be even more effective in ministry.  And “Sunday” is when a lot of us worship, but I think the same thing applies to a Saturday worship service or even a mid-week worship service.  The key is to be deliberate and intentional about tasks, perspectives, and conversations on those days of worship.Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because I believe that when you listen to what Jerry has to say, you'll be deeply encouraged. So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode, maybe leave us a 5-star review on your preferred podcast platform, and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/Voicings. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript and some tables included below…What is something we all do with music, whether we are musicians or not? We listen to it.How music sounds is pretty important. And yet for some of us guitarists, we can tend to play by shape, and perhaps sometimes take for granted some of the chords we learned early on, or assume that they're as good as they can be.I've got something that could shed quite a bit of light on your guitar voicing process.This is a G Major chord. It contains all the elements of a G chord, the Root – G, the Major 3rd – B, and the 5th, D. But let's not confuse the formula of a chord with the voicing of a chord.Ready for a random analogy? My family likes to eat free range eggs. They're healthier, for a start. This is because they're from chickens that have more room to roam, rather than being confined to a small space.Music notes also need more room, especially if they are lower in register. With this in mind, what do you observe about this G chord I've just shown you? Well, the lowest three notes are all crammed together. As a matter of fact, on a standard tuned guitar, it's the lowest Major triad possible. And to me, it sounds pretty muddy.YOU might prefer to play G Major like this.The same problem exists, though, because those bottom three notes are still very close together. It's still pretty muddy because of that low triad.Because I'm limited by space here, I again encourage you to watch the video where I unpack open chord voicings for several other chords, and even show you what they look like on the piano.If you watch the video, you'll discover that at the bottom of each of the voicings, we have Root, 5th, Root, and then we have the 3rd, rather than Root, 3rd, 5th, etc.Those chickens, er, notes, have room to roam.So how can we give our muddy G Major chord a more open voicing?  Would you believe me if I told you it only takes two fingers?Here's the voicing I recommend:The notes are G, I mute and skip the 5th string, then D, G, B and G. The voicing at the bottom of the chord is now Root, 5th, Root, and then we continue with the 3rd and the Root, much like the other open chord voicings I show you on the video that accompanies this article.Want to know how to play it on the guitar? Gently curl your fretting hand pinky (your 4th finger) in toward your hand without bending any of the other fingers. Then, lay your hand across the guitar so you only fret the 3rd fret of strings 6 and 1. Let your 3rd finger mute the 5th string.  And soon you'll have it.Are there additional benefits to this voicing and fingering? Yes. We have much more economy of movement from this new G chord to a C chord.Still not convinced? When the 1st and 2nd fingers are freed up with this new paradigm, they can play part of a C Major chord on top of this G chord. It's called a C over G chord, which works great for folk or fingerstyle guitar.(The accompanying video has a cool demonstration of what's possible with this chord.)I hope this has given you a sense that even something as basic as an open G Major chord can be retooled just a bit to be made much more artistic. It sounds clearer, more elegant, and more pleasing to the ear.See? We can always go back to the basics. Even those of us who have been playing for decades. So, yes, guitar voicings really do matter.  Now, I'm not asking you to completely unlearn and relearn this chord. You can still use the other G chord shapes if you prefer. But finding different voicings for the same chord gives us more options, which leads to greater artistry.And if anything I just said makes you grin and nod, you're going to want to check out GuitarSuccess4U, where we go much deeper with concepts like today's topic, but also color chords, fretboard knowledge, fingerstyle, flatpicking, strumming, capo strategies, scales and modes, and more.  And it's all neatly arranged in a battle-tested format to help you get the most out of the tools, and more importantly, we talk about WHY they are important.  And you get to do all of this in a community of like-minded followers of Christ.  Hop on board and see what you're missing.  Head on over to GuitarSuccess4U.com.  I hope to see you inside the membership.  Thanks for experiencing today's episode of Guitar Serious Fun, and I'll see you next time!P.S. Still reading?  I couldn't believe my eyes, but I posted a mini-version of today's episode in my Instagram feed and got over 3500% more views and likes than any of my other stuff.  I can't put my finger on why.  Can you?Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today's episode is unlike any other I've offered, because it's completely improvised.The only other episode that comes close to this is Episode 85: The Sightless Guitarist, because I literally could not see as I recorded that podcast.Speaking of podcast, today's episode is only an audio version, and I encourage you to enjoy it with your ears. There is no transcript for this episode.But that's ok, because I believe that when you listen to what I say and sing, I think you'll be deeply encouraged and maybe a little inspired, especially as you observe me stepping outside my comfort zone to deliver these thoughts to you.Today we'll talk about the art of improvisation, developing a useable vocabulary, and discovering what it means to be a good “conversationalist,” especially when it comes to the context of music. So buckle up.And please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode, maybe leave us a 5-star review on your preferred podcast platform, and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today I'm going to provide a strategy that just might sharpen your approach to playing any song you work onToday's episode will be one of the shortest you'll experience here, because I want to get right to the point.And I'm going to use an analogy, like I enjoy doing from time to time.Several years ago, I was performing at a big festival, and one of the ladies who was serving the food to the musicians told me about her career.  It was an unexpected revelation.  She was a smokejumper.Now, if you know what a smokejumper is, great!  If you don't, it's basically a firefighter who drops into a forest fire by way of a parachute.  I would think that starting at the edge of the fire would be sufficient, but smokejumpers have been able to strategically drop in and drastically reduce the fire damage more quickly, because they target specific spots.It doesn't make things any easier; in fact, it's considerably more dangerous.  Just imagine it, right?Well, let's take a piece of music for a moment – it could be a fingerstyle guitar solo in an alternate tuning with lots of ties across the bar line…or it could be a pretty standard worship song in 4/4 time with “Verse, Chorus, Verse, Chorus, Bridge, Chorus, Chorus” song form.Really, the type of song does not matter for my point of illustration.  And the level of difficulty doesn't matter, either.What does matter is the strategic approach to tackling the song.How many of us have heard someone play a song (especially a difficult one) from the beginning, and listened as the song gradually fell apart?Lots of us.Why would this be, you ask?  Perhaps because the person who had practiced it employed the approach, when running into challenges, of going back to the beginning and starting over.Now I'm not at all against playing from the beginning.But if it's the rule, not the exception, I have another suggestion…and hear it is.  You ready?Find the challenge spot and work on that.Literally jump into the middle of the piece and work the section that needs the most help.This might feel natural, because it might be right at the chorus.Or maybe it will be in the middle of a measure.  Or the latter half of a beat.You'll know, because you'll be able to target the point in the music that needs work, and you can approach it from the nearest point of entry.If you're in a worship team rehearsal, guide your band to a spot you can all find (e.g. pick-up to measure 9.) If you're on your own, you'll have a little more flexibility and can find a spot at a gentler pace.But do me (and yourself) this favor: avoid the temptation to go back to the beginning over and over.It will save time, it will allow you to get to know the piece better overall, and it will enable you to solidify the more difficult sections more quickly.In short, it will help you put out the fire effectively…like a smokejumper.Make sense?Conclusion and Next StepsAnd that just about wraps things up for today.  Yep, I wanted to keep things succinct for today's episode, because sometimes, all it takes is a simple thought to get you on your way.And if you want more simple thoughts, find us on social media on Instagram, YouTube and Facebook where GuitarSuccess4U has a presence in each.  Some of our content appears in all three areas, and it includes short-form content like reels or shorts that are less than 60 seconds long. Little nuggets of wisdom, encouragement and practical thoughts.It's been interesting to watch and see who responds more to what on Instagram, Facebook or YouTube, based on the audience.But if you're looking for the real meat, the real feast, treat yourself to GuitarSuccess4U, a members-only experience for Christian guitarists who know there's more to the guitar and music.If today's analogy and thoughts gave you something to run with, just imagine what a proven 6-stage Success Path and 8 bonus guest expert interviews could do, to say nothing of the Christ-honoring community of what I call my “Guitar Successors.”We'd love to welcome you in.Learn more and join now at GuitarSuccess4U.com.And if you want to experience our new free guitar web masterclass, just include a forward slash and the word “formula” after that.  So, the URL would be GuitarSuccess4U.com/formula.  I can't wait to see what the Lord does for you with this new Smokejumper Strategy, and I hope to serve you inside GuitarSuccess4U!Thanks for experiencing these thoughts, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today I'm going to provide some gentle nudging to help get some guitar players off the bench and onto the field, and perhaps that might include you.I'm not a follower of baseball, but I definitely remember some noteworthy quotes from famous players.  Jackie Robinson, is one of those.  He is known for this quote:"Life is not a spectator sport.  If you're going to spend your whole life in the grandstand just watching what goes on, in my opinion, you're wasting your life." Now, Jackie's career was supported by spectators and people who watched him play baseball.  Audience members are needed, right?But for many of us, it's super important to take the leap and play our instruments for other people. This can be as simple as taking the guitar out of its case and playing it for a friend or family member…or something on a larger scale, like on a worship team, or in a concert setting.That's really where I'm going with today's episode – I'm not asking my readers to do something nearly impossible.  I just want to encourage them to make music, and to do what's needed to get there.  So, let's keep it real again today as I share some thoughts.Sitting in the AudienceIf you've ever attended a concert or listened to someone play any instrument, especially the guitar, you know what it's like to receive a musical offering, to be uplifted, inspired, or even transported in a way.Music is powerful. So, we can be music listeners…or content readers, like you with the blog you're reading right now.  For that, I thank you!Sitting in an audience can be a passive posture, or we can actively listen, but like it or not, audience members are not typically contributing musically in that moment (unless they're singing or clapping along.)That performance or musical offering may inspire audience members who are also musicians to go back and practice, and to make music.But some musicians do not take action.I've offered guitar instruction long enough to cross paths with guitar students who are more like audience members.  If that's their preferred means of enjoying music, that's great!  But if these guitar students are claiming to be guitar players, there can sometimes be a disconnect.  Because by and large, some folks aren't actually playing their guitars. Not really.Some of them profess to be guitar players.  They sign up for a learning experience, some of them invest good money in tools, instruments, and education, but we're all comes down to it, they don't really lean into the process of developing their skills.They don't really practice much at all.They'd rather talk about it.  They'd rather watch someone else do what they want to do, and they'd rather not be held accountable.That's a harder place to be, because it doesn't actually lead to results.Watching other people get results can be fulfilling in a way, because we can live vicariously through them.  I've heard some people say, “I don't have a lot of talent, so I like to cheer on others who have more talent than I do.”So, perhaps they get enough satisfaction from watching someone else get results as they play.There are a lot of audience members out there watching shows like America's got Talent, or American Idol.  These kinds of experiences can be very engaging and inspiring for an audience, especially people who are not investing time in developing their own gifts. But that's the primary posture of an audience member – to receive what's being shared.I've seen cooking shows that lay out the entire process for how to make a recipe. But if my hunch is correct, the vast majority of the viewers are just enjoying watching the cook bring their recipe to life, without any real plan for duplicating the process themselves.Now, of course, some may!  And I know people personally who find recipes out there on the web in video form and they follow those recipes and make food for their families.  But isn't it easier to just be a consumer, an audience member, or a spectator?It sure is.I have been an audience member or a spectator, but only temporarily.I am an active guitar player, whether a creative songwriter, performer, worship guitarist, or even a teacher.  I place myself in an active posture in each of these roles as I share, sing, lead, create and teach. I am a copious producer.  I'm always coming up with content and musical ideas that I take great joy in sharing.  And for some folks, that's contagious and inspiring for them to do as well.But for others…not so much.Why?The Obstacles We EncounterReasons for not developing our guitar skills might include the following…1.       Life is too full. Yes, I agree.  Sometimes with work, family, kids, and other responsibilities, it can be hard to make time.  But we make time for things that are important to us, right?  Even just a few minutes a day can transform our skill level over time on the guitar.2.       Fear.Believe it or not, fear can paralyze us and keep us from reaching for our goals.  For more about this, check out Episodes 50 and 51 of Guitar Serious Fun – The 10 Fears We Face as Guitarists – Part 1 and Part 2. 3.       Procrastination.We can live in the weird space that says, “I'll get to that tomorrow.”  But tomorrow can get pushed out further and further.  Procrastination does not pay off, usually.4.       Laziness.Can guitar players be lazy?  Sure.  I've met them.  And you probably have as well.Hard work is not glamorous, but man, can it help us get the results we want. When people ask me how I've achieved the level of skill I've developed on the guitar, I usually respond with “Good, diligent practice and consistent hard work over time.” Some folks are looking for an easy way to learn.  But that's not how it's done.The opportunity to grow is there, but, as Thomas Edison is credited with saying,“Recognizing opportunity is so difficult for most people because it goes around disguised in overalls, looking like hard work!”Now, there are different seasons of playing the guitar, as I unpack in Guitar Serious Fun Episodes 17 and 18, “Guitar Through the Seasons” – Part 1 and Part 2.So, if someone is walking through a season where it just does not make practical sense to play, I understand.  Every person has their reasons. But let me encourage you to find the joy of music in your guitar playing…even when it's not practical or easy.Wounds from a FriendIf today's episode has been a little less uplifting and a bit more of a coaching posture, that's not by accident.I'm a leader, but one of the main reasons I've become the leader I am is because I've literally had people in my world growing up who have said, “There's leadership potential in you, David.  Don't sit back.”Even if I wasn't thankful in the moment for these exhortations, I'm thankful now.Proverbs 27:6 states,“Wounds from a friend can be trusted, but an enemy multiplies kisses.” I'm here to gently wound you in a way that might inspire you to take action.How?  Well, I've got a few ideas.Action Steps1.       Set some reasonable goals.Goals give us a framework, and some tangible thresholds we're hoping to cross.2.       Share those goals.Sharing a goal gives it a super-charged amount of momentum, because others are now aware of what we're working on, and this can provide gentle accountability.3.       Celebrate victories.When we achieve a goal, we need to celebrate what we've done (more importantly what the Lord has done through us.)  And if we've got other like-minded folks in our lives who can cheer us on, all the better. Inside GuitarSuccess4U, we call these kinds of victories “wins,” and every time we gather on Zoom, I ask if any of my members have “wins” to share, and usually, many do.4.       Remember the long game.Those who want to get real results play the long game.  They know that this guitar thing will take time.5.       Make real music.Stephen Humphries, a national Hammered Dulcimer champion I had the privilege of studying with, once said this to me:“Technique is a means to an end.  Make sure the music you want play is that end.”Mic drop, right?I'm all about techniques that lead me in the direction where I want to be playing music. 6.       Don't go alone.One African proverb I've always appreciated says:“If you want to go fast, go alone.  If you want to go far, go together.”Journeying with like-minded folks will take you much further, even if it takes a bit longer.On that subject, if you want a way to find measurable progress on the guitar, please consider GuitarSuccess4U. And if you're open to setting aside some intentional time to discover what we're all about and how we can help you, I highly recommend our new free guitar web masterclass, called The Guitar Success Formula.I recommend watching it from a browser on a desktop or laptop, rather than a smartphone.  The URL for that is GuitarSuccess4U.com/formula.   But be warned – it's not for those who want to sit on the sidelines – it's for those who want to get in the game.These action steps could be game-changers for you, and I'd love for us both to find out.But if all that today's episode does is serve as a catalyst for you to pick up your guitar, then that's a win for both of us.So, go grab your guitar and play it.  Because that's what guitar players do.And maybe set your sights on playing it for someone else, because music is best when shared.  Any music you play for anyone represents you setting aside the posture of a guitar spectator and instead becoming a guitar player.Thanks for reading Guitar Serious Fun.  We are fast approaching 100 episodes, which is exciting.  I'm looking forward to sharing more thoughts with you in the future, even if we – spoiler alert – decrease episode frequency and length as I lean into other content platforms like YouTube and Instagram. Once we cross the three-digit mark for this blog, we'll be near to 2 solid years of Guitar Serious Fun which will provide a curated collection of thoughts, both practical and inspiring.And these episodes take quite a bit of time to put together.  They are a labor of love. So just know that although I love sharing my thoughts here, it may make more sense for me to lean more deeply into other forms of content, based on time, which as you know, is a non-renewable resource.So, if you like these thoughts, please share them with others – any episode could be passed along to someone else, but only if you forward it!I'd love to be able to reach more people in this way.I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/CapoReality. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript and table included below…If you play the guitar, you probably use a capo sometimes. But is your capo holding you hostage? Do you sometimes get confused about which key you're actually in when you use it? No more!We as guitarists make use of a variety of tools, but perhaps one of the most common is the capotasto, better known as the capo. The capo gets its name from a phrase that means “head tie,” which implies that it's being tied to the guitar near the headstock.But when we put a capo on our guitar, what is happening, exactly? We're shortening the length of the strings. This can allow us to play in some keys with open chord shapes to access actual chords that would normally all be bar chords. Allow me to demonstrate (see the video for a clearer picture of this.) The key of Ab Major, for example, has zero open chords, so they all need to have 100% fretted notes. The chords are: Ab Major, Bb minor, C minor, Db Major, Eb Major, F minor, G diminished, and we can come back around to Ab Major.In the video, I play all of those chords again, but with my capo on fret 1. The chords are the same, but many of them are much easier to play, because I use the shapes: G Major, A minor, B minor, C Major, D Major, E minor, F sharp diminished, and ending on G Major.But let's not confuse shapes with chords.Because unless we're only collaborating with a drummer or a percussionist, there are harmonic consequences to everything we do with the capo. Do you believe it?If you're collaborating with a piano player, a synth player, a bass player, another guitar player, a vocalist, someone who plays strings or woodwinds, or any type of harmonic or melodic instrument or voice, they're going to be playing or singing in a specific key.And if you are the guitarist who's leading that band, it's super important to know which key you're all in.Here are some helpful tips so you can be sure of what's going on. Memorize marker pointsFirst, memorize the bottom 3 strings, strings 6, 5 and 4. I walk you through these markers in the video, but you're welcome to reference the diagram I'm including with this article.There's more, but this can give us plenty to work with here.Which key are we in?Our first approach is to place the capo and discover which keys we end up playing in when we play shapes.Let's say I place the capo on the 3rd fret. If I strum shapes around the tonal center of E, with the open 6th string for the low root, which key am I in? G. If I strum A shapes, which key am I in? C. If I strum D shapes, which key am I in? F.Why? Because the “open” notes at our new “nut” with the capo are G, C, and F. Right? Did you know all of those? This works best with your guitar and capo in hand.Which key do we want to play in?Let's try the opposite approach with placing the capo for keys we want to play in.Now, let's say I want to play in Eb Major with a piano player, by leveraging the capo. For a moment, let's temporarily call that the key of D#. It's a theoretical key, I know, but go with me. If I place the capo on fret 1 and play a D shape, it sounds a D#, better known as Eb. That open 4th string is our low root on Eb.If you want to think in the key of D, this can work for you, but remember, you're accountable for actually playing chords in the keys the capo has given you access to. So if the capo is on fret 1, and we play D, G and A shapes, we've actually achieved Eb, Ab and Bb chords. Right?Starting with chords that have open roots like E, A, and D can be pretty attainable, because the capo at the new “nut” easily tells us what those notes are, without fretting above it.But what about chords like G and C that do have a fretted root? Don't worry, I got you.Play an open G chord for a moment. That root on the 3rd fret is a minor 3rd above the nut.Let's just make a new “nut” with the capo! Let's say we want to play in the key of B. Well, a moment ago, we said that B on the 6th string is on fret 7. So, let's fret the G shape that's got that 7th fret B as the root, and place our capo down a minor 3rd – a distance of 3 frets, on the 4th fret. With the capo on the 4th fret, using G shapes, we've accessed the key of B.One more. Play an open C chord, the root for which is on the 3rd fret of the 5th string. It's a minor 3rd above the open A note at the nut. Let's make a new “nut” with our capo for the key of F. Where is F on the 5th string? It's all the way up at fret 8, just above the 7th fret E we talked about a moment ago. So, we can start with a C shape with our root on the 8th fret for F, and go down 3 frets to the 5th fret and place the capo there. We can now play C shapes, with capo 5, in the key of F.This process works for any Major key, minor key, or even modes, but we have to know the real key we're in, and at least some of the chords the capo is helping us play. Our charts, especially the ones we print up for the band, have to reflect this reality. Otherwise, we'll have an alternate reality that leads to confusion, or at the very least, a comedy of errors.I hope this was helpful, and I look forward to next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…In the Timothy Dalton James Bond film The Living Daylights, Bond is traveling quickly through Europe with Kara, a cellist who plays a Stradivarius.  She absolutely cannot part with her instrument, even though it's slowing them both down as they elude their pursuers.In a moment of frustration, Bond asks, “Why didn't you learn the violin?”There are some big instruments out there, and the cello is one of them.  Another is the electronic keyboard.I've had conversations with people who play 88-key full-sized electronic keyboards.  One of their biggest complaints is how heavy their instruments are to transport.The two aforementioned instruments aren't even among the biggest instruments out there.  Some need to be brought in on wheels like marimbas, tympani or harps.  Others are so big that they need to be permanently located in a church or cathedral, like an organ.But the guitar?  Ah…what a delightfully portable instrument.  I've taken my guitar to many places, and some of them have turned out to be just a little bit unique.Today's episode is mostly intended to be informative and hopefully interesting, with some stories from my travels.  I'll share just a handful of places I've played my guitar that are out of the ordinary.  I've got 12 locations to share with you.  Here we go. I'll start with some watercraft.1.       The bow of a fishing boatMy father and I have enjoyed many deep-sea fishing trips up the coasts of Washington and British Columbia. One fishing trip was long enough that it made sense for me to bring my guitar for some diligent practice.  So, I'd sit or recline in the bow of the boat, working on my chord fingerings and scales.  I'm glad I brought it with me, because I made progress.2.       A Ferry BoatNear where I live, in the Puget Sound, we often take a ferry over to see relatives.  After returning from a guitar seminar with Pierre Bensusan in France, I wanted to show my relatives what I had learned, so I took my guitar on the ferry.While I was on the ferry, I decided to uncase my guitar and play a little.  It wasn't long before a roving mandolin player showed up where I was seated, and we jammed for a moment. 3.       A RaftWhen I was courting my wife, one day I made a picnic for the two of us, and drove us up to a mountain lake.  I had packed an inflatable Zodiac raft, and in addition to the food items, I had brought a guitar.  I enjoyed playing some songs for her out on the lake.  You don't typically see a guitar in a raft on a lake, but there it was.Ok, now that I've talked about watercraft, let's come back onto land.4.       A DockI've had the opportunity to spend time with friends at a lake, and to be able to enjoy music while “sittin' on the dock of the bay.”  Yeah, you know what I mean.  There's something restful about sitting and enjoying some guitar, along with the gentle lapping of the waves.  Playing the guitar anywhere near water, especially near a bonfire on a beach, can be very soothing.So now that we're back on land, here are a few instances of where my guitar was with me in transit with wheels spinning beneath me.5.       A Chevy VanOn a trip to Montana for some river fly fishing (also with my Dad), I brought my guitar.  Interstate 90 East was relatively straight most of the way, so I sat in the back seat of the van with my seatbelt on, working through rudiments and exercises on my guitar.  Again, I was redeeming the time.I ended up writing some really good music on that trip.  Having the guitar nearby was such a blessing during those long hours of travel.  And of course, I took time to connect with my father as well.6.       A BusOn a mission trip to Mexico, a youth group I was in volunteer leadership for decided not to fly, but instead to take a bus.  It took longer, but saved some money.  I went as a translator, and I had my guitar for the optional worship leading opportunities in the villages where we visited for Vacation Bible School.I also got to have the opportunity to play it for the base camp gatherings, sharing songs in front of probably two thousand people who had gathered for the evening sessions.  It was really cool.I remember traveling to Mexico, on the way south via Interstate 5.  That highway is also rather straight most of the way.  I sat towards the back of the bus with my guitar, learning some very technical fingerstyle guitar music by Alex DeGrassi. One song in particular was the song “Window” in the tuning of ECEGCD – with a lot of very fast sixteenth notes.  I took it slow and learned to play it.  It was a good use of the time…even thought I was a little self-conscious with the youth kids listening in.  I got over it, and I got better.7.       An Impromptu Tailgate ConcertWe had lunch with some friends some time ago, and I had written a blues song that I had to share with them.  It had some Stanley Jordan “touch style” techniques and a tongue-in-cheek theme.  I knew they'd love it.I had my guitar with me at the restaurant where we met up, and after we paid the check, I invited them out to the parking lot where our SUV was parked.  I opened the back hatch, sat down in the back, and played the song for them as they stood in the falling snow, delighted to experience an impromptu tailgate mini-concert. 8.       A Shuttle StopNot long ago, I was waiting for a shuttle in a parking lot, because I was going to fly out from Seattle/Tacoma Airport. The shuttle had a covered area where I sat with my suitcase and…my guitar case.  I uncased my guitar while I waited, and played some original songs and worship songs that I was planning to play on my upcoming California tour dates.Two fellow passengers arrived and sat and listened.  I started to think that I was intruding on their silence, but when I went to put my guitar away, they stopped me, expressing how much they were enjoying what I was sharing.  So, I kept playing.And as it would logically follow, another location would be…9.       The AirportAfter arriving at the airport and making my way through security out to the gate, I've often found myself with a good solid hour or more to kill.I can save my reading for the plane.  What I can't do on the plane is play my guitar.  So, I'll often uncase my guitar, sit down on the floor, and quietly play something.  I'm usually competing with a lot of intercom announcements and the hustle and bustle of travelers, so it's typically not a distraction to anyone.But if I'm thinking that my playing might be distracting, I'll just strum with the fleshy part of my thumb and lean over to hear the strings softly humming.  I can also make my pick articulations very soft.It's a great way to make use of the time, watching the planes land and take off…and occasionally, it leads to a conversation starter with a fellow musician, or someone who just enjoys music.10.   “Crisscross Applesauce” next to the BathtubWhen I was a young parent, my kids sometimes took baths when they were little, and they of course needed very close supervision, but also the opportunity to splash about before getting scrubbed down.So, I'd sometimes bring my guitar into the bathroom and sit an arm's length away from whoever was having a bath…and I would strum some chords while closely observing my kid in the bath. My strumming provided a bit of a soundtrack to bath time, and when I was needed, I just set my guitar down on the floor mat, and helped bathe my kid.  It was a good mix of work and play.11.   StairwellsSome hotels or school dorms have these concrete stairwells that have lots of echo in them.  But here's the thing; an echo chamber can serve as a beautiful impromptu acoustic space.Playing a soulful fingerstyle guitar piece in one of these stairwells (as long as it's not too cold) can actually be a really powerful experience, because it's like a concrete cathedral.  The music just doesn't sound the same as it would in a carpeted room.So, whether I've been at a hotel far from home or needing a study break at college, I've found opportunities to take my guitar into the stairwell and let it sing.Last but not least…12.   The Outdoor Bass SectionalI've saved this one for last, because it was highly unexpected, but super practical.There are lots of outdoor spaces where a guitar can find its place, especially if the weather is nice.  But in this instance, it was more out of necessity.I was pursuing a vocal performance degree in college, and part of my contribution to the music department was to sing in the concert choir.  If you've sung in choirs, you know that there are typically four basic vocal parts – soprano, alto, tenor and bass.I was the bass section leader.  And every Tuesday, we'd have sectionals, where, for the majority of the class time, the four sections would break up and go find another large room in the music department to practice, ideally with a piano for “plunking” notes.But this time, there was a large group of guest high schoolers on campus for an all-day workshop, so we didn't have a place to practice.But we still needed to have our sectional.  And we didn't have a piano or even a keyboard.But what did we have?  My guitar was fortuitously stored in my locker that day, so when I realized what the circumstances were, and what our need was, I grabbed it.I have this clear memory of me sitting out in the seating area outside the Performing Arts Center, leading the Bass Sectional by “plunking” notes on my guitar as they sang, overlooking Bellingham Bay.It was a unique experience and setting, and we got a lot done.But there's one detail about this that you may or may not have noticed.  Do you know what was especially unique about what I was doing?Think for just a moment about what you know about the guitar and where it resides in terms of music notation. The guitar is a treble clef instrument.Now, the notes in treble clef for the guitar are notated an octave higher than what they actually sound, so as to avoid too many ledger lines.But let's back up even further.  Playing notes on the guitar is a rather unique approach.For classical guitarists, it's their bread and butter.  But I was an acoustic folk guitarist.  And most people who play acoustic guitar appreciate the opportunity to have chord shapes and perhaps some tablature to light the way.The good news was that I had been investing a serious amount of time going through all 7 grades of Mel Bay's Modern Guitar Method, to the tune of about 400 pages.  And this particular method didn't use tablature.  At all.In choosing this method, I subjected myself to a learning style that allowed me to become musically literate much earlier on in my guitar development, and therefore, I was ready when the need arose for me to guide that sectional.The guitar was just loud enough to be played unplugged outside to cue notes and fragments for the basses.The paradigm had shifted from an indoor rehearsal space with a piano to an outdoor rehearsal space with a guitar, but we redeemed the time, and after that sectional, we had made significant progress.The added bonus was that I had taken the leap towards sight reading a treble clef instrument in bass clef.  Good times.Ok, just for fun, here are the 12 Unlikely Places to Play a Guitar, once more:1.       The bow of a fishing boat2.       A Ferry Boat3.       A Raft4.       A Dock5.       A Chevy Van6.       A Bus7.       An Impromptu Tailgate Concert8.       A Shuttle Stop9.       The Airport10.   “Crisscross Applesauce” next to the Bathtub11.   Stairwells and…12.   The Outdoor Bass SectionalThe Big PictureSo, why has the guitar surfaced in all of these unique places?I would say that there are two main reasons.  First, music practice is important, and perhaps a necessity, and therefore, the guitar was something that needed to be within reach to facilitate progress.Second, music is a nearly unstoppable force.  I believe music is a gift from the Lord, and therefore, it has inherent mystery woven into it.  Why do so many of us enjoy music so much?Because it touches our souls.So perhaps grabbing a guitar and playing it, regardless of the location in which we find ourselves, allows us to speak the language of music where it would otherwise be quiet.It's almost like striking up a conversation as we feel prompted.So, the appearance of the guitar could be practical…or it could be artistic.  Or it could be both.But the important thing is that the guitar did indeed appear.I've met folks who own guitars, but their guitars don't make much of an appearance very often…to their chagrin.  They feel this disappointment, knowing that at one time, they wanted to learn to play, but didn't set aside time or space.And at the same time, they feel this longing to discover the joy of music, because they've caught glimpses of it when listening to other people play.Where are you on your musical journey?  Do you have regrets about past seasons of not playing your guitar?  Do you feel like it might be too late to start?  Let me put that misconception to rest…it is never too late to learn to play something on the guitar.Do you feel like you're on your own, and don't have opportunities to learn and grow, aside from the big world-wide web and the vast sea of information that's out there?  To coin a phrase, you are not alone.But here's how I can help you, if you see the need for some help.  I founded an online experience in 2019 that's dedicated to helping beginning and intermediate Christian guitarists discover and cultivate their gifts for the glory of God in a community setting.I could go into greater detail, but that description could be enough to pique your interest.  If it does, I encourage you to check out GuitarSuccess4U.com. We've got members in this community who are making tremendous progress, not just practically, but musically and artistically, because they're leaning into a proven method alongside like-minded followers of Christ who are doing the same thing.What if you tried out what we offer?  There's a 30-day money back guarantee, so there's no risk.  I'd love to welcome you in and see how I can serve you.  The added unexpected blessing is that you might also offer insights that could encourage me and the other members.I'll leave this with you, but don't hesitate to reach out if you want to learn more.One other thought regarding today's episode:  have there been unlikely places where you've played (or watched someone else play) a guitar?  Please let me know in the comments.Thanks for listening, keep having serious fun as you play your guitar, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript and links included below…Today, we're going to talk about the pros and cons of learning to play the guitar by watching YouTube videos.Even before we begin our discussion today, I think it would be important for you to know just a little bit about me, especially if you're new to Guitar Serious Fun. I started playing the guitar in 1994 while simultaneously earning a Bachelor's degree in Music with an emphasis on vocal performance. My college education gave me a solid music theory base, and I went through all 7 grades of Mel Bay's Modern Guitar Method as I applied what I was learning. I began writing songs in 1996, recording in the studio in 1999, and since then, I've toured all over North America leading worship and performing concerts. Amidst all of this, there's been a constant thread of teaching music, especially the guitar, and at one time I had a full roster of 50 students with a waiting list.When YouTube was created in 2005, I was well on my way as a guitar learner and teacher, and this new platform offered some things that had not previously existed. Someone could capture a video of themselves teaching a guitar concept, for example, and they could upload it for anyone on the planet to watch anytime.But right there I'll pause to say that although views can be measured in metrics, there isn't a standard in place to vet quality content (beyond it being appropriate vs. inappropriate or “likes.”) There's grown to be such an influx of content that there's no way to keep up with the content creators and monitor whether they're able to unpack and teach a concept well.So, with a broad stroke, there are two basic types of guitar education content creators on YouTube… First, creators who are aiming to garner followers and views that will lead to monetization. Second, creators who have a presence on YouTube but ultimately want to invite their viewers into a paid educational offering that is not necessarily hosted on YouTube.Speaking transparently, I'm of the latter disposition.  Although I've uploaded content on one channel off and on since 2008, I've been much more consistent with our GuitarSuccess4U YouTube channel and have seen more viewer response because of this consistency.  But my presence with GuitarSuccess4U on YouTube is still modest.I don't live on the platform; I post an average of one mini lesson every other week, with shorts multiple times a week. The mini lessons are usually around 10-minutes long and go deeper than my 60-second shorts. Posting consistently like this reminds my viewers that I'm here, that I want to provide some value, and my presence helps viewers to learn to know, like and trust me.My goal is not to gain millions of followers and to be monetized.  I also have a presence on Instagram, Facebook, and of course, here at Guitar Serious Fun, so it could theoretically be possible to choose just one of those avenues and make it a full-time job.With respect, I'd rather not go that route.Instead, I'm passionately leaning into an online offering I launched in 2019 called GuitarSuccess4U, which you may have heard of.  If you haven't, take just a moment to check out our website at www.GuitarSuccess4U.com, and pause this recording.  I'll wait.If you've had the chance to see what we offer, awesome.  We hope you'll check out the reviews, frequently asked questions, member testimonials, and some of the sample lessons. If you haven't, here's the basic skinny on what it is: a self-paced online experience for beginning and intermediate Christian guitar players who know there's more to the guitar…and who want to access fresh, proven, curated content that's organized really well.In addition to that, though, we have multiple expert interviews and bonuses that can't be found anywhere else. Lastly, and perhaps most importantly, we have a Christ-honoring community that exceeds the dynamic of a forum or discussion group in its practical and supportive nature.Some forums or discussion platforms end up being a place where there's a lot of unconstructive criticism.  Not in our community.And again, YouTube is a powerful tool with great potential, so I've decided camp out on this for a few minutes today.So, let me take you into some of my thoughts as I contrast the pros and cons of YouTube with our GuitarSuccess4U model, and then you can decide what seems best for you in this season.But first, a story.The DictionaryWhen I was about 10 years old, my paternal grandmother gave me a very thick Webster's Dictionary – about three inches thick, hardbound, 8 ½ x 11”.  This was a decent-sized dictionary, and I was grateful to receive this gift.  I've flipped through it a lot over the past few decades.  But I can confidently say that I have not read through it line by line, cover to cover.  That wouldn't make sense, because there are a lot of words I'll never use, but more importantly, it would take an exorbitant amount of time.The main way I've used this dictionary (other than as a weight or a doorstop) is to reference words alphabetically for definitions and spellings.And that's the normal function of a dictionary, right?  It's rare that someone would underline a huge portion of words in a dictionary like John Cusack's love interest (Diane) in the movie Say Anything.  But perhaps a specific dictionary, like a medical dictionary (in that movie) has this kind of potential.But let's draw a parallel just for a moment between a Webster's Unabridged Dictionary and YouTube.Both are vast, and both are searchable.  If you're looking for some answers to what you want to learn about, you can likely find a version of it on YouTube.The concept may be taught well.  It may give you some tools to grasp as you get started. And it's also “free”…sort of.  Remember, YouTube gets paid because of ad traffic, so you will sometimes be paying for what you watch with your time as you wait for an ad to play (or at least the first few seconds.)Now, I have nothing against YouTube ads – I'm building some YouTube ads out right now as I string these words together.The Only Non-Renewable ResourceNow, did you catch the word I included just a moment ago?  It's the word “time.”  In the movie Avengers: Endgame, Tony Stark recounts a pearl of wisdom from his father, Howard, to Howard himself many years earlier.  It really resonated with me.  The wisdom was this: “No amount of money ever bought a second of time.”Time is a non-renewable resource.  And although we can't buy time, we can save time, which may actually translate to saving money as well.If I spend the better part of an afternoon or evening poking around on YouTube, I may find what I'm looking for.  But I may lose a lot of time doing it. Painful LearningI talked to one guitarist who learned to play on YouTube, but he described his experience as “painful.” I totally got it – there was a long slog towards finding what he wanted to learn, and much of it was disjointed and not at all progressive.This guitarist had been invited into a band rehearsal I was recruited to lead for, for a very specific endeavor that was coming up fast.  And as the leader, I had to make observations and intentional choices as I led this group.With respect, even as I interacted with this individual musically, it became clear that there were some essential music concepts he had not absorbed in his YouTube education that necessitated stopping the rehearsal multiple times, and eventually needing to do something I didn't foresee happening: I had to seek a replacement for the endeavor we were rehearsing for. I did this in the kindest manner possible, but it was clear that this guy's skills were not commensurate with what our band needed to put together for the set for the endeavor that was coming up in a week. I had to let this guy go.For the sake of the quality offering as a whole, I had to ask this guy to step down and to continue to develop his skills, hopefully for a future opportunity, while I sought out someone I knew could meet the standard with the time we had left.A Distilled CollectionLet me drop a word into this discussion that you've probably heard.  I mentioned it briefly earlier in this episode.  The word is “curated.”  In layman's terms, a curated collection is an organized collection of things, whether antiques, art, or in this case, music teaching tools.If a collection is curated, it has been carefully reviewed for the most effective and valuable criteria.  It's not a random, haphazard group of things.  It's very deliberate.But to curate something, you need to have time to do so, but also the experience to know what is relevant and of high quality.Typically, a curated collection is not very large.  It's been distilled and culled to the most essential elements.My approach to building out the GuitarSuccess4U materials in our battle-tested 6-stage Success Path is to do just that.  Having led worship, toured, written songs, and recorded multiple albums in the studio for three decades now, I've learned quite a bit.And as I mentioned, I had a guitar studio of 50 students a week upon whom I tested a ton of guitar concepts, to see which ones worked best.And much of what I've learned has been by accident or through the “school of hard knocks.”So, I've taken great pains to relieve and prevent the frustration of someone who is wanting to learn to play the guitar or go deeper with what they already know.Someone who accesses our curated collection of materials will learn much more on purpose, and with much less grief and frustration, because everything is clearly laid out.In terms of guitar study, there are so many different styles out there that the mind positively boggles.  Metal, Jazz, Funk and Classical are some of the broad strokes.  But then there's Neo Soul, Gospel, R&B, Punk, and many other styles.My focus as a folk/pop singer/songwriter and worship leader is: acoustic rhythm guitar, but even within that, there are multiple subsets, including strumming, flatpicking, fingerstyle, and more. I think there's wisdom in narrowing our focus to a niche.  For a quick summary of my mindset on this, with an analogy about Mashed Potatoes, check out my YouTube Short called “Guitarists – pick one thing and do it well.” (It's also embedded below.)I believe we spend time with people we want to be like. So, if you're a worship guitarist or a songwriter, you may not be in search of blisteringly fast distorted metal licks or blues grooves…yet.  You may actually be looking for chord theory, accompaniment artistry, strumming patterns, fretboard knowledge, and ways to play well with others (all of which we offer).Words to Live ByI also like to say that “Music is a language, guitar is a dialect, and I'm here to help you expand your vocabulary.”I also continue to revisit the idea that “I don't just want to help you become a better guitar player; I want to help you become a better musician.”  There's a difference, right?Now, YouTube will have a lot of things for you to discover, but with hundreds of hours of video uploaded to YouTube every minute, leading to tens of thousands of hours of content that are brand new each hour, there's certainly no lack of information, right?And sure, you can search for topics on YouTube, but it's a vast sea of information, and if I can be so bold, not all of it is presented clearly. Now, I don't have anything against YouTube.  As I mentioned, I'm working to have a presence there so as to provide some value and inspiration for guitarists I'm hoping will discover what I have to offer them.  But it can be a bit intimidating to log onto YouTube, because the looming question is “Where do I start?”More isn't necessarily better.  There's a term I've come across since we were trained to build GuitarSuccess4U, and it's called content overwhelm.  People experience so much content out there that they sometimes feel overwhelmed.And overwhelm is not a good feeling.  By and large, people appreciate being given clear next steps in bite-sized chunks.  And that's what's informed my teaching style.Sure, YouTube can recommend related content, even within a channel (and I set my videos up in our YouTube channel to do this sometimes.) But given a choice between a few thousand videos on a concept and a dozen videos that are all progressive and battle-tested, which would you choose?Now, I'm not claiming GuitarSuccess4U as the only source of guitar education; that would be presumptuous.  Instead, I'm stating that everything I've learned on the road, on the worship platform, on the stage, and in the recording studio has informed what and how I teach.  My guitar students and my guitar workshops have been excellent “crucibles” for content.I've literally sharpened thousands of guitarists with the tools that have found their way into the curated collection at GuitarSuccess4U.More Isn't Necessarily BetterYears ago, I performed a concert at a huge camp in California.  They had a bookstore.  But this bookstore was rather remarkable. The books that were on those shelves were so theologically solid and inspiring, that my wife and I felt prompted to ask the cashier who the mastermind was behind the book collection.She told us that the book buyer had very deliberately chosen those books.  This was someone who was extremely well-read and knew her audience of folks who would be walking through that small bookstore.It was not a huge store like Powell's Books in Portland that had multiple floors.   And it certainly wasn't Amazon.com.  It was a single room.  But it was truly a curated collection.  And people bought books there.  A lot.  And here's the most important part: they were blessed by the books.People who engage with content that transforms them are the kind of people I'm seeking to serve and bless.  I'm not looking for tire-kickers or people who want a quick fix.My father taught me the value of hard work and worthy efforts.  And when I experience stories of success in GuitarSuccess4U, I get really excited.Some of our Success StoriesMatthew, a hobbyist and worship team member, has experienced tremendous growth with us and has stepped forward to support his worship team on a regular basis with his guitar.Carol, a drummer who was struggling to get traction with guitar (even though she had a solid musical foundation) found us and is now, in her words, on her way to becoming “a complete guitar player.”Roger, a band member who plays multiple styles, joined us and realized how many gaps he needed to fill in, and now he's feeling empowered as a musician.Lori, a budding songwriter, came back to the guitar after a 20-year hiatus and began writing about her journey, eventually taking a song she wrote to Nashville to record it in a legitimate studio.  Now her worship team is gearing up to share that song at her church.Cole, a highly-experienced multi-instrumentalist who has played guitar for over four decades, is now able to be an intentional musician with the guitar and to play well with others.Erin, a beginner, is excited to learn simple songs to be able to play with and for her kids, and perhaps her grandkids one day.The list goes on, but these successes inspire me and others.Find Your PeopleI mentioned the community element of GuitarSuccess4U.  I'll wrap up with this thought:We're not trying to foster an insulated community where people feel coddled.  We've actually got some upcoming Zoom discussions related to being able to laugh at our mistakes and receive constructive criticism.But there's a difference between people wanting to help each other out, and comments from trolls.I've seen comments on YouTube and other social media sites about my offerings and the offerings of others that are just plain rude or even nasty.  These are things people would never say to someone's face.But there those comments are.But by contrast, what if you logged into a guitar learning experience, received encouragement through the lesson content (which we intentionally weave throughout) and then joined a Zoom call and got “real-time” encouragement again?Wouldn't you feel spurred on to love and good works, as the writer of Hebrews exhorts us to do in Hebrews 10:24? I don't see the YouTube environment as that kind of community (again subscribers to a channel can connect a bit through the comments, but Zooming in real time in a tribe can be much more of a place to bond.)Someone once told me that the people we spend time with affect us in a major way.  Spending time with like-minded followers of Christ who want to be better versions of their musical selves than they were yesterday – that's a worthy thing.I hope these thoughts have given you some insights into my perspective for the pros and cons of learning guitar on YouTube.If you've found channels on YouTube to follow, that's great!  If you're learning stuff on YouTube, that's great, too! If you want to subscribe to our GuitarSuccess4U YouTube channel, great!  By the way, that channel is YouTube.com/@guitarsuccess4u.But here's the next level.  If you've decided it's time to be more deliberate in your pursuit of guitar and music for the glory of God, and you want to save some money and especially time, please don't wait to take this opportunity. I invite you to join GuitarSuccess4U by heading over to GuitarSuccess4U.com…and then watch what the Lord does with your diligent pursuit of His glory through music.I appreciate your time today.  Keep having serious fun as you play your guitar.  Thanks for listening and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about what it's like to be a clumsy guitarist, and seven intentional strategies for how to avoid being a clumsy guitarist.When I'm puttering around at home, I dress pretty casually.  One item of clothing that I tend to favor is khaki cargo shorts.  They're comfy. But sometimes, especially when I'm in a hurry, I occasionally catch the corner of the leg pockets of these shorts on some things around the house.  Like drawer knobs in the kitchen.  Or the corner of a license plate on my car in the garage.Catching the pocket on a drawer is startling, but not as startling as the loud “thwap” that happens when I bend the corner of a license plate.I know what you're thinking – maybe wear a different kind of shorts than cargo shorts.But that could be treating the symptom.Here's another idea I need to consider: slow down, be more deliberate, and be…less clumsy.I think this approach applies to a lot of different aspects of life, including…you guessed it…our guitar playing.Picture me practicing some guitar exercises or a song, whether I'm in cargo shorts or jeans or whatever.  What if I make my way hastily through said exercises or song?I'll get hung up on things, I'll miss things, or totally play something wrong. Is that ok?  Yes, I suppose.  Because I don't want to be so perfectionistic that the joy of music goes away.However, and I think you'll catch this – I can slow down a bit and really take some intentional steps towards setting myself up well for playing more accurately during my practice time.In Guitar Serious Fun Episode 34, “Can Practicing the Guitar Be Harmful?” I took some time to talk about the importance of mental focus.  I'll expand a bit on those thoughts and add a few more here today. 1.       Set yourself up for smooth sailing.If my guitar is in good working order, I'll be in great shape for a solid practice session.  In GuitarSuccess4U, one of the five instant bonuses I award to new members is a video called “10 Tips for Making Sure Your Guitar is Properly Set Up.”I'll probably not play as smoothly if my action is too high.  I may get clumsy.If my guitar is set up properly, it has a much better chance of staying in tune when I tune it.  And speaking of tuning, I also offer my new members another bonus – “How to Choose a Tuner.” In this video we go over the merits of tuners that are attached to the headstock of our guitars, thereby allowing the vibrations of the notes to be picked up and tuned precisely.We also talk about tuners you can plug into, whether handheld, or mounted on a pedal board.We even talk about sound wave beats that can be matched with a tuning fork.  All kinds of possibilities.But having my guitar set up and in tune is going to make for a great practice session.  Less clumsiness, right?2.       Make a bit of space.Having a space dedicated to your guitar practice can be a huge blessing, even if it's just the corner of a bedroom, or a space that serves multiple purposes (like an office or a study.) Being able to close the door of a practice space allows for fewer interruptions, but also the opportunity for me to play something repetitively without feeling self-conscious. If I'm sharing the space physically (or sonically) with someone else, I'll feel reluctant about practicing something diligently until I get it right, because the repetition may seem a bit tedious for my listeners.These practice space tips and others can be found in yet another of the five instant GuitarSuccess4U bonuses: a PDF called “10 Tips for Making Your Solo Practice Space Great.”  I include photos and descriptions for making your practice space a place that you love to spend time in. 3.       Give yourself the gift of solitude.I love to be able to close the door of my practice space, as I mentioned above.New members of GuitarSuccess4U get a fun door hanger that is basically a snazzy “do not disturb” sign for their practice space.  On one side, it says: “Hold that thought.  I'm practicing the guitar.  Please give me a few more minutes.  Thanks.”  On the other side, it says “Get in here – you've got to hear what I'm discovering on the guitar – wooo!”As you might imagine, having uninterrupted time at my instrument can promote better concentration.Now, we don't live in a vacuum, and there's “life” happening around us all the time, especially if we have children under our roof, which is a good thing.But setting aside time and expressing my need to have an uninterrupted practice session can be a huge gift.  It helps if this is a time of day that's consistent, like before breakfast, or after work, or just before bed, etc.  That way, my family can give me the allocated time to tackle my practicing, and then I can be free to engage with them after I'm done.What's the opposite of solitude?  Well, maybe chaos or at least a state of many distractions.Again, our world has lots going on, but if I allow sounds from a TV or radio to intrude on my concentration, I'll get clumsy.4.       Invite distractions on purpose.The only caveat I'd offer to having a distraction-free environment is that if I'm working to take something I already know well musically to the next level, I can actually invite distractions into my process from time to time.I can practice a song with totally different music playing in the background to provide a bit of mental resistance, much like a weight lifter can add more weight to strengthen their muscles.I can also have a TV on if I'm working on rudiments, etc., If I can persevere (and play well) amidst distractions, I will do better when it comes time to stand up in front of an audience, a congregation or a studio microphone.I was gearing up for a Christmas tour one year, and we had guests over for Thanksgiving.  So, I invited them to listen to me play one of my most technical songs.One of the guests proceeded to turn on her phone and capture me on video…from about four feet away. It was initially a bit startling and of course, very distracting, but ultimately, it served as a fabulous catalyst and strengthened my preparation on the song, which went much more fluidly on my Christmas tour.5.       Haste Makes Waste.If you've heard this expression (or lived it) you know that some things can fall off the wagon if we're too hasty.  So, one thing I recommend is to slow down and take things deliberately.In Guitar Serious Fun Episode 26, “Don't Get Caught in a Speed Trap,” I speak plainly about how I am prone to rushing the tempos for the songs I play.Sometimes this is because I'm overexcited in a performance or recording setting, or because I don't have a strong conviction about how to keep a rushing drummer in check.But sometimes, it's because I'm in a hurry to get through a guitar song or exercise.  Rushing through these types of things, especially early on in the formative season of the song, can never be a good thing. Why?  I'll give you a second to guess.It's because I'll likely get clumsy. And what do my hands know?  They only know what I tell them.  So, if I rush through my practice session because I'm in a hurry, I'll make some (or a lot of) mistakes.And then when it comes time to play the song “for real” (which, in my opinion, is a bit of a misnomer since we should always be playing with intention), I'll likely “re-state” the mistakes I've made in practice.As several wise music teachers have quipped, “Practice makes permanent.”  In other words, whatever is practiced becomes more permanent.It takes quite a bit of re-training to “undo” incorrectly practiced music.6.       Clean playing is rarer than you think.The idea of playing cleanly on the guitar is, in some ways, a lost art in some circles.I recall being at a Pierre Bensusan guitar seminar in his home studio in rural France (and as I string these words together, I'm actually enjoying listening to Pierre's solo acoustic album, Intuite.)When he was instructing me and a small group of students, he made it clear that playing clean should always be the goal.What is playing clean?  You probably know.  But it's basically articulating notes and chords in such a way that they ring out clearly.No string buzz, no unnecessarily muted (or unmuted) notes, and basically a very strong sense of purpose in what we do.I could probably dedicate an entire episode of Guitar Serious Fun to this discussion topic (and I may), but for now, I recommend being uncompromising in your execution of the notes you play.I'll ask a rhetorical question: is it better to learn forty chords that I can play fairly well, or just four chords that I can play cleanly?Based on what I've just discussed, the latter is superior. If I had a nickel for every volunteer worship guitarist I've heard play in a clumsy fashion, I'd have a lot of nickels. Usually clumsy playing comes across to me as an attitude of compromise.  I know that some guitarists are just getting started and they want to be available to serve, so I'll tread lightly.But if these guitarists can clearly articulate a strong G, C, D and E minor chord progression, not just with their individual appearances, but in context and in transition with other chords, it's a much more skillful offering than a bunch of chords that just don't sound quite right.And even though some listeners are musicians, many are not…and yet, most can discern the difference between clean and clumsy.You get it – play skillfully as the Psalmist exhorts us to do in Psalm 33:3. In GuitarSuccess4U, which you've heard me allude to a few times in today's episode and which you likely know a bit about (or are even a member of, perhaps), we leverage a tool of my own design called The Chord Kite Diagram, which I've never seen anywhere else.  Therefore, I had to create it.It details multiple “communication pathways” so as to allow chords to function very deliberately in context.  In creating the Chord Kite Diagram, I use an axiom that is inspired by Dawn Jones called “Reduce it to the Ridiculous.”You can listen to Dawn and me unpack the logic behind this in Guitar Serious Fun Episode 46, “Reduce it to the Ridiculous” – with Dawn Jones.A quick summary is the idea of zooming in (almost ridiculously) so as to get something done well.If our guitar playing is worthy (and I believe it is), it's important to zoom in and get things done well.Imagine if I was having a minor surgery and I was conscious and could hear the surgeon talking with his fellow staff as he or she worked on me.What if I heard the surgeon say, “Hmmmm…I guess that's good enough”?Would that promote confidence?  Probably not.Guitar and surgery are not at all on the same playing field, but you can tell if someone cares about what they do.I've had people say as much after one of my shows.  They've said, “You really care about what you do, don't you?”  Those are kind, affirming words, and they also show that my intentions as a guitarist have had the desired result.We communicate an unwritten message in the quality of our musical offerings.A clumsy offering communicates a certain message.  So, let's be the rare clean-playing guitarist, and communicate to our listeners that we care.7.       Get rest; don't be stressed.If we are rested, and our stress level is lower, our clumsy factor will decrease significantly.Yes, playing the guitar is an opportunity to de-stress.  But if we're leaning into an intentional practice session (not just strumming a song for the chance to wind down), it would behoove us to be rested and alert.Being stressed is also not going to help us with our concentration.Whether I'm driving a car or cooking a meal, I'm less of a safe driver and less of a deliberate cook, if I'm weary and overwhelmed.I'll make silly mistakes, which at the very least can involve horns honking at me on the road, or missed ingredients in the dinner.There's a whole continuum, of course, and some car accidents and burned meals have been the result of a certain level of clumsiness.So, in the words of Daniel Tiger, who took up the mantle of Mister Rogers, “Rest is best.”  And a low-stress environment, as each of us knows in our heart of hearts, is much more conducive to effective practice.In terms of applying this to our guitar playing, this is probably fairly obvious, but I still like to point out obvious things from time to time.Wrap-UpI'll touch on our seven tips today again for review as we endeavor to avoid being the clumsy guitarist. * First, set yourself up for smooth sailing with a guitar that's set up well and can be tuned to precision. * Second, make a bit of space for your practicing. * Third, give yourself the gift of solitude so you can be uninterrupted if that serves your season of guitar playing. * Fourth, invite distractions on purpose, if it helps you get stronger with your songs. * Fifth, remember that haste makes waste. * Sixth, recall that clean playing is rarer than you think (so let's stay rare with our playing.)  And…* Seventh, get rest; don't be stressed.As I've implied in my discussion here, the perfect scenario for guitar development won't always be there.  Many times, we work within a less than ideal scenario, and we just have to roll with how things are.  But being extra aware and tuned in is good.Now, if you're aware and tuned in to today's episode, you know that three previous episodes of Guitar Serious Fun have been suggested for your enjoyment.For the listener, you may need to spool back through.  For the reader, I hyperlink to other episodes on Substack, as I always have.If you've experienced all 93 episodes up to this point, then awesome!  But it's likely that you've joined us somewhere along the way and haven't had the pleasure of experiencing my thoughts (and the thoughts of some of my guests) in some of our previous episodes.If that's the case, please take the opportunity.  We've got quite the compendium of concise, well-organized topics here at Guitar Serious Fun.But if you're looking for the real feast, well, GuitarSuccess4U awaits you with a curated collection of progressive lessons, quizzes, interviews, exercises, and above all, a supportive Christ-honoring community of like-minded guitarists.  The best two parts?  1) It's highly affordable and 2) you get to set the pace.It's my privilege to be the founder and guide for this unique tribe.  And perhaps you are in a season where you might join us.  If so, we eagerly await the opportunity to welcome you in, and soon.If not yet, perhaps share today's episode, or at least our website, with someone you know who might be a good fit for this amazing online experience.The website is GuitarSuccess4U.com.  Thanks so much for listening.  Keep playing your guitar, and the clumsiness will become less and less as you become more and more the guitarist you were made to be.I'll see you next time. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/Communicate6. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript included below…Did you know that as a guitarist onstage, you're always communicating something, whether you're trying to or not? Your presence on the platform, especially as a worship guitarist or band leader, puts you in the middle of a conversation.  Will you communicate well? If you listen to what I have to share with you today, I think you'll gain some solid tips that will make you much more effective.After leading worship professionally on staff for over a decade, and touring all over North America as a guest worship leader for almost three decades, I've picked up a few strategies that have really enhanced my process and blessed the people I've been serving with, both musicians and technicians. And most of these involve non-verbal communication.Here are six ways to communicate well with your teams from your guitar.1. Cue and establish the tempo. Tempo is essential. How do we achieve consensus for how the song begins? The worship guitarist can count in. I've seen several approaches, but if the song is in 4/4 time and the worship leader (who may also be playing the rhythm guitar) wants everyone in on beat one, and chooses to count 1, 2, 3, 4, is there any ambiguity about when the downbeat of the first measure is? Nope. It's super clear. Some worship guitarists would rather not do this – they don't want to verbally start the song. A subtler approach could be to tell the drummer to “click in” with his or her sticks, or start the click, by cueing them with a code word. Like, “exalt,” for example.We could say, “Let's lift our voices together as we exalt our Lord in song.” Cue the click.2. Keep the tempo. Some of us have people on our teams who like to rush. If the whole team or band has IEMs with a click, this keeps things more manageable, but without that infrastructure, we need to be able to signal our team with our foot, especially if the tempo is accelerating unnecessarily. We can stomp our foot, or we can lightly tap our foot, but if we have a solid feel and ability for communicating the tempo, our team should be able to visually “check in” and see if they're on track with us. Obviously, they need to be able to have line of sight to our foot for this.3. Move to (and from) the mic. Let's assume that you're leading worship as you sing and play rhythm guitar. Do you need to be at the mic when you're not singing? My answer to that is: “no.”  Track with me here. If there's a short (or long) intro or instra break, it does not serve the band (or anyone) well for the worship leader to linger at the boom mic. They're sending a “false positive” message to everyone and creating a subconscious state of insecurity. The only foolproof strategy is if the worship leader moves to the side, away from the mic at the breaks, and then comes back when it's time to sing again, thereby “rebooting” the process. Coming back to the mic tells everyone (including the projectionist) that the next lyrics are to be sung. Is this overkill? Not if you've witnessed what I have – people from the congregation inadvertently singing “solos” and then stopping abruptly, sometimes not without a bit of embarrassment.4. Move the guitar neck for ritardandos. Ritardando is the Italian musical expression for “slowing down,” usually at the end of a song. If you want your band to follow you rhythmically through that slow-down, use your guitar neck. You can literally subdivide the measure by moving your neck down and up, and decelerating the tempo.5. Raise the guitar neck to signal the end of the song. If the band isn't certain if the chorus you're on is the final chorus, etc., simply raise the neck of your guitar about 30 degrees as you sing, and the band can see that as a signal to wrap up. They'll know the song is about to end.6. Confirm the length of the closing song (even before it begins.) Sometimes, we need to “call an audible” and truncate the song at the end of the service. We can communicate our plans for this with our teams without saying a word. For this to happen, it helps to have two versions of the song rehearsed and ready in the minds of the band, but even in the slide shows of the projectionist. These two versions are: the unabridged version, and the abridged version. But how to communicate with the band and the projectionist which way you're going to go? Right before the closing song, I can choose one of two postures that will be visible to everyone, even from far away. First, hands at my sides indicates “no hurry” – and therefore the unabridged version. Second, hands on my guitar indicates that time is short and we are “in a hurry” – and therefore the need for the abridged version.Closing ThoughtsI hope these tips have been helpful today. There are more, and I'll share additional thoughts with you on related subjects in the future. For now, put some of these into practice for your next time of worship or band offerings. Don't feel like you need to tackle “all” of them at once.Thanks for your time today.  Keep showing up, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today, together with Nashville session guitarist Dave Cleveland, we're going to bring you a huge dose of encouragement as it pertains to the journey of a Christian guitarist.To give you a bit of background on what you're going to experience if you're willing to listen to the audio version of today's episode, I've had the privilege of teaching guitar workshops at the Christian Musician Summit here in the Pacific Northwest for fifteen years. Each time I've been invited to teach, I've brought topics related to rhythm guitar, fretboard knowledge, chords, the capo and more, all with a view to equipping Christian guitarists to develop their skills for worship leading and songwriting.My first year at the CMS was 2007, and after road-testing a lot of my teaching concepts for over a decade, I intentionally launched GuitarSuccess4U in 2019. It was there that I began to draw like-minded people into a community where music is a language, guitar is a dialect, and where we work diligently with joy to expand our vocabulary.I'm always growing as a guitarist and as a musician, and my desire to expand my vocabulary is constant. So, at this year's CMS, I was intrigued by a workshop offered by Nashville guitar session player Dave Cleveland. It was all about capos and alternate tunings, both of which I leverage on a pretty regular basis. What followed was unexpected: Dave actually invited me to help him teach the class.With eager onlookers, we delved into multiple capo positions and tunings, leveraged the CAGED System, and called out Nashville Numbers so we could work in tandem.I like to bring a plan, but in this case, there was very little structure, which actually allowed us to explore musical frontiers I didn't even know were possible.Well, I told my tribe of guitarists about this experience and I invited Dave to be on a Zoom call with us to debrief that class, and he accepted.  Dave is a gentleman and a scholar, the first-call session guitar player in Nashville, having played on countless commercials, in movies, and on major albums with people like Steven Curtis Chapman, Miley Cyrus, Twila Paris, Lauren Daigle and more.  Over his 32-year career, Dave has recorded over 30,000 songs.He graciously granted me permission to share some segments from the Zoom call we hosted recently inside the membership.  Typically, I keep these kinds of treats for members only, but I felt like it would be a great way to give you, our listeners here at Guitar Serious Fun, a window into what goes on when we gather for a Zoom call discussion with a guest expert.What you'll sense almost immediately about Dave is that he's super chill, very encouraging, extremely knowledgeable, generous with his ideas, and really, just a brother in the Lord that you're going to love spending a little time with.This was a call where I invited my Guitar Successors, as I like to call them, to type their comments and questions   into the chat, so we could cover as much ground as possible during our brief time with Dave. Here's where I link to my YouTube video that captured the visual aspect of the experience. Now that you've heard a bit of the audio from the workshop, I want to encourage you to listen to the podcast version of today's episode to enjoy a distilled audio excerpt from the Zoom call where Dave fielded a variety of questions and offered some tremendous encouragement to our community. Well, I hope you gleaned a few things from our discussion with Dave.  I smiled quite a lot as we enjoyed that short and sweet time together.As you might imagine, I seek out several experts who join us on Zoom over the course of each year, and each expert brings a different bit of wisdom. We've had Jesse Ferguson talking about in ear monitors and how to leverage them. We've had Jeff Sandberg, a world-class saxophonist, talking about improvisation. We've had Brian Reding, a multi-instrumentalist and producer, talking about the art of listening. We've had Jerry Roberts, a slow-handed Eric Clapton-esque electric guitarist talking about weaving electric and acoustic together for worship and designing an app-driven pedal board. We've had Jeremy Calvin, a wunderkind aux percussionist talking about creativity for solid rhythm grooves with percussion and guitar. We've had Adam Bollen, a super intuitive bass player talking about arranging, rehearsing, and pedal effects. We've had Ron Mallory, a highly published arranger and keyboard player, talking about relevant music theory and transposition. We've had Dr. Gordon Myco, a chiropractor and health coach, talking about health, posture, diet, and longevity for our musical journeys. We've had the Master Luthiers of Mike Lull's Guitar Works talking about the craft of building, repairing and caring for guitars. And we've got more coming up.  Does this pique your interest at all?  Leave a comment if it does.  And if you're rarin' to go and want to find your people, meet guest experts, and most of all, fulfill your potential as a Christian Guitarist, don't wait any longer.Head on over to GuitarSuccess4U.com to begin your journey with us and take your guitar playing to the next level.  I would be honored to serve you, and our tribe would be honored to welcome you in.Thanks for experiencing today's episode, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript and photos included below…Here at Guitar Serious Fun, we intentionally work to have a good balance between practical and philosophical concepts.  Today's discussion is more on the practical side, but there's also a philosophy behind it.Three Pictures of RhythmI want you to envision three separate images, and I'll provide photos of them in the blog version of today's episode.  They are 1) a suspension bridge, 2) a pearl necklace, and 3) a “connect-the-dots” diagram.First: a suspension bridge:You've probably driven over a suspension bridge at some point in your life.  What you might observe as you make your way across the bridge is that it not only takes you from one piece of land to another, but that there are usually at least two points where most of the weight is supported: the towers.The towers are where the cables are connected, so as to create a parabolic shape, leading from one tower to the next.  A suspension bridge doesn't typically have a single tower.  It shares the “weight” between at least two towers.  And between those towers is a bit of “rest” or less tension, where not as much weight is carried.The second image: a pearl necklace. This is an excellent example of a balance between the connective necklace string and the pearls that are strung on it.  There's a slight gap between each of the pearls.  And it's not one long “tube-shaped” pearl; it's a collection of pearls.The last image for your consideration is a “connect-the-dots” diagram. This is by definition, a collection of dots that are (or will be) connected by lines.  Each of the dots is a marker point which can be used, usually in a sequence, to allow for a bigger picture to emerge once the dots are connected.So, each of these three images I've described has anchor points, whether they are the tower of a bridge, the pearl on a necklace, or the dot in a diagram.  And each of these images has more than one anchor point, sometimes many.If you view the trajectory of each of these images, there can be a bit of a rhythm. The bridge, from one side to the other, has a simple rhythm of: tower, swoop, tower, swoop. The necklace has a string and a simple rhythm of: pearl, string, pearl, string. And the “connect-the-dots” diagram has the rhythm of: dot, line, dot line.Rhythm in LifeOur lives consist of rhythm.  We wake up and do our work.  We go to sleep.  We're awake, then asleep, then awake, then asleep.  We walk, usually right foot, left foot, right foot, left foot, etc.  Our heartbeat is a rhythm.  Our breathing is a rhythm.Conversations and information exchange can be a sort of rhythm.  None of these is even about music…yet.  But music is, of course, an avenue where rhythm can be explored.  Sure, rhythm doesn't have to be a part of a song, but it usually is.For more on this discussion topic, I encourage you to check out Guitar Serious Fun Episode 77: Rhythms of Rest for Guitar.Where am I going with all of this?  You've probably got it figured out, based on the title of today's episode.  Here's where I plan to land this:Practicing can be in a sort of rhythm as well, especially if it's done deliberately.  To this end, I want you to think about the time between your practice sessions as essential.What our mind is doing when we're not “practicing”If you're listening to the podcast version of today's episode, I've put the word “practicing” in quotes.  Practicing, by definition, is going over musical content with the intent to improve upon it.Can practicing happen when we are not at our instruments?  Before I answer this question, I'll state that the best form of practice happens when we are indeed playing the guitar.  That's a pretty straightforward fact.I can't form chords and scales without my instrument.  (Ok, there may be an app I can tap on a device for, but the strings and the frets won't be the same.) And I can't strum effectively without my guitar.  Again, with a pick in my hand, I could strum in the air, or against the front of my shirt.  But practicing with our actual guitar is going to be tremendously effective. However…when we don't have our guitars, we can still be “practicing.”  How often have you sat back down to practice and sensed that you were “further along” than you were when you finished your last practice session?Why would that be?Because your mind was still mulling over the concepts.  You might visualize them, you might hum them, you might tap your toes, and you might sing through the musical exercise or song you were practicing.And this might happen while you're doing some mundane task that's not at all related.Each time we take a break from our practice, probably for the day, we enter this “mini-season” of rest, which allows for the connective time between the practice sessions. Based on our images from the beginning of today's episode (the anchor points of the bridge towers, the pearls, or the dots) each represent our practice sessions.But the cabling, the necklace string, or the lines represent an equally important part of the picture – the time of resting our hands and our eyes, but still allowing our minds to process the material.The Lord does something unique in our minds during this downtime.  I can't categorize it in terms of psychology or even physiology; I just know if I've experienced it.The Lord helps us process what we did, and prepares us to do it again on the next level.  If you have any desire to memorize what you're learning on the guitar (a song, a scale, a chord, etc.) you will find this process essential to your success. But here's the key – we need to have consistency between work and rest.An Analogy from the GardenIn GuitarSuccess4U, our members are welcomed into the experience right away with a video that lays the groundwork for how they can develop an effective practice regimen.Without giving too much away, in this video I use the analogy of a small raised garden bed for vegetables, where I made space, framed the garden, added soil, planted seeds, and watered regularly, keeping an eye out for weeds and pests.Each of these components in the “garden” analogy has a crossover to how a guitarist can carve out a practice space, develop a plan, take in wisdom and knowledge, and apply a moderate amount of diligent, consistent practice, watching out for hindrances and distractions.Gardening, as I've discovered, especially when it comes to growing food, has a bit of a sequence and routine to it. If I were to bring in the soil without having a frame for it, that would be out of sequence. If I were to throw down seeds and then frame the garden, later adding soil, that wouldn't be optimal either.And in terms of a routine, if I decided I wanted to pour a hundred gallons of water onto the garden one day, and not water it again for six months, that would be ineffective.  It's the consistent watering that leads to the plants germinating and coming up through the soil.  And some of the watering needs to happen for several consistent weeks before results can be seen as the plants emerge.  The watering is done in moderate, consistent amounts.Eventually, the plants are large enough to harvest.  This is a high point, before we move on to the next season and plant a new crop.But the key word is consistent, or consistency.Wisdom from an AthleteA friend of mine named Jonathan (who stays very fit) once shared this bit of wisdom with me, and I've never forgotten it.  I'm actually including it in some of the teaching I'll be offering in an upcoming online guitar web masterclass, which you'll hear about in the near future.The phrase is: consistency trumps intensity.I'll unpack this briefly from the perspective of an athlete. An athlete typically works out several times a week on an ongoing basis.  You won't see an athlete work out 10 hours straight for 7 days and then “call it good” for a year's worth of exercise, right?Consistency trumps intensity.  An intense week of exercise can be trumped by multiple weeks and months of consistent exercise, of a much shorter duration.Some athletes train for an event.  Another friend of mine, Chuck, recently ran a marathon.  He did a lot of consistent training, whether running, strength training, or even intentional measured food consumption, under the close supervision of a coach.Chuck was tremendously consistent, and we spoke at length about his process.  Ultimately, the payoff came when he ran the marathon.  His consistency had paid off.The Pit StopWe can learn consistently, but sometimes our musical development has a bit of a “pit stop” in the form of a concentrated learning environment over the course of a short amount of time, like a single day or a weekend.Worship conferences fall into this category.  They are a great opportunity to grow in our skills, but to me, the main “win” of a conference experience is just that – the experience.  It's the opportunity to be inspired, encouraged, and perhaps offered a handful of insights that can be put to use. A conference can be a “mountaintop” experience.A conference also allows for the opportunity to connect with others who are on a similar trajectory.  Tips, tools and insights can be absorbed on a moderate level at a conference.But that conference is rarely more than a few days.  Imagine if someone wanted to host a regional worship conference every day for a couple years.  Hmmm…I just don't see that being sustainable for the hosts, or the attendees.Most people need to get back to work and to their own routines, and many folks travel a significant distance to be at these worship conferences.  I recall one man traveling from the other side of the planet to be at a worship conference I taught at.So the “win” of the conference is that it inspires us and serves as a catalyst for each one of us as we go back to our routines and our “week in, week out” worship leading, songwriting, or performing schedule which is hopefully undergirded by some element of consistent practice.I've hosted multiple annual Guitar Symposia over the years.  Those have been very uplifting to worship leaders and Christian songwriters who want to grow with their guitar skills.I hosted our first GuitarSuccess4U Live event last year, and people drove and flew in for it.  Our time together was such a blessing, and although I offered some teaching on requested topics, the vast majority of the time was spent with informal jamming, fellowship, and feasting together.And when everyone rejoined the Zoom calls as we got back into our routine inside the membership, we were more closely connected. So, I totally support the conference or retreat experience.Now in Guitar Serious Fun Episode 17 and Episode 18, I offered a 2-part discussion of Guitar Through the Seasons.  In these episodes, I did allude to the fact that there are seasons where we need to set down our guitars and play them for less time.But in a normal schedule, my hope is that you would take a little time each day, ideally in the same location and at the same time of day, to provide that consistency that will lead to traction.Certain concepts like a strumming pattern can be imitated and picked up almost immediately.  Other concepts like some moveable chords, scales, fingerstyle patterns or entire songs may take weeks or months, but if we “chip away” at them consistently, we'll surprise ourselves.We'll find ourselves saying something like, “Hey – yesterday, I couldn't play this, but today, I can.”  And by the way, it wasn't a one-day transformation; much like when I planted the garden, the seed germinated below ground and then came up through the soil.It became visible one day, but only as a result of consistent care and watering.Did the plant spring up instantly?  Of course not. Did it respond to the consistent care I gave it?  Yes.Did I leave the plant alone for the rest of the day and give it some space after I watered it?  Yes. To keep watering it hourly would be similar to practicing every hour I'm awake.  I wouldn't be allowing myself the mental or the physical opportunity to…you know it: rest.Wrap-upAs we close things out today, I'll leave you with this thought.  Life is not perfect, and we don't live in a vacuum.  But if we can tether our practice to our existing day-to-day routine, and allow for rest between the practice sessions, we'll work with our minds and bodies, and not against them.When we need a longer break, like weeks or even months, we can do that. When we are excited to attend a concentrated experience like a conference, we can do that.  But the battle is not won on the mountaintop, at the conference.  It's won in the “day in, day out” routine.  It's not super glamorous, but it is worthy, and it does lead to the results we seek.So, keep practicing, get the rest you need, and watch what the Lord does in your guitar playing and musicianship.And if you want to see what other people are doing as they sharpen their skills for the Lord and share their combined wisdom, experience and encouragement, please check out GuitarSuccess4U.com.  I can't say enough about what an amazing experience this is, and I hope you'll come find out for yourself.Thanks for listening today, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

I'm thrilled to welcome a new guest to Guitar Serious Fun today.  His name is Jerry Chambers.He's a third-generation worship leader and has a passionate heart for knowing God and worshipping Him with others, as well as helping new churches with all-things worship and tech.He holds a Masters of Church Music degree from Southwestern Seminary, and has served at churches in Oklahoma, Texas, Germany and Washington.Jerry and his wife, Judy, have two daughters and two sons who have huge hearts for serving and living alongside the needy at home and around the world. I met Jerry in 2017 when we were both presenters at the Worship Catalyst Experience at the Northwest Ministry Conference in Redmond, Washington, and I was blessed to be able to sit in on a little bit of what Jerry was sharing with the attendees. We've stayed in touch over the past few years, and in an effort to bring in some more outside wisdom to our listeners here at Guitar Serious Fun, I approached Jerry, and he graciously accepted. Many of our listeners who are pursuing serious fun on the guitar are involved with music at church, and that's definitely something I've been a part of for almost three decades, whether on staff, volunteering, or serving as a guest worship leader. So in an effort to round out the content experience here at Guitar Serious Fun, we're going to have an intentional discussion about those times when we experience disappointment and discouragement, and what to do next.Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because I believe that when you listen to what Jerry has to say, you'll be deeply encouraged. So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode, maybe leave us a 5-star review on your preferred podcast platform, and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about how sometimes it isn't even about the guitar.I play the guitar.  And if you've been following Guitar Serious Fun for any length of time, you probably play the guitar…or you hope to.Now, we spend a fair amount of time here talking about the practical and philosophical approaches to developing our skill and artistry on this instrument.  Every fourth episode thus far has featured a link to a practical mini-lesson.  I hope you've discovered and been equipped by some of those.In some of our episodes, we talk about how to be more effective with our practice and execution of musical skills.But sometimes what may appear to be a guitar-related challenge or issue isn't about the guitar at all, or even music for that matter.Today, for the most part, I plan to share a few personal anecdotes or stories about myself, and to draw carefully from observations I've made about some other folks I've crossed paths with, but I'll speak generally and without using any names.What I'm hoping we can glean from today's discussion is what can be learned.Track with me here and I'll bring you into my thought process.  Hopefully, it will yield some insights and encouragement for you.First, it may be about music (but not guitar).Sometimes, a guitarist needs to sharpen their rhythm ability.  I've witnessed this on a few occasions.  If rhythm isn't strong, strumming won't be strong.  Nor will the more intricate fingerstyle articulations. A guitarist who doesn't have a solid sense of rhythm won't be able to “play well with others,” or at least as well as they could.  So what to do?Perhaps investing in a metronome or metronome app could help.  If possible, practicing or jamming with a drummer who does have a solid sense of rhythm could also help.Any time I can log with a solid drummer is time I count as a privilege.  I've gotten solid enough with my strumming that I can usually sense if a drummer is accelerating, but I also try to spend enough time with gifted drummers that they can tell me if I'm accelerating.Typically, we don't slow down, but there are always exceptions.Can you sense a song's tempo even before you play it, in such a way as to be able to quietly count it out for the benefit of your worship team or band?  That's a valuable skill to develop.But a metronome can really help.  Listening to the song over and over to allow us to better sense where it's going, can also help.Second, it may be about stress.I read recently that the body's production of the hormone cortisol is directly related to how much stress someone is under.  And although stress can be caused by a variety of circumstances, our body's innate response to this stress is the same.When we are under stress, our bodies literally think they are being threatened.  So, whether you are being threatened by an impending deadline for a project you don't think you'll have time to complete, or you're being threatened by a giant, ferocious beast that's chasing you, your body doesn't know the difference.It goes into “fight or flight” mode, produces cortisol, and tries to combat the stress.  And the result could be insomnia, anxiety, depression, and the loss of the ability to concentrate.I may be playing sloppily, or rushing, or playing without emotion, or something else.  But if you're wondering if stress can affect our musical offerings, wonder no more.  It absolutely can.  So it might not be about the guitar.  It might be about stress.And my approach to diffusing stress is first to pray, but also to do some relaxing activities, get proper rest, and spend time with people who are “life-giving” and not stressful to me.Some people play music to relax.  That's fine!  But if you're feeling stressed, make sure that the music you're playing is relaxing to you.Third, it may be about sleep deprivation.I briefly mentioned sleeplessness under the stress category.  If I haven't gotten good rest, my lack of ability to play well could be directly related to this.I may be less responsive in an ensemble, and I may practice incorrectly.  Just as I discussed in Guitar Serious Fun Episode 34, “Can Practicing the Guitar Be Harmful?”, there can be wasted time – or worse – if we're trying to do our music under minimal sleep.So, good rest is super important.  I've had various seasons of sleeplessness, and sometimes I take a melatonin 30-60 minutes before bed.  I avoid caffeine and too many liquids after dinnertime.  I try to avoid screen time at bedtime, or at least use blue light glasses so my eyes and mind aren't overstimulated by devices just when I'm trying to wind down.And I pray before I go to sleep every night…casting my cares on the Lord, who does not sleep (Psalm 121:3-4.)But when I can't sleep (and this sometimes happens for hours at a time), I ask the Lord to guide me in praying for people in my life and in the world.Fourth, it may be about insecurity.Some of us can feel insecure around other musicians, especially ones who are more established, more polished, or more resourced with nice gear.  But it's been interesting to me to see that some folks I've come across have top-notch gear, or even strong skills, but despite this, they are insecure.Why would this be?Perhaps they don't find their identity in Christ, but are striving to find it in their abilities or equipment.  This is an easy temptation to fall prey to, because we can see or observe our abilities, and we can physically touch our gear.Or they may profess Christ, but are still influenced by the desire for human approval.  None of us is immune to this.Christ, until He comes again, is invisible to us, so it's easy to get swayed by the visible, the temporal, and to lose direction. Those who focus too much on what other people think of their skills or their equipment are destined to be unmoored, because they won't have anything or anyone consistent to be anchored to.I have battled this.  Believe me, it's not a great mindset to have.Sometimes, our insecurity in our onstage offering comes to the surface because we feel unworthy for the position we've been entrusted to fill.  Perhaps a worship leader has made himself or herself available, but they don't feel like their skill set is commensurate with the need.Here's the thing: for whatever season this person has been invited to serve, the Lord has them there. They may be meeting a real need that a more skilled musician hasn't stepped up to fill.  And the congregation would do well to appreciate anyone stepping up to lead them, right?Every musician has a certain level of experience, and those who are more experienced…wait for it…have more experience.  It's a “Captain Obvious” statement, I know, but how do you get experience doing something?  You do it.  A lot.  And you learn as you do, right?And for some folks, it's easy to think about what the congregation or audience thinks of them.  I know it's easy for me to do this.I've had to do some introspection when comes to insecurity, and it usually boils down to being concerned about what people think of me…which is quite secondary to what the Lord thinks of me.So my best course of action is to look at what God's Word says about my identity in Him, and then to press on, developing my talents for His glory, not for mine.Fifth, it may be about obedience. God calls us to obey Him in all aspects of life.  And if we're not walking in obedience, even our music can be affected.I won't go deep on this subject, but in our heart of hearts, we know if we're not obeying what the Lord has commanded or called us to do.  We are fallen and sinful, but we are also called to turn from sin, right?We may be able to play our music while walking in disobedience for a while, but eventually, we'll run out of strength and focus, because we'll be trying to do too much on our own.Again, going back to the Word, and praying for the Holy Spirit's conviction to stir in us, is essential.Then, taking the opportunity to confess our disobedience to a trusted brother or sister in Christ, followed by repentance, is the clear course of action. Easier said than done?  Yes, but only on our own.  It's not an easy thing to invite the Holy Spirit to stir our hearts, and then to confess and repent, but it is a worthy thing, and the Lord has promised to be with us through it all.Sixth, it may not be about you at all.If you've ever had a rough collaborative effort and you just couldn't figure out why things were falling apart musically, it's possible that someone else on your team or in your band was struggling, even if you couldn't figure out who it was or how they were struggling.Someone on the team may be unprepared, so the cumulative offering of the band may be of lower quality as a result.Someone else may be burdened or distracted, so their musical contribution, as well as the energy they bring (or don't bring) to the creative effort can be diminished. Any of the aforementioned struggles from today's discussion could be something someone you're collaborating with is dealing with, and they may be hiding it well.You may sense this but not be able to put your finger on it.That's ok.  Sometimes it just isn't about us, or what we're trying to do with our music or our guitars.  If we're able to get to the bottom of why it's not working, great.  But sometimes, we need to chalk it up to it being about someone else and what they are going through, and do our best to either not let it affect us, or if we feel prompted, to ask if there's anything we can do to encourage them, and maybe even to pray for, or even with them.So…what is it about?The bottom line is that it isn't really about the guitar.  It isn't even about music.  It isn't even about us.  It's actually about the God we serve, and the people we serve in His name.When this falls into place, we can rest.  We can rest in His sufficiency, His approval, and His calling on our lives.  And then we can get back to making great music.  And having serious fun.Wrap-UpThanks for experiencing today's episode.  This was definitely one of the more challenging and subjective topics I've endeavored to tackle, but as I've leaned into the Lord, He's guided me with these words, as He always does.Sometimes it's just not about the guitar. But for those times when it is about the guitar, I've got good news for you.  We have a tribe of like-minded followers of Christ who are faithfully pursuing their gifts of guitar and music for the glory of God.And you can discover us at GuitarSuccess4U.com.  Will you check it out?  Take a moment now, if you have time.  Or make a note on your phone to check it out tonight.But come see what the Lord is doing in this amazing community and experience, and think about whether you might be a good fit for this opportunity.  It isn't for everyone, but it might be for you.I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about how to address our audiences well as we play.Even as we start this discussion, I'll give you a heads up about which direction I'm going – just in case you're wondering which type of guitarist I'm referring to.I'm talking about two types of guitarists today.  First, I'll talk about a worship guitarist who offers their gifts as an act of worship in a setting where they are leading others to the Throne of Grace through music…and then, I'll be talking about a performing guitarist who shares his or her gifts in a message-driven Christian concert setting where people listen.Then I'll talk about what happens when those two worlds collide and a guitarist is invited to share a mixed set of songs with worship leading and some performance pieces.  You ready?  Let's go.There are all kinds of purposes for guitar playing beyond these two, but to keep our discussion focused, I'll stay in these two specific areas, blending them together at the end of our discussion.And there are specific needs that congregations and audiences have as they experience the offerings of these two guitarists, which are worth discussing.  There is great wisdom in knowing our audience.So, if you're a worship guitarist, a performing guitarist, or you aspire to be either or both, this episode is for you.When it comes to playing the guitar in public for listeners, not all stages are equal, and not all offerings have the same purpose.I'd love to offer you some clarifications about what your audience is hoping for, and what you can bring to each of them when you play your guitar.Part 1 – The Worship GuitaristThe Lord called me to music ministry in the late 1990s.  I had purchased my first guitar in 1994, and shortly afterwards, I was playing it at a family camp, and someone approached me saying, “Hey, you have a guitar.  You could lead us in worship.”To experience the full story, I invite you to check out Guitar Serious Fun Episode 6: “Not Ready but Available.”It was at this point that I had just begun to grasp what it meant to lead worship with my guitar. Fast forward to present day, and I've led worship thousands of times, all over North America, and some seasons of worship ministry have found me leading on staff full-time and part-time at Christian churches of a few different sizes, from two hundred to almost two thousand.Sometimes, I've been a worship leader for four songs on a Sunday…other times I've led a couple songs to kick off a conference.  In other settings, I've been a worship leader for multiple sessions at a retreat.Whatever the case, I've been entrusted with playing my guitar in such a way as to lead others in singing to the Lord.First of all, I'll ask an important question.  Who is the audience in a worship environment? Well, if you said, “The Lord,” you'd be right.  And the Lord asks that we “play skillfully and shout for joy” (Psalm 33:3) and bring contrition in our posture. Psalm 51:17 says “A broken and contrite heart You, o God, will not despise.”Everything we do, especially when we share our music, begins with the heart.  Our expression as guitarists will flow from the condition of our hearts.  Are we humble?  Do we see ourselves as unworthy, yet called to approach the Lord with our gifts?Do we desire to come prepared, to play well for Him?  That's my hope.  He is worthy of our first fruits, not our leftovers, right?Now, the Lord is our primary Audience.  Some have referred to Him as our “Audience of One.”Now, “audience” is a subjective term, because there could be people in a worship environment who are observing as I lead, and they may or may not be contributing with their voices in corporate worship.But they are observing.What do they witness from me as I play?  Am I clear, confident, and do I lead well, but do I also remain peripheral?One class that has risen to the top in my collection of teaching offerings at conferences is a seminar I call “The Peripheral Worship Leader.”The word “peripheral” has to do with the outer part of the field of vision.  Still visible, but not central.If we move into central position, we take the focus off the Lord.  People are easily distracted, and we could potentially be contributing to this as worship guitarists.  Catch this: we can be peripheral whether we're in the center of the platform or not.  It's all about posture.We can also be invisible.  By this, I mean we don't confidently (and yet humbly) show the congregation that we are leading them.  If we “blend in” with the rest of the team and people don't understand who's leading the charge, we can also fade into the background, and this can be distracting as well .So, a guitarist could be distracting by action or omission.  By action, he or she could play too prominently in the texture with big, flashy solos or with dynamics that aren't sensitive to the context.  Or, he or she could be so meek that no one knows what to do next because there's no real leadership element in place.Let's be real: the people who have come to worship are not there to experience a concert.  That's something we'll focus on in a few minutes.By omission, a guitarist could play out of tune, and as you might imagine, there are people who might not know which strings are out of tune, but they know something's not right.And again, people need to know who's leading, and someone has to lead the band (if there is a band) even if leadership roles are traded out with a few different worship leaders, even on the same set.We, as a congregation should always be able to tell who's leading us.It's a delicate balance we walk as worship guitarists, because people can be so easily distracted.In terms of the practical aspects, we can take specific steps towards maintaining and preparing our equipment, getting proper rest, having excellent communication with our technicians, rehearsing intentionally with our team, and being as familiar as possible with our music.And guess what?  Even if we do everything in our power not to be distracting, something beyond our control could still happen, and people could still get distracted.But I'd say that being intentional and working towards preparation and skillful execution, while still having grace for ourselves and our collaborators, is a recipe for a healthy worship environment.Some worship musicians don't think this deeply about these kinds of things, but those who do tend to be more deliberate, and to offer an unwritten message about how much they feel the beautiful burden and calling for what they do.I can tell, within moments, if a worship musician is taking their calling seriously. But here's the paradox: we can take our calling and our Lord very seriously, and still not take ourselves too seriously.  I am constantly striving to find this balance as well.Because if I'm playing precisely, but my body language communicates that I'm carrying a lot of stress, that's not going to ultimately be a blessing to anyone.So, I try to bring some levity to my rehearsals, and to intersperse appropriate humor. Exempli gratia: at a recent opportunity to lead worship for a multi-faceted Christian ministry organization, I asked the sound guy if he could put a bit more my “talent” in my monitor.I basically wanted him to make me more talented than I was.Everyone laughed, and we enjoyed the process that much more.So, as we think about our offerings as worship guitarists, let's check our hearts, bring our offerings with sincerity and humility, do all we can to play excellently, but still hold things loosely.Part 2 – The Performing GuitaristI wrote my first song in 1996.  I went on to record multiple albums and to tour all over North America.But my touring largely consisted of concerts I performed.  The albums I recorded were not worship songs.  They were what I would call “testimonial” songs.Now, this is a broad stroke, but go here with me.  Worship songs are typically simpler in song form, and more “singable,” whether with rhythms, melodies, or even ranges.Performance-type testimonial songs can sometimes have more complex song forms, are better to listen to (maybe the chorus is an opportunity to sing along), but can have more complex rhythms, less predictable melodies, and can go really high, because the listener doesn't have to sing those notes.So as a performing guitarist, I have a different posture, because my audience has a different set of expectations.When people come to a concert, they're much more in a posture of wanting to be ministered to.  They are expecting to be taken on a bit of a journey, perhaps to hear stories, and as performance coach Tom Jackson has said, to experience moments.In my concerts, I incorporate multiple guitar techniques, from two-hand tapping, to looping, to playing the strings with a pencil or a violin bow, to multiple alternate tunings and harmonics, and more. But when I lead worship, my offering is much simpler.Really, with the exception of the occasional hammer-on, pull-off or slide, none of these above articulations would be appropriate for a worship set. They're too prominent and dare I say, showy in the wrong context. They draw the focus away from what we're doing in a worship environment, but they're very much welcome in a performance environment.In fact, I rely heavily on innovation and the “unpredictable” factor when it comes to playing for particular audiences, like people who've never heard me before.Some venues I've served have been what I call “Type B” audiences, where people are already present at an established gathering (like a church, school, retreat or conference).   “Type B” audiences may or may not know who I am and what I'm bringing to the event, even if I've resourced them with a promotional video that highlights what I do.Conversely, “Type A” audiences are the ones who come to experience my ministry because they've followed me for a while and have gotten to know my music.A “Type B” audience can be transformed quickly into a “Type A” audience, but only if the guitarist is moving adeptly and swiftly through textures and moments that keep the audience engaged, and even guessing.I showed up to perform a concert at a “lock-in” for a junior high retreat, and the sound guy pretty much greeted me just as he was leaving.  He said, “Hey, I've got a boom mic and a guitar channel all set up for you in there.  Have fun.”I gently stopped him right there and said, “Whoa, whoa, whoa.  I'm about to try to hold the attention of a bunch of sugared-up junior highers for the better part of an hour.  If I stand at a boom mic and just play my guitar, I'll lose them in the first 5-10 minutes.”It took a little explaining to get the sound guy on board, but then he eventually realized that my collection of instruments and unique tools (like my multi-colored Boomwhackers) were going to be needed to hold the attention of all of those kids, and therefore, there was a necessity to have a good backline of audio support, to say nothing of the video support that would also be needed to put images and lyrics on the screen that would carry them along with a multi-media experience.Some technicians think mostly about the tech, so we as guitarists sometimes need to do a bit of thinking for them about the artistic presentation.Exempli gratia: I like to use two or three boom mics at a concert, sometimes switching over to a headset mic.  This is another “page” I've taken out of Tom Jackson's book.At a show I performed several years ago, I had a sound tech serving alongside me who was absolutely mystified about why I alternated between boom mic and headset mic.He asked, “Why don't you just use the headset mic the whole time?”I answered, “Because different songs will feel differently to the audience depending on the mic.  There are different levels of pressure and dynamics associated with the visual experience of having these mics in place. A boom mic creates a slight barrier and anchors me in place more than a headset mic, which opens up the visual connection with the audience and allows me to roam about the stage.” He didn't really get it, but he supported me in it because he had plenty of channels, and that's what really matters.I had one sound tech encourage me to use an almost invisible flesh-colored mic as I led worship.  But here's the problem with that.  I like to signal the congregation (and everyone on my teams) that we are about to sing, as I step up to a boom mic. And when I move away, that is another way of communicating that we are not singing at that moment.  The boom mic is a tool of communication even beyond conducting an audio signal.If I have a virtually invisible mic on, the congregation won't get that visual cue.  I'll have to try to look down and demonstrably cue them with my eyebrows, which can look a little forced. So certain mics work better for a worship environment, and others can work better for a performance environment.In my concerts, sometimes I incorporate audience participation, which necessitates me roving about onstage, and even out into the audience.  The wireless headset mic is perfect for this application.And my various guitar techniques, as well as different tempos, grooves, and even postures (standing, seated, roving about) will provide different dynamics for the audience to respond to.  Humor, during a concert, can be super enjoyable.  I typically don't try to be funny when I lead worship.So, it's important to “read the room,” and to “know your audience.”Part 3 - When Worlds Collide: Worship and Performance TogetherOccasionally, I find myself invited to a venue where I get to perform a concert and weave in some corporate worship.  The typical venue for something like this is a family camp or a harvest festival.  I love these opportunities.I also know what a delicate dance it can be to pivot to and from worship songs.  Typically, I will follow each worship song with a short prayer, not in a perfunctory “I guess we'd better pray now” fashion, but rather to help us transition from the worship song to the next moment in the concert.The prayer allows us to recalibrate and to reacclimate to the performance dynamic.Now, it's all about being “in the moment.”  If I have an audience ranging from five years old to 75, and I'm hoping to minister to them culturally, to keep the young ones engaged, and to simultaneously bless the senior saints with a rich message of substance, while performing some songs, incorporating some worship songs that most can sing along with, and weaving in some fun…I've got a pretty tall order to fill.But the good news is that the Lord can carry me through. Some of my work is in the planning of the set.  But some of it is just observing people as they respond (or don't respond) to what I'm sharing during the event.Fortunately, I mix the audio for most of my shows from stage, so I can skip over songs that might not work.  Even my projectionist works from a set list where he or she can jump to certain slides or videos if needed.So, in these family-friendly worship concerts, the set list is rarely executed exactly as planned…but the audience doesn't need to know that.  They're just there to be ministered to and led in some worship.So, I go into a performance/worship presentation with a deliberate plan, and simultaneously I have open hands.And then, after I get home, I sleep very deeply.Wrap-UpWell, today we talked about how a worship guitarist and a performing guitarist can minister in a few different settings, and we touched on a lot of key points related to preparation, execution, the ability to be in the moment and to read the room, and especially how to know our audience.This is definitely a process and a craft that takes years to become proficient at.  And if you're a worship guitarist, a performing guitarist, or you desire to be either or both of these, I hope you gleaned some wisdom today.If you've got questions, please offer them in the comments.  If you want to up-level your guitar playing, please check out GuitarSuccess4U.com where I'm actively serving and sharpening worship and performing guitarists week in and week out through a battle-tested online experience unlike any other.Thanks for experiencing my thoughts here.  Keep having serious fun as you play your guitar, and I'll see you next time.  Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today, I'm coming to you totally unscripted. Read on (or listen) and you'll find out why.I went to the optometrist today, and they had to put a couple drops in my eyes to dilate them so that they could check and make sure that my eyes were healthy.Good news: my eyes are healthy.The less good news is that because of the dilating liquid, I can temporarily barely see things up close, including anything written down, anything on my cell phone, or even the counting numbers on my recording device.I had to ask my 12-year-old daughter to verify these things so that I could speak extemporaneously and spontaneously, which is exactly what I'm doing here. (Check the audio recording for what I captured for your ears.)I'm going to hang a few truths on a few bullets that are just now coming to me, but I want to encourage you with the thought that even if something happens that weakens us or lessens our faculties, God can still be glorified.So the first thing I want to speak to is the idea that not everybody who walks on this planet is able to see things clearly, and God can use that.The late Fanny Crosby wrote a beautiful hymn called Blessed Assurance and she has all kinds of wonderful imagery including “Visions of rapture now burst on my sight.”So many wonderful images are in that hymn and it was brought to my attention that she was not able to see.I don't know how much of her life she was not able to see, but certainly when she penned those anointed lyrics that was something she could see in her mind's eye but not with her actual eyes.So I want to just highlight the fact that there are a lot of musicians out there who may not be able to see but who can still make great music…and I actually had the privilege of seeing the Blind Boys of Alabama open for Peter Gabriel, probably I think 20 years ago now, and they were phenomenal.I don't know why I remember this so clearly but one of the guys had such tremendous breath control or circular breathing with his singing that someone was actually able to lead him from the stage out into the crowd and then back up onto the stage while he sustained a note.I don't think there was any gimmick in play, but as a vocalist I don't exactly know how he was able to accomplish that.All that to say they performed a tremendously engaging set, and to my knowledge most of them are sightless.So that's why they call themselves the Blind Boys of Alabama.So I've seen a few different musicians either in person or on video or I've read articles about them, and they've either been born without sight or they've experienced the deterioration of their sight to the point where they can still play, but they have no visual communication with their instrument, and they are still making great music.The second point I want to make is the fact that not looking at our instrument can actually be a good thing.I don't know if you've been led in worship by someone who is pretty visually tethered to their music stand or to their guitar, but it sort of feels like they are kind of having their own dialogue with what's going on up on the platform and they're not really engaging with the congregation.In my later developments of worship leading strategies, I've chosen whenever possible to be memorized… and that does two things.One, it allows me to have a really solid knowledge of the music that I have practiced and developed.But two, it allows me to have great visual communication not just with the band, but also with the congregation and even the technicians.When I can look beyond what I'm doing because I don't literally have any music to stare at, I can actually communicate better.And actually, people sometimes have expressed to me that they've felt like I've led them even more sincerely because I did not have a music stand in front of me.Now, I'm not saying that not having a music stand is the only way to go.Some of us don't have the bandwidth to memorize our music.But there's a difference between glancing to reference it and being totally focused on it and unable to look up except momentarily.So anyway, the idea of being visually independent of your instrument can be tremendously empowering. And to that end I actually want to encourage you to try something that I've done from time to time and that's to sit down with your guitar and work on something that you're developing that you either have memorized or have a pretty good handle on but turn off the lights or put on a blindfold.If you do that your physical and auditory senses will be heightened, because you will not be able to see what it is that you're doing and you'll feel those larger fret distances, and you'll feel your hands at the instrument really holding on a little bit more intentionally because you have to orientate yourself to the instrument without looking at it.Any sort of physical motor skill, whether it's a sports skill, a musical skill, any of these sorts of skills where we're using our hands, we need to develop a level of tactile familiarity with our craft so that we can do it better, but also so that we don't have to rely on our eyes.Because then we can be more artistic, more visually independent, and I would argue that the artistry is increased.So the last thing I want to share with you is the idea that scripture reminds us that though outwardly we are wasting away, yet inwardly we are being renewed day by day (1 Corinthians 4:16).It's not so much about our visual or even physical abilities.It's about where we are spiritually with the Lord as we live our lives and do our good work.So, as I think about our aging bodies, every last one of us will experience a deterioration of our faculties, but that's going to be expected.People don't get stronger as they get older.Our vision doesn't get clearer as we get older.In fact, my optometrist today said that in the next three to five years, I can expect to have a need for a different kind of contact lens that might be able to have a multifocal capacity so that I can read a little bit better up close.Literally, as I speak to you right now, I could not read a piece of paper in front of me if my life depended on it.There's no way that I could even see it.In fact, even as I look at my hand, it's got a little bit of blurriness to it.Ironically, I was able to drive just fine because I could see distance-wise no problem.But anything up close was harder, and it just gave me a foreshadowing of what will happen later in my life when I lose some of those faculties, some of those strengths.What will happen?Well, there could be a temptation to get discouraged, but also I could also have to rely on other people more.And as I may have mentioned in the past, I like to be pretty independent.I like to focus on my good work and not have to ask somebody else for fear of inconveniencing them.But, in one of our past interviews with Erin Pakinas, we talked about When Your Gifts Are Needed.Well, I want to flip that, because maybe I need someone else's gifts to assist me.My youngest daughter was only too happy to read to me what was on my text, or only too happy to tell me that it was Episode 62, where I talked about The Sick Guitarist, because I literally had to say, “What does this say on my computer screen What number is that?”I couldn't even read it.So there will come a time when I may not be able to see at all. And Lord willing, I'll still be making music on some level.So my encouragement to you is to remember that we are not meant for this world.We are not designed to live for hundreds and hundreds of years.We're designed to be here for a season and to allow the Lord to work through us as we develop our gifts and share our gifts and as we share His love with a world in desperate need of it.But eventually we'll go home to be with him and then our resurrected bodies, our heavenly bodies, will not experience any sort of corruption.We won't have tears, we won't have weakness or pain or sorrow. And it'll be a whole new beautiful glorious thing that God has prepared for us.Wrap-UpWell, I hope these musings have encouraged you in some way, whether practically or spiritually, just to remember that we are wasting away, but inwardly we're being renewed day by day by the Lord.So, try turning out the lights as you practice for a little bit, or put on a blindfold.Read some of the lyrics of Fanny Crosby and her hymn, Blessed Assurance.Play some beautiful music on your guitar, and just remember that every time you sit down to play, that's a gift the Lord has given you, because there will come a time when each of us plays our final notes on the guitar.We don't know when that will be, so let's enjoy music now while we can, and then let's eagerly await the music of Heaven.And if you want to enjoy music in a group setting alongside a tribe of like-minded followers of Christ, I do encourage you to check out what we've got going on at GuitarSuccess4U.com.The URL is www.GuitarSuccess4U.com. Thank you for listening, and I hope to see you next time.This has been really weird to be able to speak without a script, but I still hope that it has brought some value.So, we'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Today is another special episode at Guitar Serious Fun where we welcome back Erin Pakinas for a third time.Now, I couldn't have planned this, but we also have a surprise guest who will join us part way through the episode.  You'll have to listen to today's episode in order to hear what she has to say.Now, Episode 79 of Guitar Serious fun was all about When Your Guitar Gifts Aren't Needed. Today's episode is a sequel to that episode and includes a discussion for what it's like when our guitar gifts are needed.Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because our guests are both super engaging and enthusiastic, and listening to them will be inspiring and uplifting in many ways. I'm not kidding!Our returning guest today, Erin Pakinas, is a mother of 5, lives on a farm, has a humorous and godly perspective on life, and she and her husband are pursuing Christ's glory as they do their good work.Erin co-hosts a podcast called Hauling Off, which speaks to a variety of topics around our church and classical school.Erin and her husband are members of GuitarSuccess4U, and she was our previous special guest for Guitar Serious Fun Episode 61, “Embracing ‘Good' Difficult with Guitar and More.”I encourage you to listen to that episode as well!When I approached Erin to come back and be a guest with us once again, she was delighted to do so.So please stay in touch, and if you haven't subscribed, please do.  I also invite you to leave a comment after this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about how someone can still enjoy playing the guitar even if they have arthritis.Now, I myself don't have arthritis (yet), and fortunately, I've been blessed so far to have continuous use of my hands and arms throughout nearly 30 years of guitar playing, without incident.But we are not bound for this earth, and there may come a time when our hands may weaken, thereby limiting our ability to play some of the songs we can currently play.In my travels, I've had a few people ask me about what to do if a guitarist has arthritis.I don't want to claim to be able to dispense medical wisdom, because I don't have the background; nevertheless, I have a few things I could offer as suggestions.  Remember, everyone's body and hands are different, so what may be effective for one person may not be effective for another.Also, what may come easily to one person may cause another person to run the risk of injury, re-injury, or exasperating an existing injury.  So please be your own advocate and consider what I'm sharing here merely as an opinion, not a medical recommendation.  Cool?Here are a few thoughts that might encourage and empower a guitarist who has arthritic hands.1. Stretch your hands intentionally and gently before and even after you play. If you've been experiencing these episodes at Guitar Serious Fun for a while, you may have heard the story I shared about how I almost injured my hands due to overusing them with guitar and other instruments.For a refresher on this story, check out Guitar Serious Fun Episode 34: “Can Practicing the Guitar Be Harmful?”, as well as Guitar Serious Fun Episode 77: “Rhythms of Rest for Guitar.”In these episodes, I talked about how I read a couple books about Carpal Tunnel Syndrome and Repetitive Strain Injury and also worked closely with a physical therapist to strengthen my hands. The stretches I've learned through those experiences are ones I share in the early lessons of GuitarSuccess4U with our members.  So, if you want access to those (and so much more), please consider joining our membership.  It could change the game for you.Now I'm under no illusion that Carpal Tunnel Syndrome, Repetitive Strain Injury and Arthritis are all the same.  They are most certainly not.  But they all have something to do with the hands having weakness or fragility, so I think it's worth doing a bit of research and learning more about how to attend well to our hands.One of our guest experts in GuitarSuccess4U is Dr. Gordon Myco, a Chiropractor and health coach.  Dr. Myco said in one of our lessons, “Take better care of your body than you do your guitar…because you can always get a new guitar.”  Right?2. Take breaks and always be conservative with hand use, not just while playing guitar, but while doing anything repetitive.This includes yardwork, crafts, or anything mechanical, especially something that requires some strength.  We do need to keep our hands moving, but we don't want to strain the muscles and joints.Breaks are super helpful, as we also talked about in “Rhythms of Rest for Guitar.”Speaking of rest, the Lord does some wonderful things to repair muscles, joints and even vocal fatigue as we sleep.  But if your hands are in any way compromised in their mobility and agility, it might be worth evaluating your sleep posture. I don't yet require them, but I am familiar with wrist guards that keep a person's wrist in neutral position as they sleep, so that they don't hyperextend them unwittingly. But again, I'm not even confident to speak intelligently on the physiological definition of “hyperextension,” so I'll step back from over-speaking here.  Just think, “Wrist guards may eventually be worth considering.”Now let's get into the practical aspects of playing the guitar if you have arthritis.3. Pray before you play.This may sound familiar, because it is actually a past episode.  It's Guitar Serious Fun Episode 47, by the same title: “Pray Before You Play”.  I encourage you to spin through that.  Is praying practical?  Absolutely.  Even offer a simple prayer like, “Lord, you've made my hands.  I'm fearfully and wonderfully made, and I sense a calling from you to use my hands and the guitar for your glory, in this season.  So please provide a way for me to do this, even if it's a way I can't yet see.”4. If you're an acoustic guitarist, make sure your action is low enough.I've been an acoustic guitarist my whole career.  And I've crossed paths with thousands of acoustic guitarists.  Unfortunately, a significant number of them have guitars that have unnecessarily high action.This could be because their instruments are in a lower pricing tier.  They could have also just come from the store and haven't been set up yet.Mike Lull's Guitar Works, the only shop I trust for repair and all the care of my guitars, was gracious enough to host me at their shop for one of our GuitarSuccess4U Expert Interviews.  They took me on a special tour of their workbenches, showed me their Plek Pro machine, and talked about how “Guitar Repair and Care” can be essential to our success.  I was even granted permission to provide to my members a special additional short video interview with the late founder, Mike Lull, about his story, process and philosophy of guitar repair.During the interview I conducted with the guys at the shop, Spencer Lull, Mike's son and the President of Mike Lull's Guitar Works, said that even a high-end guitar may still need to be set up by their shop.  He said that the vast majority of the work they do is to set up guitars.What does this entail?  It could mean re-setting or replacing the nut or the saddle.  Incidentally, this is the critical location where the strings are attached to the instrument.  If either the nut, the saddle or both are too high, the action will be too high.The truss rod may also need to be adjusted.Ironically, there are guitarists out there trying to play music on guitars that have not yet been set up, or that have been improperly set up, and without exaggerating, this is severely hindering their progress. It would be analogous to driving a car with tires that have very low air pressure.You can still drive a car with really low pressure in the tires, but it's not sustainable, and it's much more difficult.A well set up guitar increases morale. I taught several workshops recently at the Christian Musician Summit in Tacoma, Washington, and as I spoke about the importance of having a guitar properly set up, I allowed my guitar to make its way around the room.Each student present tried playing my guitar and handed it off to the next person.  And the overwhelming response I heard back from many of them about my guitar was “This is much easier to play on.  I think I really need to get my guitar set up properly.”So in GuitarSuccess4U, one of the 5 instant bonuses my members get access to is a short video I put together called “10 Tips for Proper Guitar Setup.”  Getting your guitar set up properly, especially by Mike Lull's Guitar Works, could be a game-changer, especially if you have arthritis. It could literally change the action to the point where you can play your acoustic with much greater ease.  Notes you couldn't access before could become more accessible.Mike Lull's Guitar Works repairs and sets up the guitars of Bob Dylan and Eric Clapton. I mean, if their shop is good enough for those two well-known guitarists, it's good enough for me.  Look them up at MikeLull.com.  Follow the menu to “repairs” where you'll discover that they currently offer a free instrument assessment. And please tell them David Harsh at GuitarSuccess4U sent you.  I don't currently get any sort of referral fee, but I do get the satisfaction of knowing that they are taking care of my people!5. Try lighter gauge strings.I use Elixir Nanoweb Medium Gauge Strings – from gauges 13 to 56.  These have a bit of low end for a fuller sound, and they also allow me to tune to the many alternate tunings I like to play in.I've played guitars that require light gauge strings because of how they are manufactured.  Medium strings on those guitars would literally strain the neck.But light gauge strings on a properly balanced and set up guitar neck could be another solution that would allow for more playability with less exertion by arthritic fingers.6. If you haven't already, try playing a classical nylon-string guitar. These guitars provide several benefits, including the fact that the strings take less effort to fret because the strings are made of nylon, not steel.  Also, because classical guitar necks are wider, the strings are further apart, so some chords are easier to form.Now, I'm not a classical guitarist, so I don't approach that guitar with the posture and hand angles that a classical guitarist would use.  Nevertheless, I do find that classical guitars are much more responsive and require less hand strength, which might be a good next step with someone who has arthritic hands.It all depends on what your fingers are capable of.I've met guitarists who have arthritis who are able to navigate a 12-string acoustic guitar.  That, to me, is surprising, because there are literally twice as many strings; each finger has to fret two strings simultaneously for every note. But hey, if the instrument is responsive, and the guitarist has the strength and is enjoying playing the instrument, I say, make some great music!7. Try an electric guitar.Although I'm not an electric guitarist, I will readily admit that electric guitars typically have much more responsive string action, sometimes requiring even less pressure than a classical guitar would.  Of the few times I've played a friend's electric, I've observed this feature right away.Depending on which type of electric (Stratocaster, Telecaster, etc.) you may discover variations in the guitar neck shape, and how the manufacturer has fashioned the instrument. With this in mind, you may want to try playing a few different electric guitars, whether at a friend's house or even in a guitar store showroom.  Your hands will tell you what's working…but remember, as I've mentioned, some of the guitars in that showroom – even the electric guitars – may not have been properly set up yet.8. Experiment with some open / alternate tunings.There are more possibilities for alternate tunings than you can imagine.  But the ones that tend to require less fingers are ones that contain drones and low notes for an actual chord to be played open.  Drones like low D A D on the three lowest strings, for example, can be foundational for an open D-based tuning. DAD (on strings 6, 5 and 4)  could be the basis for DADGAD (perhaps one of the most famous and well-loved tunings), but also DADF#AD (which is open D Major), or even DADFAD (open D minor, which actually allows for more versatility, as songs I've composed in that tuning have revealed.)But if someone re-tunes a few of their strings (down, typically), entire worlds can open up where they can let a lot of the strings ring open, unfretted, to the relief of their fretting hand. Side note: tuning strings down allows for lower tension and easier “fretability.”  Is that a word?  Nope, but you get it.  Some tunings I've experimented with involve tuning some strings up.  So try down-tuning first.In some tunings, a single note can be fretted and slid up and down the neck, and it can still sound interesting.  Some chords in alternate tunings require fewer fingers, which can be a relief.Another side note: if you're going to collaborate with someone else, it's a nice gesture if you can know what some of the basic chords are in the alternate tuning in which you find yourself, because when they observe your hands on the frets, if they've got guitar or bass background, they'll be confused to see you in unconventional locations playing “new” notes or shapes.9. Experiment with some partial capos.There are multiple partial capos on the market, some of which fret all but a single string, or just half of the strings.  Note that a partial capo does not place a guitar in an alternate tuning; this is confirmed by playing a bar chord or a closed voicing scale in position above the capo, where the notes remain from where they were before the capo was applied to the guitar.But a partial capo can allow for some fingerings with the use of fewer fingers.  These can also allow for drone notes. There was a capo manufactured years ago called the Third Hand, and fingerstyle guitarist Harvey Reid was super helpful about spreading the word about what this capo was capable of. It has since been surpassed by the SpiderCapo, which basically fulfills the same function: six spinning tumblers that allow for 63 combinations of fretted notes per fret.  It is the “Cadillac” of partial capos, because it allows for all possible options.  The current model of the SpiderCapo that I have is not super rugged.  It doesn't feel like it's been very well manufactured, so I kind of have to baby it on my guitar neck.Through Harvey Reid, I was made aware of Liberty Guitar, a new method of playing guitar using a slightly altered tuning and a tool called a “flip capo.”  Some of this method only uses the two middle fingers of the fretting hand, which may provide considerable relief for someone with arthritic hands and allows guitarist to get faster traction if their hands are not as strong.As demonstrated by this concept, you can combine an alternate tuning with a capo, whether complete or partial.  But do some experimenting and discover what's possible.10. Experiment with a bottleneck slide.There are a few tunings, specifically DADF#AD (open D Major) and DGDGBD (open G Major) that have been fairly easy for me to tune to.  Once there, I've tried using a slide up and down the neck, so as to facilitate the basic open I, then 5th fret IV and 7th fret V chords, for slide guitar.This is an entire genre, and it definitely places the guitarist in a certain style of playing.  But the “win” here is that he or she can play slide guitar with very little strain or stress of the fretting hand, because the reality is, they aren't fretting.  They're placing the bottleneck or slide just against the strings, not even pressing down much, and they're still making music.11. Take a break from the guitar.I don't encourage someone to quit playing their guitar simply because they have arthritis.  Hopefully, today's discussion has shown my hope, to the contrary, that they stick with it.But if someone's hands are weak or tired, it might be nice for them to enjoy a short season of music on another instrument that's less demanding.  Instruments that come to mind are: harmonica, autoharp, hammered dulcimer, or even singing.  Each of these are instruments where we can enjoy music without a lot of exertion of the hands.  Lastly…12. Place yourself in the path of a guitar teacher or guitar community.The road to musical proficiency can sometimes be lonely.  And even after we've made significant progress, we can still experience moments of discouragement for one reason or another.For this reason, I highly recommend GuitarSuccess4U.  It's a tribe of like-minded guitarists who are all accessing the same premium, curated collection of tools.It's not a support group per se, but it does provide tremendous support.  For some of our members, these are their people.  Guitar is not something everyone in the world speaks or understands, so when we gather for our weekly Zoom calls, there's a level of empathy and understanding that isn't found in other places.Members experience accountability, encouragement, and an incredibly in-depth, yet accessible approach to the instrument.Proverbs 15:22 says, “Plans fail for lack of counsel, but with many advisors, they succeed.” I can think of two of our members currently who are on the journey of an arthritic guitarist.What if you, as a guitarist who is struggling with arthritis, were to join us, become known in our community, and then discovered some collective wisdom from the group?  It could be a game-changer for you. All it takes is a tiny change in our trajectory to send us in a whole new direction.I invite you to check out our website if you haven't already – at GuitarSuccess4U.com. We have a list of Frequently Asked Questions, and some sample lessons as well.  Re-capIn closing, you might appreciate knowing that today's episode came to life as a result of an e-mail exchange I had with someone asking for wisdom for a guitarist with arthritis.  They asked the question, and here, in this episode, was my answer.  Can you see what a single question has produced in today's episode?  If this discussion directly relates to you, I hope these strategies are in some way helpful to you as you persevere through the season of arthritis and still desire to make music on some level with your guitar.So, if you have a question or a topic you think we might be able to tackle here at Guitar Serious Fun, let your thoughts be known in the comments for today's episode.  As you may recall from Guitar Serious Fun Episode 22: “I Don't Know…But Let's Find Out,” I will intentionally avoid speaking about something I'm not familiar with, or pretend to know something I don't.  That's just not how I roll.But if the topic is in my wheelhouse, I'd be glad to share my thoughts here.  So please continue to experience my offerings here and to share Guitar Serious Fun with others in your circles.  We've got more great stuff coming up.Thanks for experiencing my thoughts. I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to acknowledge the importance of having people in our lives who cheer us on as we play our guitars.As I string these words together, I'm seated on a bench at our local swimming pool while my daughters diligently practice swimming on their swim team.Every few months, they get to participate in a swim meet, where they get to see if they can beat their personal best.  There isn't a huge amount of focus placed on competing against other swimmers, no matter how many lanes are full.I'd like to draw a parallel, right off the bat.  Just like our discussion in Guitar Serious Fun Episode 66, “The Guitarist We Should All Surpass”, the aim is to grow and improve steadily, and to compare ourselves with who we were yesterday.But at these swim meets, there are usually hundreds of people, a loud voice broadcasting the heats, and a loud beep and a flash to provide the starter cue for each race to begin.It's a little intense.And as a parent, my responsibility is to volunteer in some capacity.  Sometimes, I've been an announcer, literally saying, “This is the first call for such and such event.  Swimmers to your marks.  Mister or Madam Referee.”Other times, I'm holding a button in one hand and a stopwatch in the other as I time the swimmers from start to finish.  Inevitably, when I'm timing the heats, I'll have a queue of swimmers all lined up in order.  They range in age, all the way up through high school.But at a recent meet, I was surprised to see some very young people.  Like age 7.  There was one particular young man who was standing next to the starter block in his little swimsuit, cap and goggles, and he was shaking, like a frightened animal.He was afraid.  This was his first meet.Now, I was only there as a timekeeper, but this little guy looked right up at me and was clearly in need of some encouragement.  We'll call him Henry.Henry said, “Do I have to do this?  ‘Cause jumpin' in the water freaks me out!”At first, I didn't know what to say, but then the words came to me.  “Henry, you know how to swim, right?”He sheepishly nodded. It was clear that swimming wasn't the challenge – it was the loud, high-pressure environment of the meet that seemed to overwhelm him.“Well, Henry,” I said, “everybody's just here to get better at swimming.  You want to get better at swimming, right?”Again, a small, meek nod.I said, “Henry, you're up next.  So, I encourage you to just go for it.  See how you do.  Just enjoy swimming and do your best.  You got this.”Something about what I said was enough of a catalyst to Henry for him to mount the starter block and to jump (not dive) into the water and complete his short swim.Did he get a great time?  No.  I think he was among the last to finish. But what do you think happened in his mind as he completed the race?He felt a sort of victory…one that he wouldn't have felt if he hadn't jumped in and swam.  And I'll bet anything that the next time he stood by the starter blocks for a meet, he would have less reluctance and more courage.So, in a way, I served as a sort of “cheering section” for little Henry.Taking HeartThe word “courage” has to do with “taking heart.”  We are courageous from our hearts.  But sometimes we need to be “encouraged” by someone else.Henry didn't need practical advice.  He just needed someone to believe in him, cheer him on, and tell him that he was going to be fine.I have people in my life who encourage me.  The words they offer are deeply felt, and deeply needed by me.When I'm about to lead worship, there are times when I need to be encouraged to step forward in obedience.  When I'm about to do a concert, I often need to be encouraged to bring the message I know the Lord wants the audience to hear.When I'm thinking about writing a song, I sometimes need to be encouraged to express my creativity on that intimidating blank page and to lean into my art, trusting that no matter how many drafts and revisions, there will eventually be a song to share.The people who encourage me are first under my roof.  My wife and daughters believe in me in ways that no one else does.  My extended family and my close friends are also very supportive.There's also something to be said for fellow musicians who “get it,” and if you're a musician, this needs no further explanation. If you're an aspiring musician, and you're thinking about learning to play the guitar, you'll eventually understand that we musicians think about music a little differently from the average music listener.  We feel it more deeply in some ways, and we understand it on a whole different level.  But that means we often need an extra measure of encouragement in this type of art.  We feel things more deeply, including doubt or discouragement.So, encouragement is vital to our process, and to our calling.Now, a case could be made for someone who states that they don't need any encouragement to do their music.  Perhaps those kinds of people exist, but I haven't met them.However, I've found a loophole.  Progress with music can still provide encouragement, and perhaps that's where they receive their form of encouragement to keep going.But having a “cheering section” in your corner can really help you with morale, perspective, and even the “joy” factor as you continue forward on your musical journey.So, I believe every guitarist needs a cheering section.Don't Give UpIf you've ever heard the song “Don't Give Up” – a duet between Peter Gabriel and Kate Bush, you know that Peter sings the verses about his struggles, and Kate takes the choruses and the bridge, as she encourages him to keep going, no matter how hard it gets.If we have people in our circles who can encourage us, we are much less likely to give up.  But if someone is living life as an island, they're in isolation, and they get discouraged about their lack of musical progress or something related to their musical journey, they just might give up.Speaking transparently, my default setting is to self-isolate when things get hard.  I don't tend to ask for prayer, for encouragement, or for support.  I turn inward.  This is not good.Have you ever met someone who quit their musical instrument?  We all have.There can be various reasons for quitting an instrument, but I would again submit for your consideration that if someone has a cheering section in their life, they are much less likely to give up. I invite you to consider spinning back through Guitar Serious Fun Episode 71 – “Why Some People Quit Guitar (and How to Avoid Giving Up)”.  There are eight tips I offer in that episode, and the 7th one is to connect with a tribe of guitar players.I'll share the African Proverb with you again – “If you want to go fast, go alone.  If you want to go far, go together.”  Right?We need others. Kate Bush was a “cheering section” in that song for Peter Gabriel.  We need that “cheering section” in some aspect of our lives as we lean into the guitar and music, because the challenging times will come.  There will be things that take weeks, months or years to overcome musically, and without that “cheering section,” things could take longer or maybe not even happen.I've shared with you about songs I've created that have taken upwards of seven years to learn, because they've been so complex and technically demanding.  Do you think I needed a “cheering section” along the way?When we're dealing with people we serve or serve with, who don't have anything positive to say to us, or who express their lack of appreciation for what we do (see Guitar Serious Fun Episode 70 – “The Underappreciated Guitarist”), we need a cheering section to offer us some affirmation.When it's been a while since we've felt real momentum on our musical journeys, we need a cheering section.When we don't feel like practicing but we know it's going to be good for us, we need a cheering section.Next StepsLet's say you have people in your life who truly encourage you on a regular basis.  That's great.  I praise God for that.  If you are feeling encouraged, I encourage you to pass along some encouragement to someone else.The people who need the most encouragement are probably not going to outright ask for it.  I just don't recall encountering folks who say, “Hey, I could really use some encouragement with my guitar playing.  Could you say something to me that might encourage me?”  And yet…if encouragement is offered, it's typically appreciated on some level, or maybe on a very deep level.  For those who have an especially deep appreciation for the love language of words of affirmation, the opposite tends to do even more damage.  Saying something critical (not constructive) can have lasting effects on these kinds of people…like decades of emotional hurt from a single conversation.I do believe we need to be sturdy vessels, like I talked about in Guitar Serious Fun Episode 58 – “When Someone Criticizes Your Guitar Playing,” but let's be sure to be kind whenever we can.  Those who are receptive to constructive criticism will go far.But sometimes, “A word aptly spoken is like apples of gold in settings of silver” (Proverbs 25:11).And like my mama taught me, “If you don't have something nice to say, maybe don't say anything at all,” right?If you're spiritually and emotionally sensitive enough, you'll know when to share your thoughts.  Timing is key.  Someone who has just stepped off the worship platform from leading might not be ready for immediate feedback of a critical nature (whether constructive or not), even though the socially unaware congregant might be jumping at the chance to “help” them with some thoughts.Waiting until later in the week to have a conversation (not send an e-mail or text, which can be misinterpreted), might be a better way to serve that individual.So, look for opportunities to be an encourager, a cheering section.We each need someone who believes in us.  And more people who believe in us can be even better.Inside GuitarSuccess4U, we host weekly Zoom calls where my members (whom I affectionately call my Guitar Successors), gather for 30 minutes to enjoy informal discussions about any manner of topics, whether practical, theological, philosophical, or to enjoy some time with a guest expert.  But everyone leaves these calls deeply encouraged, including me.  This is one of the unique aspects of GuitarSuccess4U that I just haven't found anywhere else; a like-minded community of followers of Christ who are developing their guitar skills at their pace, for the glory of God. That's a recipe for sweet fellowship and encouragement.And if that wasn't enough, the second lesson of every month inside GuitarSuccess4U is what I call an “Encouragement Lesson,” where I take time to offer an encouraging thought, scripture, story or anecdote that's intended to build up the viewer and remind them that they are not alone and have what it takes (including the presence of the Lord) to press on and pursue their goals.Have you experienced a guitar learning environment where encouragement was a value that was “baked into” the experience?  I have not.  Therefore, I had to create it.So in terms of next steps, if you haven't yet found your people, and you value encouragement, you just might want to take a closer look at GuitarSuccess4U.  The website is GuitarSuccess4U.com. Please have a look around and discover what might be missing from your guitar and music journey.Wrap-UpAs we wrap up today, I'd like to circle back around to the swim meet.Now, little Henry the swimmer may have instantly forgotten me in the cacophony of that swim meet. Or maybe…just maybe…he'll grow up with a faint memory of me cheering him on, so much so that he might soon become a “cheering section” for someone else, not just on his swim team, but in other avenues of life. Can you sense the “legacy” factor of what I'm alluding to?We have no promise of tomorrow, but we can leave a legacy.  Even today.  So, if you can take a step towards encouraging someone else on their journey, you can become a part of something bigger.I truly hope you do.  And I look forward to the possibility of speaking encouragement into your life, even beyond these episodes here.  So, keep playing your guitar, keep having serious fun, and if you're looking for the next level, please consider joining GuitarSuccess4U.Thanks for listening, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/modes2. It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…Welcome to the next level of our discussion of modes. If you have some familiarity with modes on the guitar with individual notes and you're ready to learn how to leverage modes with chords, you're in the right place. Now, if you're not quite ready for this step because you need a little bit of an introduction to modes themselves, I've got good news for you. I've created a mini-lesson that sets up today's lesson perfectly.  I encourage you to experience that one first from Guitar Serious Fun Episode 76, “The Road to Modes – Part 1: Notes.” On the other hand, if you're ready to tackle modes with chords, then let's jump in with today's mini-lesson!Last time, we talked about the 7 diatonic modes. For your review, the names of the modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The modes with the Major quality are the Ionian, Lydian and Mixolydian, and the modes with the minor quality are the Dorian, Phrygian, Aeolian and Locrian.Last time, we played all the modes in the key center of C Major. Just to illustrate that modes can be found based on any key signature, today, let's use the very guitar-friendly key of G Major. The seven notes we'll use to tackle everything we need today are: G, A, B, C, D, E, and F#. One of the useful tools I've created for harmonizing a scale, especially in open position, is something I call the Skipping Scale.  (And if you want to check out Guitar Serious Fun Episode 16, “The Art of the Skipping Scale,” please do.)Basically, we walk up the scale from the lowest version of each note, and skip back down once we hit the open 4th string D.So, if I play a G Major scale in this way, I'd play the notes G, A, B, C, D, then I'd SKIP down to open E, F#, and finish on G. What's another name for the G Major scale? That's right – the G Ionian mode. All the other modes can be achieved in this manner.  I'll supply a table for the G Major Skipping Scale with my diagram.These seven notes can then be used for what purpose? To harmonize the scale with chords. We can latch the chords onto these degrees – and with seven notes, how many chords will we use?  Wait for it – just seven chords.Keep them in the same order, and these modes will unfold right before your eyes and ears.Now, to be fully transparent, I will say that there are two chords in the key of G that are less commonly used, at least by those who are newer to the guitar. The first one is the minor iii chord, B minor, which is commonly articulated as a bar chord. The other chord which could make things a bit more difficult – but not impossible – is the diminished vii° chord, which is F# diminished. This is not a bar chord, but it may be less familiar to you.  (I unpack both of these chords in the video.)I'm providing a multi-colored table for you that shows all seven of these modes lined up in such a way that the identical chords and qualities are in columns, even though their contexts are different.  I've captured in blue the chords that depart from the Major key, and I've captured in pink the chords that depart from a natural minor key. Note that every mode has Roman numerals I through VII, but that they are each different, depending on the mode. The upper-case Roman numerals are Major, and the lower case are minor and on one occasion, diminished. But see how they all line up, as we survey the entire collection of modes in a key signature of one sharp.I invite you to play through each of the modes, starting and ending on the first chord. For example, A Dorian mode starts and ends on A minor. Ok, are you ready for some practical application? Let me ask you a question. When I play a song in a key, do I always play all the chords in that key? Usually, no. But there are distinct chords I can use that fall where the modal scale has been altered, which can add the flavors I need.Let's say I'm in the more major-quality D Mixolydian mode, here in the key signature of one sharp, and I want to play the chords on degrees I, V, VII and IV. Normally, in a D Major scale with two sharps, those would be I, V, vii° and IV. But in the D Mixolydian Mode, we only have one sharp, and the two middle chords in this progression that will be impacted by this difference will be the minor v chord and the Major VII chord, which will be totally transformed. We instead have I, v, VII, and IV with D, A minor, C Major, and G. Very different. Much more epic. Much more refreshing. Much more…modal!What about a minor-quality mode like A Dorian? Normally, A minor has zero sharps, so if I played i, III, iv, I'd end up with A minor, C Major, and the minor iv chord, D minor, which is fine. But what about deriving a mode from this key signature of one sharp? What does that F# do to a D minor chord? It makes it a D Major chord. Now, we have A minor, C Major, and D Major. Much more mysterious. Much more hauntingly beautiful…and again, more modal!So, as you can see, modes can really come alive with chords as well.  And modal melodies can sound beautiful over modal chord progressions, again in multiple styles of music.Thanks for journeying with me today on the road to modes.  If you want to go deeper, we dedicate a concise but thorough module to discovering all the modes in multiple guitar-friendly keys with scales and chords, inside GuitarSuccess4U. Talk about equipping you for artistry! Please check out what we've got going on at www.GuitarSuccess4U.com.Keep showing up to raise the bar with your mental and motor skills on the guitar!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

I'm thrilled to welcome a special guest back to Guitar Serious Fun.Today's episode includes a discussion for what it's like when our guitar gifts aren't needed, and the unexpected blessings of what that might entail.Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because our guest is super engaging and enthusiastic, and listening to her will be inspiring and uplifting in many ways. I'm not kidding!Our guest, Erin Pakinas, is a mother of 5, lives on a farm, has a humorous and godly perspective on life, and she and her husband are pursuing Christ's glory as they do their good work.Together with our pastor's wife Morgan Higgins, Erin hosts a podcast called Hauling Off, which speaks to a variety of topics around our church and classical school.Erin and her husband are members of GuitarSuccess4U, and she was our previous special guest for Guitar Serious Fun Episode 61, “Embracing ‘Good' Difficult with Guitar and More.”I encourage you to listen to that episode as well!When I approached Erin to come back and be a guest with us again, she was delighted to do so.So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about some intentional strategies for making your gear last, especially your music gear.Speaking of gear, I'm pretty excited today, because the podcast version of today's episode marks the debut of the use of my new Blue Yeti microphone.  I'm hoping it captures the nuances of my speaking voice even better than the way I was recording it previously.  In the podcast version of today's episode, I offer an A/B comparison between it and the Sony PCM-D50 Professional Portable Stereo Digital Audio Recorder, which I've used for all our previous podcast episodes up until nowHere's my new little recording setup with the Yeti.I'm not well-versed in the arena of sound equalization or E.Q., so if you are, and you get a chance to listen to the podcast version, perhaps you might offer a constructive thought in the comments that will help this sound even better. But I want to give a shout-out to my brother-in-law, Marc, for giving me the mic, to my friend Hollis for re-soldering it and giving it a more robust connection, to my sister-in-law, Tauryn and her family, for giving me a shock mount so the signal is uninterrupted by bumps to the mic stand, to my folks-in-law, Bill and Jane, for giving me a pop filter to prevent plosives with the ps and ts that will inevitably be a part of things, and to my wife, Whitney for ordering me the necessary cable so I can record to my computer, rather than to a portable audio recorder.Many hands do make lighter work.  I'm truly blessed to have this next level of gear, and I look forward to fine-tuning the mic, and the room, to make these episodes sound even better.Speaking of the next level of gear, let's talk about your gear today, whether it's your guitar, or anything you use to make your guitar sound good out there.I have a philosophy about equipment that I learned from my father.  And it's this: buy good gear, and take good care of it. He's got tools, fishing gear, and more.  And he usually goes the extra mile to buy a higher quality version of something, and then to take extra good care of it.Now, as we talked about in Guitar Serious Fun episode 25, “Is the Guitar Future-Proof?” there are some pieces of equipment that simply need to be replaced over time.But here are 10 ways to make your music gear last.1. Buy the best gear you can for the longest stretch.There are certain price brackets for certain types of gear that jump significantly based on the materials they are made with.  Sometimes, these are the cables or the hardware we use to conduct our signal chain.  Other times they are the software applications and there's going to be a discernable difference from product to product based on cost, or even within different tiers or versions of the same product. Lastly, as you might expect, some guitars are more expensive based on the woods they are made of, and whether aspects of them are handmade, and even the name of the luthier on the head stock.2. Handle your gear properly.I understand that this is probably a given, but I've seen people handle their equipment in a less than gentle manner. Exempli gratia: coiling cables.  I've seen folks wrap them around their elbow like an extension cord…wait for it – even sound technicians at churches.This is not optimal, since it can lead to faster wear-and-tear and a reduction in signal connectivity.  Instead, I recommend the over/under method with the large wrist motion and the small finger motion.  If you don't know what this is, reach out to me and I may be able to demonstrate it for you in one of my social media videos.3. Encourage others to treat your gear well.I did a show once with multiple other artists, and we all had our gear onstage.  I had a tuning fork carefully resting on a dish towel that was on a metal music stand, and I watched in disbelief as a drummer came up and grabbed it.  Before I could speak, he said, “Don't mind if I do,” and he began banging it against the top of the metal music stand.I stopped him and said, “I mind if you do.  That's a very precise instrument for tuning.  Can I show you how to use it?” He was a bit taken aback, but he was young and inexperienced, so I offered him a quick lesson in how I use the fork.  I tapped it against my knee and also against my elbow.  Bone is softer than metal, especially bone with some tissue over it.  Hitting a tuning fork against metal will eventually cause it not to be able to tune as well.  Other precise pieces of equipment need to be handled properly by us and others.4. Transport it well.When I go on tour and I drive, I carefully stow my gear in hard cases so that nothing gets damaged.  This includes my mixer, that I use to mix levels from stage.  Even if gear gets carried by folks who are helping me load in or load out, the cases I use are sturdy enough to sustain being dropped.  Not that I want to have any of my gear dropped…I just want to be ready for the rigors of the road.When I fly, I put “fragile” stickers on my hard case for my guitar, and in my suitcase, I wrap some of my more fragile equipment in some of my clothes. I even put some of my long pieces of equipment like my violin bow and the antennae for my wireless receiver – inside capped percussion tubes called Boomwhackers.  They serve as protective enclosures, but they're also a part of my show.  I love dual-purpose stuff.Anything I can do to protect my gear from being jostled about and getting damaged allows me to transport it well.5. Store it well.I had an IT guy who served our family for years who described some of our laptops like saddles for horses.  He said they'd been “ridden hard and hung up wet.”  I don't know much about saddles, but if they are mostly made of leather, and they're “hung up wet” they might not be as responsive the next time we get them out for a ride, right?So, having an instrument like a guitar put away well can be good.  What does this mean?  Maybe tuning it before it goes in its case or up on the wall.  Maybe wiping down the neck with a cloth so that the oils in our hands don't wear down the finish of the fretboard and further oxidize the strings.In our guest expert interview inside GuitarSuccess4U with the Master Luthiers of Mike Lull's Guitar Works, they talk about how even normal play can cause wear-and-tear on the guitar neck, simply because of the oils in our fingers.  They offer several suggestions like the one I just offered.  They also have some products they recommend for re-oiling the neck properly to protect it.  Basically, instead of just putting the guitar in its case, or on the wall, you can “hang it up dry” so that it's more responsive and has more longevity.6. Keep it maintained.Some gear, especially instruments, does better if it's been taken to the shop occasionally.  I again mention Mike Lull's Guitar Works – the only shop I've trusted since the year 2000.  They know what to do whenever I take my guitars to them.7. Only adjust and repair within your ability.One more shout-out to Mike Lull's Guitar Works.  I don't do anything to repair my guitars, and I don't even feel comfortable adjusting the truss rod.  That may sound crazy, but that's just where I'm at.For those who like to fix and set up their own guitars, you have my respect.But because I play in so many alternate tunings and have customized electronics, a bone nut and bone saddle, and my instrument is so unique, I'd rather not be the one to adjust and repair it.  That's just my preference. I love to pay people to do what they do best.  I've had people ask me to work with them on capturing their music for an audio recording.  That's just not what I do.  I'm not a studio engineer or a producer.Instead of building out a studio of recording gear, I've instead chosen to focus on my song craft, my stage presentation, and the content creation, like what you're experiencing right now.To try to be “jack of all trades / master of none” does not appeal to me, so again, I'll delegate to someone who can capably adjust and repair my gear.  When it comes to Mike Lull's Guitar Works, I really don't trust anyone else.As for cables, I met someone on my tour who does a great job with soldering and heat-shrinking my cables, so I go to him to do that; otherwise, I'd probably damage my cables if I tried.If you have someone you trust to do adjustments and repairs (even if that's yourself), great.  But if you don't trust yourself, like I don't trust myself, there is strength and wisdom in delegating these tasks.8. Beware of dust.If an instrument is sitting out for any length of time, specifically a mixing board or a keyboard, there can be a very real possibility of getting dust in between the knobs or the keys.  And dust, over time, leads to a faster decline of the instrument's operational capacity.All it takes is a cover to keep this from happening.  I have a custom-shaped cover that stretches over and protects my keyboard.  The cover I bought for my mixer is a bit smaller than the mixer itself, so I use a piece of gaff tape to hold it on…or even lay a black dishcloth over it.  This works in a pinch.And as a bonus, if my gear is set up at a concert venue, having the mixer covered can keep curious hands from wanting to turn the knobs.  This has happened in the past. 9. Loan your gear out with care.There are lots of words of wisdom out there, including Polonius' soliloquy from Hamlet in Act 1, Scene 3, where he says, “Neither a borrower nor a lender be.”  Now, this involves money, but I'd say that these words of caution could inform whether we choose to loan our instruments or equipment out.I don't want to get too caught up in protecting my equipment that I don't have a gracious, generous spirit, but I will say that I've loaned out gear, only to have it returned in worse shape than when I first had it.  I loaned a prized signed DVD to someone of a live concert, and it came back heavily scratched.  It still plays, but it was clearly left “reading face down” on a table or something.I've had other pieces of equipment borrowed and returned in less-than-optimal condition. I'm not trying to hold onto the past too tightly, but I do think we can learn from these kinds of experiences.  I also wouldn't feel comfortable loaning out my best guitar to someone.  I'm all right having them play it as I supervise, but I'm not ok with it leaving my sight for any amount of time.  It's just too dear to me.  Lastly…10. Keep your gear safe.“Safe” is a subjective term, because a measure of safety for one person may be very different from another.  Some folks would say leaving your guitar in the trunk of your car in a parking lot while you go shopping is “safe.”  I would not, for two reasons which you may be realizing even as I speak to you. First, if someone wants to, they could “borrow” your guitar out of your car without returning it for the rest of your life.  In plain language, I'm talking about theft.  I know people this has happened to. The other reason why I don't recommend leaving a guitar in your trunk is this: if it gets warm outside, so will your guitar, and if it's a particularly hot day, the glue that holds your instrument together could melt, thereby turning the instrument into firewood.  Another tip I have is to take photos of your guitar so you can identify it, including the serial number.  In the case that it does get stolen, and if for some reason it resurfaces in a pawn shop or an online re-selling retailer, you can produce documentation of the serial number and hopefully re-claim it.These are just two tips from a special PDF and video I offer my members inside GuitarSuccess4U.  This bonus is called “10 Ways to Keep Your Guitar Safe,” and it unlocks with Lesson 12 in the Foundations stage of our Success Path. I encourage you to join GuitarSuccess4U, not just for that collection of wisdom, but also for access to an entire battle-tested Success Path with six incredible stages, plus eight guest expert interviews that represent hundreds of years of collective wisdom, and lastly, a community of like-minded followers of Christ who are also pursuing their dreams on the guitar for the glory of God.So, buy good gear, and take good care of it.  These are the 10 tips, one more time:1. Buy the best gear you can for the longest stretch.2. Handle your gear properly.3. Encourage others to treat your gear well.4. Transport it well.5. Store it well.6. Keep it maintained.7. Only adjust and repair within your ability.8. Beware of dust.9. Loan your gear out with care.10. Keep your gear safe.Well, I hope today's episode offered you some tangible tips to enrich your journey as a guitarist and as a musician.  Our gear is essential to our art, and for many of us, it makes the difference for how well a musical offering is presented.  We want our gear to work well for us.The key is to take care of our gear, so that it will take care of us.If you have anything you'd add to this list, please offer your suggestion in the comments.  I'm honored to share my insights with you here, and as you've probably gotten the sense of, I count it a privilege to minister to the members of GuitarSuccess4U as I share from my almost thirty years of experience doing this thing.If you want a glimpse at what we offer inside the membership, please head on over right now to GuitarSuccess4U.com.  It's designed for a very specific niche of guitarists, and perhaps you are in that niche.  It could be exactly what your guitar journey needs right now.Thanks for experiencing today's episode.  I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…I took my car in for an oil change recently, and as I suspected, the brakes had worn down to where it was time to talk about replacing them.The guy at the counter said they were at 3 millimeters, which is dangerously close to being gone.  After a quick phone call to my wife about the timing of having the brakes replaced, I told the guy at the shop, “My wife and I have decided that it would be good for us to be able to stop.”Out of nowhere, a very clever bystander quipped, “Well, you're gonna stop…it's just a question of how and when.”Very true.I definitely think it's better to be able to have some control over stopping my vehicle, rather than the alternative.You may be a musician or worship guitarist who plays music full time.  You may enjoy music as a hobby. But if you've ever tasted burnout in any aspect of your life you know that “an ounce of prevention is worth a pound of cure.”  Sometimes it can be exhilarating to skirt the edge of burnout with all the things we're trying to tackle, but there can be a mental and physical toll on us of we push ourselves too hard.And then we crash.Whatever your musical posture and skill set, I've got a few ideas to share with you today along the theme of rest.Let me ask you a rhetorical question.  Are rests a part of music?  Absolutely.   Whether we play from actual notation, or just charts with words and chords, a well-written song will have moments where some musicians play less or not at all at times. If you want a clear indicator of the importance of rests in songs with lyrics, think about what a 4-minute song would sound like with non-stop vocals.  I mean literally, a voice singing throughout the entire song without taking a single breath.  With a little studio digital magic, this is actually one of many things that are possible.  But our ears need breaks where the vocalist stops singing, if only for a moment, as the band takes over.Ears can get fatigued as well.  More on that in a bit. Guitar may be the undercurrent of a song, especially if it's strummed rhythm guitar, but even if we drill down into a strumming groove, we typically find that the pick isn't grazing the strings every time it passes over them.Ergo, there are even rests in strumming patterns.As I talk about in GuitarSuccess4U, there are an infinite number of strumming patterns, due to the characteristics of when we are not making contact with the strings.And in terms of the bigger picture of our daily rhythm, perhaps there are times when we pause from our guitar playing as well.  What does that look like, and how does it help us to resume with greater focus, passion and momentum?Now as I mentioned in Guitar Through the Seasons, Guitar Serious Fun Episode 17 and Episode 18, there will be times in our lives when we set down our guitars.But what about incorporating rest as a part of our routine?Here are a few thoughts.1. Good sleep helps us play better.If you've ever pulled an all-nighter or two with studying for an exam, you know that in the short-term, sleep can be postponed.  But it can't be eliminated.Having multiple gigs in a row, or a very late night can be doable, but it's not sustainable.  Getting good rest, especially when a musician is on the road, is essential.Younger folks tend to want to stay out late, push the limits, and think about their choices later.  I've played late night song sets, and closing sets at festivals.  These sets have been 10 p.m. or even as late as midnight, to ring in the New Year.They can be super fun, especially since they can draw a crowd of fans that is just getting their evening started at that point.  One of our members in GuitarSuccess4U went to a multi-day bluegrass festival where folks were informally jamming until 5 a.m.For the festival, that's fine.  As a habit, eventually there will be a price to pay, and that includes compromising our health and our concentration…to say nothing of what sleep deprivation does to someone's singing voice.And in terms of safety, I know people personally, (including musicians) who have been so tired that they've fallen asleep at the wheel and experienced a rather intense “wakeup call” when they've driven off the road.Caffeine can help, but when it comes to rhythms of rest for our recovery, there's no substitute for literal rest in the form of sleep.2. Taking breaks preserves our muscles.If you've ever played a really long concert set, practiced for multiple hours straight, or tried to get the most out of a block of studio time, you could be overdoing it with your hands and voice.The intricate muscles of our hands and vocal cords are fearfully and wonderfully made by our Heavenly Father, but they have also been entrusted to us for the long game.  I've met folks who have sustained injuries like chronic vocal fatigue, carpal tunnel syndrome or repetitive strain injury.  They have regretted how aggressive they've been with their bodies, and in retrospect, they wish they had heeded the early warning signs of injuries they're now recovering from.I certainly don't want to be negative, but I do want to be realistic.  If we don't build in regular intervals in our routines to rest and not play or sing, we could overdo it.But there's something also to be said for warming up and stretching. As I talked about in Guitar Serious Fun Episode 34, “Can Practicing the Guitar Be Harmful?”, There was a season early on in my career where I played so much guitar that I overdid it.  How did I know?  I was unable to pick up my firstborn infant daughter without experiencing shooting pain through my wrists.Fortunately, these were early warning signs that I was on my way to injuring myself…I had not yet permanently done so. So, what did I do at this point?  Well, I read multiple books on carpal tunnel syndrome prevention, as well as the prevention of repetitive strain injury.  These books are written for people who do things repetitively like painting, assembling things in an assembly line or pulling espresso shots.But more importantly than these books, I sought the counsel of a very gifted physical therapist who was able to observe my posture, down to the angles of my wrists as I played my guitar.  He was able to diagnose the problem.But beyond this, he prescribed three very specific stretches that have been absolute game-changers for me.  Not only do I use these before I practice; they have prevented further injury and pain for over a decade and a half.I have taken intentional steps inside the early lessons of GuitarSuccess4U to demonstrate and teach all three of these stretches, and my members have benefitted tremendously from them.  I will say that everyone's physical limits are different; some folks come with previously existing injuries, so I always caution everyone who tries these stretches out, to take them slowly and listen to their bodies.But if we are playing demanding passages of music on our guitars, especially acoustic guitars with steel strings, and we feel our fretting hand forearm getting warm, that's a sort of caution light.  So, it's important to take breaks, but also to stretch and warm up (or even warm down) around our practice, performing, worship leading or studio time.  Rhythms of rest are found in these avenues as well.3. Building in margin keeps us balanced.Younger kids get recess during school.  Adults get coffee breaks at work.  We all need breaks.When it comes to the recording studio, typically time is blocked out in hours.  But here's the thing; unless we're able to take a few breaks during our recording sessions, we can overdo it, especially if we're “on the clock,” and we're the ones paying for the time.Some of my most relaxed recording studio sessions have been shorter, like less than two hours, because I came well-prepared and didn't have to play a segment over and over.  I was able to avoid repetitive strain injury because of this.So here's some wisdom: don't let the studio be your experimental space where you're creatively coming up with new ways of playing your song on the guitar. Sure, there may be slight spontaneous variations, but if someone is exerting their hands on a piece over and over and trying to mentally grasp what they want from the song, and they don't have a clear idea, and it leads to hours of playing the same thing over and over, it can be a recipe for fatigue.Having a game plan, and an end of session time marking can be good.  It sets an expectation that we come prepared and – wait for it – we stop, even if we haven't gotten the takes we want.There's no shame in coming back later to do a better take.  There is a problem with playing for many hours, hoping to get it right, even as focus and strength are waning.A much lower pressure environment is the practice space.  We can assign ourselves a practice regimen that stays limited to 30 or maybe 60 minutes.  Anything more than 60 minutes of guitar playing needs to be followed by an intentional break.Trust me – your mind, hands and ears will appreciate the margin.As for the concert or the worship service, typically your hands will get breaks when other musicians play, or you tell a story, or there are other components of the service like the sermon, etc.  Unless you paint yourself into a corner with a 4-hour concert, you'll be fine.The only 4-hour set I did that I can remember was a farmer's market, but what I was able to do was alternate between guitar, keyboard and hammered dulcimer, and I made sure that the songs I was playing were not too demanding. I also had the option to stop for a few moments between songs to grab a sip of water, or greet friends who had come to the market.  It was a pretty low-key venue.Even when I've heard performers do longer concerts, whether at a coffee shop or a grandstand, they've taken breaks.  With a coffee shop venue, it's almost expected; the proprietors want the artist to stop and let the people queue up for beverages and refreshments.  It adds to their profit for the evening.We have a venue here in Washington State called the Gorge Amphitheater, right on the Columbia River.  It accommodates about 19,000 people.  I remember attending a sold-out concert there performed by James Taylor in 2003.  The show was almost three hours long.Halfway through the concert, James said with a twinkle in his eye, “We're going to go backstage and…think about what we've done.”  That was his way of saying he and his bandmates needed a break.Where were 19,000 people going to go during James Taylor's break? The answer is: nowhere. We just sat in our seats, some of us stood up and stretched, chatted with our neighbors, and we took about 20-30 minutes to give James the margin he needed so that he could come back and give us a great closing set.So, a rhythm of rest in taking breaks that lead to margin in any venue helps us find that balance that allows for our best musical offerings.4. Time away from music keeps our ears fresh.My parents gave my eldest daughter a t-shirt for her 16th birthday that said, “A day without music is like…just kidding – I have no idea.”She has such a deep love for music of many styles, eras and genres that it's rare to witness her not listening to music.  And that's ok.But studio engineers will tell you that they need time away from an audio project to keep their ears from playing tricks on themselves.  They literally build in time away from their studio, not listening to music, or at least not listening to the music they're mixing, so that they can get the right mix in the end.One of my dear friends and collaborators is a studio engineer, and he has literally told me that if he spends too much time mixing a project without a break, he'll have to go back and start over, because he'll experience what he calls “ear fatigue.”So even a rhythm of rest when it comes to listening can be important to consider.Wrap-upAs we wind down today, I'm hoping you'll take away from our discussion that it's not just about rest.   It's about a rhythm of rest.  Where we work, and then we relax.  We play, and then we rest.  We pursue another aspect of a project, and then we sleep. Rhythm is all around us.  It's in our heartbeats, our breathing, and our footsteps.  The conversations we have with others, whether verbal or musical, have a sort of rhythm that involves exchanging ideas and thoughts.  We alternate listening with speaking, or listening with playing.Why should our music and our resting be any different?  So, whether you're thinking it would be important to get good sleep, take breaks, build in margin, or even take time away from music, these thoughts could be good medicine for your long-game success.The Lord set a beautiful example for us when He rested on the seventh day.  Although the Lord's Day is typically a day when I'm serving with music, I do try to build in a day of margin on the weekend so that I, too can have rest.But the beautiful result of building in the rest we need as musicians is this: when we get back to work, we are refreshed, more focused, and ready to make great music again.I also find that I think more clearly and creatively when I've had good rest.  And clarity and creativity are essential to my work.  Even the words I'm stringing together for this episode require tremendous focus and creativity, which I love to pour out…but only when I'm well rested.Well, I hope today's discussion gave you some good insights and provided the opportunity to reflect and perhaps strategize about your rhythms of rest.  If you have thoughts on what I've shared here, please comment.Also, feel free to share today's episode of Guitar Serious Fun with someone you know.  We're working to make these episodes available to more listeners and readers, because we think they could enrich the lives of a lot of Christian guitarists.Lastly, if you don't have a guitar teacher and you're looking for a game-changing learning experience for your next season of guitar playing, take a moment to explore GuitarSuccess4U.com. Talk about intentional rhythms that allow for rest.  Our six stage Success Path, the sequence of weekly lessons each month, the carefully timed guest expert interviews…they are all laid out in a clear, intentional rhythm that allows for plenty of rest and refreshment.GuitarSuccess4U could be the rhythm you need in this season of your guitar journey.So, get some rest, take some breaks, build some margin, and take a little time away.  And watch how refreshed you become when you get back to the music you love to play.Thanks for experiencing my thoughts here at Guitar Serious Fun. I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/Modes1.  It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…Have you always wanted to experiment with modes on your guitar?Welcome to a clear, concise discussion that will light the path for you on “The Road to Modes.” I'm here to show you some important first steps towards claiming all 7 modes on your guitar.   So, what's a mode in music? Well, basically it's a 7-note scale.Even if you're not a lead guitarist, it's super helpful to understand the 7 modes and how they differ from each other, because there's a very real chance that you might sing a modal melody. And…spoiler alert – Part 2 of this 2-part mini-series will focus on modes with chords.  The good news is that each mode is based on 7 notes.  The better news is that they can all be played with the same 7 notes.  All we need to do is start on a different note, as we keep them in the same order.In a nutshell, the 7 modes, which can be derived from the Major scale in this order, are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The modes with the Major quality are the Ionian, Lydian and Mixolydian, and the modes with the minor quality are the Dorian, Phrygian, Aeolian and Locrian.How in the wide world of sports do we memorize these names? Well, I've got two fun mnemonic memory devices for you. Choose the one you like better. The first one is: I Don't Punch Like Muhammad A-Li. The second one is: I Don't Play Loud Music Any Longer. Today, we'll just be focusing on the notes C, D, E, F, G, A, and B, starting and ending on each of the 7 notes. I'm providing some handy fretboard diagrams of all 7 modes in open position, but the video has much more.Here are some unique descriptions of the 7 modes, each of which is built on sequential degrees of the Major scale.The Ionian Mode is actually the Major scale. Next is the Dorian Mode, which is like a natural minor scale with a raised 6th degree. Then we have the Phrygian Mode, which is like a natural minor scale with a lowered 2nd degree. After that, we have the Lydian Mode, which is like a Major scale with a raised 4th degree.Then we have the Mixolydian Mode, which is like a Major scale with a lowered 7th degree. Following this, we have the Aeolian Mode, which is better known as the natural minor scale. Finally, we have the Locrian Mode, which is the most unstable of all the modes, and which is like a natural minor scale with a lowered 2nd degree AND a lowered 5th degree.As you can see, each mode is slightly different. All it takes is one small change to one mode to transform it into a different mode. To use an analogy, if I'm trying to call someone on the phone using a 7-digit number, but I change just one of those digits as I dial, I'll call someone else, right?To demonstrate how each of the modes sounds different, I encourage you to watch the accompanying video where I take the well-known public domain melody “Joy to the World” (which is a descending Major scale) and I bring it through each of the 7 modes.Now, just for the sake of argument, what if I ignore the rules of the mode? Well, things won't sound quite right.Here's a quintessential example: the traditional melody for Scarborough Fair. It belongs in D Dorian, but if I changed one note – the raised 6th degree of the scale – the B natural, as and lower it to B flat, changing the D Dorian mode back to the D natural minor scale you'd recognize the change instantly. (I do this in the video as well.)So now you're a bit more familiar with modes.  (Watching the video will help you see and hear them too.)The next step is to familiarize yourself with how they feel on the fretboard as you play them, whether in open position, or inside any moveable scale form. I recommend starting with the key center of C Major, but you can play any mode in any key signature. Where do we find modes, especially the ones that aren't simply Major or minor? Everywhere. They're hiding in plain sight in classic rock, modern rock, electronica, classical music, Spanish guitar music, pop music, film scores, Celtic music, jazz music, folk tunes, and of course, worship music. We just need to know what to look for, and especially what to listen for. Once we have command of these modes, we can use them for our own arranging and composing.We cover a lot more ground and go much deeper with modes and many other relevant artistic and musical concepts for guitar inside GuitarSuccess4U. I encourage you to check it out even now, while you're thinking about it. It could change the game for you. P.S. Be on the lookout for part 2 of this 2-part series where we leverage modes with chords. See you then!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about 12 intentional strategies that lead to playing complete songs, which leads to a complete experience for you and your listeners and the expansion of your repertoire.I came across a Dave Matthews Band guitar songbook a while ago in my local Guitar Center called “Just the Riffs.”  It contained literally the most notable guitar riffs from some of their best songs. Around that same time, I heard a guy jamming in the showroom on some of those same riffs, but here's what I found interesting.  He was only able to start the songs.  He hadn't taken the time to learn any of the songs he was jamming on in their entirety.On the flipside, I found another book with complete transcriptions of Dave's songs, and I took the time to learn a few of those songs, note for note.  It took more time and more focus, but the rewards were much greater.Lots of music stores are haunted by guitar players who can play part of a song…like the intro or the signature riff. Maybe that's why the movie Wayne's World had that scene with the sign on the wall that said “No ‘Stairway to Heaven.'”Our guitar playing can be replete with small segments of songs.But what about learning a complete song?  That's sometimes easier said than done, especially if it's a more technical piece.  But I believe it can be done, with the right strategies.Here are 12 strategies for helping you learn a complete song.1. Invite the Lord into your process.Let's remember that the Lord is the Giver of our gifts.  He has endowed us with the ability to see, hear, and play music, and He is the One in whose strength we can walk best.To try to embark on any endeavor without the Lord is considered foolish. Psalm 127:1 reminds us that “Unless the Lord builds the house, its builders labor in vain.” I love the idea of asking the Lord to guide me in the selection of my next song, and then to empower me with self-discipline and dedication to see it through.2. Start with a song that's within your ability.In my experience, it's much more motivating to tackle an easier song and move on to a more challenging song, than to go in reverse.  Hitting a ceiling and realizing we can't quite get there yet can be discouraging.I've mentioned this before, but several years ago I had a student come to my guitar studio for his first lesson with me (and his first lesson on the guitar) and he stated that the first song he wanted to be able to play on the guitar was Purple Haze by Jimi Hendrix. Again, he had never played the guitar before, so after I gently cautioned him to learn some beginning and intermediate skills so as to build up to such a challenging song, he left…and I never saw him again.I can only hope that he took a strategic approach to building his skill set before embarking on Purple Haze.It's about a balance – we want to play music that thrills us and sounds good, but we have to be realistic about what we're expecting of ourselves in this season of playing.  We can be overambitious, but that can lead to frustration.  This makes me think of the quote from the first Top Gun movie where Captain Tom “Stinger” Jordan says, “Your ego is writing checks your body can't cash.”Let's do what's within reach, and stay humble in the process, keeping our egos in check.Side note: humility is much more becoming to us as followers of Christ than arrogance.  Paul reminds us in Philippians 2:3, “Do nothing out of selfish ambition or vain conceit.  Rather, in humility value others above yourselves.”This mindset will allow us to embark on songs that are within our reach.3. Choose just one song, and focus on it.In my experience, it can be easy to add half a dozen songs to the mix and not really make much progress on any of them.  The effort is more “wide” than “deep.” The songs end up competing with each other for quality time on your instrument.If you have a hard time deciding, list the songs in order of preference or interest, and start with just one, knowing that once you've tackled it, you can move on to the next one.4. Set a deadline for when you want to be able to play it.Being “able to play it” is a flexible phrase.  Do you mean play it “all the way through?”  Hopefully that's implied by today's discussion.  What about “at tempo?”  That's another level. I recommend being able to play it all the way through, at tempo.  At that point, I'd say you've become familiar with the song enough to say that you've learned it.Perhaps we'll dedicate a future episode of Guitar Serious Fun to the process of memorizing and internalizing songs for our repertoire.  Stay tuned…But setting a deadline acts as a catalyst.  Writing it down on the calendar (like Dawn Jones talked about in Guitar Serious Fun Episode 69 – “How to Read it on the Run with Guitar and More”) gives us much more momentum and increases the likelihood of getting it done by 60%.Contrast this to the all-too-easy mental thought process of “I'm working on it; we'll see when I can make time to get it done.”  Yeah, that's less definitive than setting a deadline.Want a real catalyst?  Commit to having the song ready for a worship set, or for a concert.  There's nothing like an upcoming endeavor in front of people to get you practicing and working on a song. 5. Ask for gentle accountability.Asking for accountability is like ordering a healthy meal at a restaurant.  You know it's going to be good for you, and once you've placed the order, you know it's going to be coming, even if you don't love the taste of it as much as the “less healthy” food.Having someone in your world who can check in with you in a friendly way, similar to a workout buddy, can act as another catalyst to spur you on towards completing the learning process on the song.If you set a desired completion date, you can ask them to check in with you at specific intervals with a quick text message or verbal conversation to see how it's going.Each time they check in, they provide a gentle reminder of what you're hoping to get done.6. Set digital reminders.Perhaps you're not quite ready to open a conversation with a real person.  That's fine.You can leverage your phone, e-mail, calendar, or even futureme.com (where you write a digital letter now to your future self, to be opened sometime in the future.)These digital reminders can be less intense than an actual person checking in on you, but they can also be less effective, because it's much easier to hit “snooze” or “delete” than to “ghost” a friend's communication when they reach out to you, especially if they care about you and remain lovingly persistent.7. Listen to a recording of the finished song…often.My daughter and I were reflecting recently on how much music stays in our minds after we've heard it. In the 1994 picture “The Shawshank Redemption,” inmate Andy Dufresne played an LP in the warden's office of the short duet “Sull'aria” from The Marriage of Figaro.  For broadcasting it across the whole prison and turning up the volume when the warden asked him to stop, Andy was punished with two weeks in “the hole,” a dark place of solitary confinement.When he returned to the general population of the prison and sat down to lunch with his fellow inmates, he said that his time in “the hole” was “the easiest time” he ever did.  They couldn't believe it.He said, “I had Mr. Mozart to keep me company,” to which his friend Floyd said, “So they let you tote that record player down there?”“No,” Andy said, motioning first to his head, “It was in here.”  Then he motioned to his heart, “and in here.  That's the power of music.  They can't get that from you.”Music is so powerful.  Listen to it.  If there's a recording of the song you want to be able to play, listen to it.  A lot. Just listening to it will allow you to experience the subtleties and nuances of it, including the artistry and dynamics, as well as the mechanics of tempo, chord changes, and melodies or other elements.8. Practice the song with a metronome.Try playing the song at varying speeds with a metronome.  See how well you can keep up.The metronome keeps us honest, because it won't slow down for us if we're dragging, and it won't speed up with us if we're rushing.  A metronome (or a metronome app) can be a huge blessing in helping us recover our tempo awareness on a song.  I tend to push the tempo, especially when I get excited or nervous (and yes, I still get nervous from time to time after over 25 years of playing the guitar in front of people.)9. Practice the song with the recording.This is a step I've rarely seen people take, especially when it comes to worship music.  They just want to show up and jam the song with the worship band, which is fine.But what about playing along with some really solid recorded musicians who really don't care how many times you want to go over the song? Honestly, this approach is even better than playing with a metronome, because it helps facilitate a level of memory work that can lead to more visual independence from the page.  I highly recommend it.10. Practice with the song recording in your desired key and position. I rarely play worship songs in their original keys due to the vocal ranges of some of today's worship vocalists.  But by leveraging a tool like NCH Software's WavePad, I'm able to take the purchased audio track and transpose it (down, usually) to a key that's more suitable for my voice.On a side note, WavePad has the capacity to change tempo and pitch independently.  So, if I need to decrease the tempo of the recording to 75%, this can make the song even more attainable in the early practicing stages without lowering the pitch. I will say that playing short segments at tempo is better than playing the whole song slowly, because playing at tempo engages the muscle memory much more effectively.But there are all kinds of digital tools that we can use to bring songs closer to us.  The key is to make sure we don't rely too heavily on the tools, but instead lean into actually practicing and learning.11. Play the song for a “safe” audience.Music is best when shared.  Before you “go public,” I encourage you to connect with a family member or a friend who's willing to listen to you play the song.You can invite them to give you their undivided attention and to offer their feedback based on their experience, or you can encourage them to listen with “divided” attention while they're doing something else (like cooking or folding laundry.) Just knowing that they're listening to you play can compel you to complete the song, much more so than if you were playing it alone in your practice space.A “safe” audience provides a “soft” opening before you step out into the real world and present the song on a stage or platform.Remember, the sound of the song is only a part of it.  Your body language and facial expressions, as well as your visual independence from your printed charts and even your guitar, are important additional elements.12. Keep the song fresh.Once you've got the song under your fingers (and if applicable, in your voice), ideally, it's good to play it frequently enough that your fingers (and voice) can make it happen almost on command.  This is the art of practicing and maintaining a repertoire.I read an article in a music magazine from the 1980s that reinforced this.  The author, whose name I cannot recall, said, “Don't forget to practice your repertoire.  Practice the songs you know.  Make sure these songs are ready at a moment's notice to be shared with your audience.”As worship leaders, our audience is the Lord, but you get it – sharing a song publicly is very different from practicing it alone in our rehearsal space. Re-capSo to review, I encourage you to take these 12 steps to be able to play through an entire guitar song:1. Invite the Lord into your process.2. Start with a song that's within your ability.3. Choose just one song, and focus on it.4. Set a deadline for when you want to be able to play it.5. Ask for gentle accountability.6. Set digital reminders.7. Listen to a recording of the finished song…often.8. Practice the song with a metronome9. Practice the song with the recording.10. Practice with the song recording in your desired key and position. 11. Play the song for a “safe” audience.12. Keep the song fresh.If you can think of more strategies for how to learn a complete guitar song, please leave a comment!  If this has been helpful to you, please leave us a 5-star review on your listening platform.And if you want to take your guitar playing to the next level where you have a safe community with good, gentle accountability, you just might want to check out GuitarSuccess4U.com. I eagerly await the opportunity to serve you there and to watch in delight as you learn to play the songs you want to learn to play…in their entirety.Thanks for experiencing what I've prepared for you today.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today we're going to discuss the idea that we can always be teaching the guitar.Now, if you haven't experienced last week's episode, you may want to check it out, because it does illuminate the flipside of what we're talking about today and sets us up really well for our discussion.  It's Guitar Serious Fun Episode 73: Why We can Always be Learning the Guitar.I bought my first guitar in 1994.  And even that first week, I had the opportunity to show someone else what I had learned, with some of the early notes and chords I was forming.I had no idea that the Lord would one day use my life as a vessel for communicating guitar and music concepts to people all over North America and beyond.I praise Him for that, because that has led to a legacy of sharing knowledge that will likely outlast my lifetime.But at one point, I had to embrace the idea that I was a guitar teacher, at whatever level I was playing this amazing instrument.My daughters have both attended a Classical Christian School for many years, and if you've experienced the wisdom of Erin Pakinas, one of the teachers at the school, who has graciously appeared as a guest on the podcast for Guitar Serious Fun, you have heard some whispers about the school culture. Erin was our guest in Guitar Serious Fun Episode 61: Embracing “Good” Difficult with Guitar and More, and spoiler alert: she's going to be back in several weeks for a couple more episodes. Our headmaster's office at the school has had a simple, but profound quote on the wall for many years.  And it shakes me to the core every time I see it.  The plaque says:“You are always teaching.”Mic drop, right?What's implied by this message, of course, is that any teacher anywhere, does not simply begin to teach when he or she steps up in front of any number of students.They are teaching at recess, at school events, at informal gatherings, at school service projects, on field trips, during awards ceremonies, when students run into them at the grocery store, at home with their families, and during summer vacation.None of these venues I've just listed is a classroom.  And yet the teachers are always teaching.But are the teachers the only ones who are teaching?No.  We are all teachers, and we are always teaching.Picture this: a student does something to offend another student, by action or omission.  They disregard having committed the offense, and they move on.What have they just taught everyone who has witnessed this, including the impressionable younger students?  That unkind behavior is not worth repenting of.Fortunately, I have not seen this very often at all at the school.By contrast, let's say the student offends the other student and is quick to reconcile.  What have they taught everyone in earshot, but also everyone who will hear of the experience in the near future?They have taught that it is a Biblical principle (See Matthew 18) that we should seek to restore broken fellowship as soon as possible, because it honors the Lord.Note for just a moment that these examples from a school environment are not music-related.  Are they nevertheless still important teaching opportunities?  Absolutely.The Performing Teaching GuitaristLet's turn our attention to a venue where a musician is sharing his or her music with someone else.Let's say he or she is playing the guitar well, with a humble, yet confident posture.  Their body language is clear, and they are honoring the Lord and their hearers by all that they are doing.  They are offering their first fruits, and the best offerings they can summon.What are they teaching?I think you know, but I'll lay out a few observations.  They are teaching that putting on humility and playing skillfully (both of which are Biblical attributes) are important to their craft, artistry and ministry. They are teaching their listeners that playing well and relating to an audience are high values.  They are teaching them that the discipline of practice and clean execution require dedication, but they also yield satisfying results on both sides.The opposite scenario presents the opposite form of teaching (and without going into the inverse of a presentation like this, I can say that I have witnessed this as well.)I will say that although everyone has a different skill level, it can be apparent when a guitarist chooses to stumble through a couple dozen chords sloppily, when he or she could really focus on just a half a dozen chords and play them well.  Quality over quantity, right?Spoiler alert: inside GuitarSuccess4U, members discover a unique tool early on called the Chord Kite Diagram that helps guitarists of multiple levels zoom in and get chordal and transitional precision in their playing on an unprecedented level.The Worship Leading Teaching GuitaristWhen it comes to a worship offering, I was clearly reminded at a worship conference of an important fact.  And this statement did not come from the teaching faculty, which were outstanding, by the way.It came from one of the students who was in a few of my guitar classes.  His name was Adam, and he said, “We as worship leaders are also teachers.”Another mic drop, right?Does this mean that the teaching on the platform is not just limited to the person preaching the Word?It sure does.  Because if someone steps up to lead the congregation in worship, they are teaching the congregation what is involved with bringing praise to the Lord.They can literally “teach” a song, but more importantly, their whole process is evidence of how important the act of worship is to them.If they are “phoning it in,” or playing with less precision than they are capable of, or if they are not communicating well with the team members, or they are not walking in step with pastoral leadership as they offer their gifts, or…or…or…they are not teaching well.On a practical level, this may seem like a “Captain Obvious” statement, but when I am a lead vocalist playing a rhythm guitar, and I'm standing in front of a boom microphone, I show the congregation (and the technicians) that we are all singing when I am at the mic…and when I'm not at the mic, we are not singing.Does that make sense? I can't tell you how many times I've seen a worship leader hang out right at their mic, or even fade upstage just a foot or so, during an instrumental intro, outro, or a long section without lyrics, thereby creating a “false positive” message to the congregation and technicians that we “might” be singing.So, here's what I recommend: fade to the side.  Just a foot or two. When you come back to the mic, you've rebooted the situation and taught everyone that we're singing again.  Everyone.  The congregation.  The band.  The technicians, especially the projectionist.I won't go into detail for slide shows and whether to leverage the power of the blank slide, but if there's one thing that can be confusing, its having lyrics up on the screen when we're not supposed to be singing them, or when they've “expired.”This can be solved by having a blank slide for an instra, and as I've mentioned, moving laterally so as to clearly communicate to the congregation that they don't need to be singing at that moment.So, after a brief moment without lyrics, the worship leader comes back to the mic, the projectionist cues the next slide, and everyone continues singing, undistracted.That's a practical, but super helpful approach to “teaching” the congregation in a worship setting.What about on a Scriptural level? Everything we do communicates how we treasure the Word, especially if we quote scripture as we lead the congregation, choose scriptural songs or pray the Word.So as worship guitarists, we are definitely teaching.  Always.  On and off the platform.And when I say “off” the platform, I mean the way we conduct ourselves in rehearsal, but also in life. People who know me as a worship leader also know me in a men's Bible study setting, a Life Group setting, and a family setting.  It's my aim to be the same person in all of those venues.I haven't always observed this effort on the part of worship leaders; some transform, whether significantly or slightly, into a worldlier persona when they don't think others are looking.  This is dangerous to our testimony, of course, and teaches that integrity can be compromised. The “Good for You” Medicine that Doesn't Taste GreatIf we want the medicine that will bolster our ability to teach well, it makes sense to follow these three words. “Lead by example.”It's easy to teach someone else a concept.  But it's not as easy to lead by example in consistently applying that concept.There have been many guest ministry opportunities the Lord has allowed me to have where I teach a worship workshop to a group of musicians at a hosting church, and then rehearse members of that group in with a song set.I acknowledge the technicians in my communication and preparation, as well as the rehearsal, run-thru and service.From start to finish, I employ the concepts that I teach them.  And then the musicians and technicians can say, “Hey, this guy uses the stuff he teaches.”It's one thing to encourage people to do something.  It's another thing entirely to explain why that action is beneficial, and then to put it into practical use.Also, in GuitarSuccess4U, every month of lessons concludes with what we call our “Relevance Lesson” for that month.  In that lesson, I talk specifically about how I leverage the concepts I've taught that month.  The key word in each Relevance Lesson is the word “why.”“Why” is tremendously important.  It helps us clarify our efforts in a major way.How much sense would it make for me to teach my members a bunch of tools, and then say, “Yeah, I really don't use this stuff, but you might.”Not much.  Life's too short to learn a bunch of guitar concepts that just aren't relevant.  And that's why I make every effort to scrutinize what I'm teaching to make sure it has the broadest application possible…within the niche of guitarists that I serve: beginning and intermediate Christian guitarists.You Could be a Guitar Teacher…Right NowWhat about a practical exercise?  I encourage you to take a concept you're familiar with on the guitar or with music, and communicate it to someone else who may be less familiar with that concept.I'm not talking about a full-tilt hour long guitar lesson.  I'm talking about sitting down in a common area like at your kitchen table or on your living room couch with a family member or friend and asking, “Hey, can I show you something on the guitar?”Then teach them a concept you have learned.  It could be a single note on the fretboard.  Or a scale.  Or a chord.  Maybe it's a strumming pattern.It's not critical that they totally absorb and instantly demonstrate back to you what you've taught them.  It is important that they mentally grasp what you're showing them.Now, perhaps you don't have your guitar nearby.  Maybe you could teach someone you know something about music theory fundamentals.Remember, you can't spell “fundamental” without spelling the word “fun,” right?  Or “mental,” but that's another story.Maybe you can explain to them what a quarter note is, and how many quarter notes fit in a whole note in a measure of 4/4 time.  Maybe you can help them discern the audible difference between a measure of 4/4 time and a measure of 3/4 time and how they feel totally different.Maybe you can sing a Major scale for them up and down, and then lower the 3rd, 6th and 7th degrees to make a natural minor scale.  No need to have an instrument nearby; just sing the scale and see if they can tell the difference.Relaying a musical concept to someone else is tremendously powerful because a) it demonstrates that we ourselves understand it, b) it reinforces our knowledge and execution of it, and c) it allows us to think and communicate clearly how it's accomplished.Teaching really does help us become better learners and musicians.The proof will in the pudding.  Does your impromptu “student” understand what you've communicated?  If not, break it down into more digestible pieces until they do.This is a great way to break “The Curse of Knowledge,” which we talked about in Guitar Serious Fun Episode 29, by the way.Before you know it, you've clearly demonstrated what you now know yourself to be: a teacher.Wrap-UpNow, as I've mentioned previously, we are always learning, or at least we always can be.  And as of today, we have come to grips with the startling truth that we are always teaching, whether by intention or by accident.This is a sobering fact, because most of us live out our lives in a community setting on some level.So, I want to encourage you to consider what it is that you are teaching, when you're playing your guitar, or even when you're not. You might be pleasantly surprised to see that the Lord is using you for His glory in some unexpected ways.Well, today, we talked about why we can always be teaching the guitar.I hope today's episode was illuminating for you.  And if it was, I encourage you to share it with others.  Please consider giving us a 5-star review on your listening platform. I need to know if this is making a difference, so that I can continue to create this content.You may also be pleased to know that we also have a presence with GuitarSuccess4U on YouTube, Facebook and Instagram, so please check out some of the offerings I've placed there.Thanks for experiencing today's episode. I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…In the 2003 Victorian era action/adventure film “The League of Extraordinary Gentlemen,” Sean Connery's Allan Quatermain turns to Shane West's Tom Sawyer in a close call where he rescues him,  and says winsomely, “Eyes open, boy.  I can't protect you all the time.”Tom Sawyer later returns the favor, and they both grin, having escaped death yet again.In our guitar and music journeys, the stakes are usually not as high as life and death, but the rules are the same: we need to keep our eyes open.Why?  Because learning experiences abound…but only for those who see them.When People are our TeachersWhen someone is starting out with the guitar, everything is new.  Even if they've had some musical background on another instrument (which I like to call “lateral learning,” for which I might dedicate a future episode of Guitar Serious Fun), there's going to be new stuff to overcome.Some of these new things require the “mental skills” side of learning, and others require the “motor skills” side.  But who are our teachers as we learn?Everyone.  Literally.One of our guest experts inside GuitarSuccess4U (our online game-changing guitar membership for Christian beginning and intermediate guitarists) is a highly skilled musician named Brian Reding.Brian is a multi-instrumentalist, an engineer, and a producer, which means he has the capacity to track full songs on a high level of production in a unique way.Brian produced my best album to date, This Side of Heaven.On this record, Brian played acoustic and electric guitars, bass guitar (fretted and upright), keys, Fender Rhodes, drums, aux percussion, world beat percussion, horns, and he sang multiple layers of background vocals, even contributing a vocal percussion beatbox. He played more instruments than this on the record, but this should give you an idea of what he's capable of.  His execution of notes on these instruments and vocals was of the highest caliber.  He's truly a unique individual.  I've never met anyone like him.You're welcome to listen to my album on any of the streaming platforms, and if you like what you hear, you can buy it while it's still available in hardcopy form with a 20-page full color booklet. Reach out to me via my website, www.davidharsh.com and I'll even sign it for you before I ship it to you.Nashville Producer Morgan Cryar, to whom I've alluded previously, said that when an artist hands him a copy of an album they've recorded, they usually include an apology with it.Not this album.  It's an absolute masterpiece; not because I'm “all that,” but because Brian brought tremendous skill and talent to the project, not just with his motor skills on all these instruments, or even his ears, but also his mind.With a producer's mind, he knew what each song needed, so he could literally call upon himself to record all the parts.  You might argue that with only one person playing most of the instruments (I played acoustic guitar and piano and sang the lead vocal and some harmonies), it might have the potential to lose some of the freshness that could come with multiple instrumentalists and vocalists.Not here.  Not in this case.Brian's caliber of musicianship and production are truly “next level.”  Why do I go to all this trouble to speak so highly of Brian?  Because of what I'm going to tell you about him next.He's a student of music.  He's always learning.  And perhaps that's why he's so good at the many things he does.During our interview in GuitarSuccess4U, which members get access to, Brian made a simple but profound statement.He said “Everyone can be your teacher.”Let's see if this passes muster. Could an intermediate guitarist teach something to a beginning guitarist?  Sure.  That's almost a given.Could a beginning guitarist teach something to an intermediate guitarist?  I would argue “yes.”  Here's why…That intermediate guitarist may have taken some of the fundamentals for granted.  A beginning guitarist is at a stage where nothing is taken for granted, because it's all new.And even something as simple as a chord voicing could be fresh knowledge for an intermediate guitarist…if their eyes are open to what the beginning guitarist might show them.Another scenario: could a non-guitarist (who plays another instrument) teach something to a guitarist of any skill level?  Well, yes. That musician may have musical insights that carry elements of artistry, musicianship, or even theory that they could pass along…if that guitarist's eyes are open.And these non-guitarists are hiding in plain sight…often on the very same worship platforms on which we serve. Could I learn from my drummer?  Absolutely – tempos, cadences, ritardandos, accents, grooves, and so much more. Could I learn from my bass player?  Yeah buddy – voice leading, inversions, articulations and dynamics, and so on.Could I learn from my keyboardist or pianist?  You'd better believe it – register, voicings, chordal embellishments…just imagine.What about a non-musician?  Could he or she teach something to a guitarist?  Well, think about what happens when we share our music with an audience, or a congregation. Would there be elements about how that presentation is received that could illuminate our process? What if we play a song that we think will come across as clear and powerful, but the listeners in the audience are confused because the message is unclear and the song needs a few re-writes to coalesce into a more refined form?One of the great sayings I've held onto over the years is that “Great songs aren't written; they're re-written.”  I've been on the receiving and the giving end of this wisdom many, many times.An audience (no matter the size) may contain music lovers who aren't necessarily musicians.  But they listen.They have souls.  They can process a message and see if it can impact them.And if a song has too many words, or has improper “emPHAsis” on the wrong “sylLAbles” (listen to the podcast version for what I mean), the audience, if asked, could teach the artist/guitarist how something could be refined in their presentation.Maybe the guitarist is playing too fast.  Maybe he or she is out of tune, out of rhythm, or out of pace with what the song or the ensemble requires.There are many, many things a non-musician can discern from a song or a performance, even if they can't define them in musical terms. Even body language.  What if the performer frowns onstage or looks serious as they play, but they don't realize it?  Is that a musical thing?  Nope.  But does it affect the performance?  It sure could.But the guitarist is only going to be made aware of this if their eyes are open to the visual and verbal responses of the audience.I've had close friends who have offered me the right kinds of “wounds” like the ones from Proverbs 27:6.  They've told me things about my performance that I've needed to refine for the sake of the audience.And because I've listened and applied what they've shared with me, my show and my songs have improved considerably.Now, let's say a guitarist is playing on a worship team, leading songs that are sung by a congregation.  Could that guitarist learn from the congregation?100%. Let's say that the worship guitarist chooses a song that's brand new to the congregation, even though this guitarist knows the song well.If their eyes are open, they can become aware that the congregation isn't singing along because they don't know the song.Could the guitarist “pivot” and walk everyone through the chorus a couple of times, so as to teach them and equip them to sing the song?Absolutely.  But only if their eyes (and ears) are open.What if the song is not placed comfortably in a singable range?  Could the congregation directly or indirectly teach the worship leader that it needs to be adjusted?  Could the song itself need to be scrutinized so as to be categorized as a “listening” worship song rather than a “sung” worship song based on how intuitive and accessible it is?  It's worth considering.This kind of helpful feedback can refine us as worship guitarists in amazing ways…if our eyes are open.When Teachers are our TeachersYes, I know teachers are people too. The distinction I'm drawing here is that there are some who have positioned themselves as teachers of guitar and music, as opposed to folks who have not.And some of these teachers can teach incredibly well.So, it's a given that a good guitar teacher can teach us things about the guitar and music. However, there's a flipside: and you may or may not appreciate it.  If you've listened to Guitar Serious Fun Episode 29: Breaking the Curse of Knowledge, you know who I'm talking about.I'm talking about teachers who simply lack the ability to teach, regardless of their skill level.If someone is virtuosic as a guitar player, it is not a guarantee that they can relay guitar knowledge to their student.  But the beautiful reality, as I stated in that episode, is that the student can still “self-teach.”  This does take an extra measure of skill and time, but if you do it enough, you start to develop the knack for observation and then the ability to take apart and translate what you observe. I go into this in greater detail in the aforementioned episode about the Curse of Knowledge. The reality is, though, a student can only self-teach if their eyes are open.The Unexpected TeacherRemember, we can learn from others about how to do things…but we can also learn from others about how not to do things.One of the teachers at our daughters' school uses the phrase “The School of Soft Knocks” to describe the process of learning from others´ mistakes.Now is learning from others' mistakes less costly?  Yes.  Absolutely.  Any sort of loss that has been sustained by another person can be avoided by us.  If our eyes are open, right?  You're getting it.We can even watch someone doing something in our direct field or circle of influence and internally say “I really don't see the benefit of doing that.”I recently heard a story of a worship leader who asked the congregation to clap during a song in a worship service, and when the congregation did not enthusiastically respond accordingly, this individual stopped the song midstream, and verbally reprimanded the congregation for not clapping.If I had observed that, I probably would have seen the congregation's response, which would have confirmed to me that I personally would not take that approach.So, we can learn how not to do some things in our area of expertise…you know it – if our eyes are open.  When Equipment is our TeacherI once had a show where the perfect technical storm happened.  My guitar battery died, my guitar cable shorted out, my loop station powered off, and my direct box stopped processing my guitar signal.  This happened all at once.  Just shy of helpful, right?Fortunately, I was able to adapt and find alternate pieces of equipment of my own, as well as those of the hosting church.  Having backups saved the show.Another time, my sound board, having been reconfigured by a tech as he helped me put it away at the previous venue, was not functioning the way I needed it to for a weekend of shows.  That prompted me to connect with that sound tech and ask him if he had “zeroed out” some of the knobs, which he had done, just out of habit.That gear, though not even a person, taught me the value of backup equipment, as well as the knowledge of what the equipment was capable of on some level, so as to be able to troubleshoot.But my eyes needed to be open to realize what was going on, so that I could learn.When Experience is our TeacherSome would say “Experience is the best teacher.”  I agree.I've played enough shows and led enough worship services that I can confidently say that there's not much that can surprise me these days.And I thank God for that.  Because He's allowed me to have enough of an accumulation of experiences that I typically know what to do, or what to ask for, when that experience happens again.The bonus blessing is that some of those stories have resulted in some significant victories, and I can share them with you here at Guitar Serious Fun.But even the failures are incredible opportunities to learn. But only if we, once more with feeling: keep our eyes open.An Essential Requirement for Learning WellWe can learn from people we interact with, teachers of all kinds, equipment, and experiences.  These opportunities to learn come to us daily, sometimes hourly.  We can always be learning.But what's the requirement beyond keeping our eyes open?  It's to be teachable.I'm going to lay out a hard fact for you: not everyone is teachable. Do you know how I know this?  Because after teaching thousands of guitarists across North America, even, and especially in Christian circles, I've come across many folks who create an artificial ceiling for themselves.They do this by claiming that they've “been there, done that,” or that they already know what they need to know.I'll let you in on a little secret that may discourage or inspire you: we will never learn everything there is to learn about the guitar or music. But that's a beautiful thing, because there's always more to learn.  And if we approach each new day or opportunity with the question, “Lord, what do you want me to learn today,” that ceiling vanishes, and we can fulfill our potential.Will our potential be the same as someone else's?  Of course not.  But we're not called to pass up others. As I mentioned in Guitar Serious Fun Episode 66, The Guitarist We Should All Surpass, we're called to be better than the guitarist we were yesterday, right?So, if you consider yourself to be teachable, you're going to love what I'm about to share with you as we wind down today.  If you don't consider yourself to be teachable, this won't ring true for you.  It might in the future, but I'm pretty confident that only folks who are teachable right now will “get it.”We have an online guitar learning experience unlike any other, that includes battle-tested, premium, curated content, relevant application of concepts, a roster of guest experts with hundreds of years of collective wisdom captured in exclusive interviews, deluxe, full-color worksheets, a Christ-honoring community of like-minded, eager guitar learners, and 5 instant bonuses.It's called GuitarSuccess4U.  And because I saw a deep need for a learning experience like this and couldn't find one, I founded it in 2019.  It's for beginning and intermediate teachable Christian guitarists.The URL for this amazing experience is GuitarSuccess4U.com. Again, if you're not teachable, it won't make sense to where you're at in your journey right now.But if you are teachable, it could change the game for you.  I hope you'll check it out.Well, I hope today's episode about “always learning the guitar” was inspiring and encouraging to you.  And if you want to share it with someone else, please do.If you want to experience some of our more than six dozen other episodes of Guitar Serious Fun, please do.If you want to offer us a 5-star review on your listening platform, please do.If you want to leave a positive comment, for today's episode, please do.And if you have discussion topics we haven't already covered that you'd like to see shared here, and you want to comment here or reach out to me directly at GuitarSuccess4U.com, please do.Thanks for listening, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/ACE.  It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…If you're looking for a game-changing strategy for claiming the fretboard quickly and effectively – that most people don't know about – this is the place to start. So first, what's an octave?  It's a perfect interval comprised of 12 half steps, where the low note and the high note share the same name, but are located in different registers.Take a look at this legend for a moment. I've got yellow lines to indicate octaves where I skip one string. Note that I need to make an accommodation for the tuning, as I traverse the Major 3rd in the tuning on the way to strings 2 and 1.Then I have a blue line that shows where I can play an octave as I skip two strings – and still play the notes simultaneously with my fretting hand. I'll do this only from strings 5 to 2 today. Lastly, I have a green line to indicate a double octave from strings 6 to 1, as I skip four strings.All of these lines will come into play with the three diagrams I'm about to walk you through. Remember, I'm working with octaves that can be played simultaneously with my fretting hand.Now before we continue, I'm going to let you in on a little secret that will reveal how the fretboard works in this situation, through a mathematical sequence of numbers. You ready?Think of the three lowest single-digit odd numbers in decreasing order. What are they? 5, 3, 1.  Now, how about the three lowest single-digit even numbers in decreasing order? They are: 6, 4, 2. Try saying those sequences back to back a couple times, starting with the odds.5, 3, 1, 6, 4, 2, 5, 3, 1, 6, 4, 2.As you will soon see, these numbers tell us which string to use as we map out the octaves from low to high on the frets.We have a 6-string instrument. Between frets 0 and 11, a single note appears only once per string, so how many instances of that note will we find on the fretboard inside that frontier? Six instances.I'm providing three diagrams I'll reference as I continue forward.Let's start with the A notes. Observe (on the accompanying video) as I connect these notes together by four octaves, and one double octave.  Starting with the lowest note fret-wise on the open 5th string, the A notes are on strings 5, 3, 1, 6, 4, 2. If we know how to form the octaves, the notes just fall into place, using our sequence of descending odd and even numbers. Notice that the C notes start “mid-sequence,” beginning on string 2.The E notes can start off with a double octave, indicated by a green line from strings 1 to 6.As a bonus (in the video) I can start on string 6, and actually make my way all the way up to the 12th fret of the 1st string to make this even more neatly laid out for you, with the descending even numbers, followed by the descending odd numbers.So today, we learned how to map out the fretboard octaves with the notes: A, C, and E. And what does that spell? ACE! We just figured out how to ACE our fretboard with octaves!What does this help us do? Anything we want!  Moveable chords, scales, arpeggios, capo positions, the CAGED System, and more.  It literally unlocks our fretboard for us!Well, hopefully, there were some “lightbulbs” that appeared over your head during this quick lesson.  As you can imagine, there's so much more.  We covered three notes today – and there are technically 12 notes…and you better believe that we cover all of them from multiple angles inside GuitarSuccess4U, leading to mastery of the fretboard. We don't just focus on fretboard KNOWLEDGE, though.  We take time for the APPLICATION of that knowledge to cultivate artistry and musicianship.  This experience at GuitarSuccess4U could be what's missing from your guitar journey.  Please head on over to GuitarSuccess4U.com to see what we're all about.Thanks for having some serious fun with me today, sharpening your skills.  Keep showing up, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Why Some People Quit Guitar (and How You Can Avoid It)I connected with a friend recently who shared with me that his son, though an avid saxophone player for many years, had recently lost interest in the instrument. There was not a real explanation, except that he had sort of fallen out of love with the saxophone.Now as we talked about in Guitar Serious Fun Episodes 17 and 18, “Guitar through the Seasons (Parts 1 and 2),” there are definitely different times in our lives where we play more or less music on our instruments, but what about stopping completely and indefinitely?We've all met people who have quit their instruments.  And usually, they regret it.Some people start out with great intentions, but along the musical road, some decide to stop, for one reason or another. If you're playing the guitar and you don't want to fall out of love with it, please consider these eight “catalysts” I have for you today. 1. Be realistic with how much you expect of yourself.As musicians, we can have lofty dreams of performing on grand stages, recording albums that have national distribution, and gaining a viral following on social media. But the Lord may not have this plan for us.  To that end, I think it's good to have reasonable expectations, so that we can meet those and exceed them.When it comes to the actual discipline of regular practice, if we ask too much of ourselves, it can be hard to sustain.Practicing 2 hours a day may work for someone for a few days, but once they miss a few days of this 2-hour regimen, regret and overwhelm can set in.  What about 15 to 30 minutes a day? That's a much more sustainable endeavor, especially for a hobbyist or someone who plays the guitar on the more recreational side.I'll add the pro tip that practicing at the same time, for the same amount of time, in the same place each day leads to even better consistency…even for people who just play the guitar for fun.2. Make sure you are playing some music that feeds your soul.Not all the music we will play will be in the center or our passion or taste, but some of it should be.Some of the things we play will be technique-building, and they may sound good, or they may sound monotonous.Some songs are more life-giving than others, and some songs are too difficult to play in some early seasons of guitar playing.However, easier versions of guitar songs exist, and when we get a taste of what's possible as we play an actual song, we can feel momentum. I had a young guitar student for several years who was just starting out, but who had a deep appreciation for James Taylor, whom she had seen in concert.  So, I found a way to simplify some of his songs so she could play them.Stephen Humphries, a national hammered dulcimer champion and follow of Christ with whom I've studied, offered this pearl of wisdom.  He said,“Technique is a means to an end. Make sure the music you want to play is that end.”Mic drop.If all we're doing is sharpening our musical techniques and rarely actually playing real music, it can be very easy to lose sight of our goals.That's why, in the five “joining bonuses” when my members join GuitarSuccess4U, they get instant access to a legitimate song I wrote about the joy of playing music on the guitar in a community. And they can learn to play it at one of 14 different levels of play, so even guitarists who have never played a note can be playing along with me right away.3. Set some realistic goals and write them down.Speaking of goals, as we talked about in Episode 69 – “How to Read it on the Run with Guitar and More” with guest Dawn Jones, if we don't write down what our goals are, we will get much less traction, and then we will feel much less progress.In that episode, Dawn said that “Research has shown that if you write something on your calendar, you have a 60% chance of completing it, compared to if you don't write it down.”So, write down some realistic goals.  And as we talked about with Dawn, put them somewhere visible so you can “read them on the run.”4. Seek out some quick wins.Believe it or not, learning to play a chord, or strum a strumming pattern, can be a great win that can fuel your desire to keep playing.But make it a quick win.  Not a huge endeavor.  If you're looking for some ideas for wins, I encourage you to check out Guitar Serious Fun Episode 55 - “Bookending Your Guitar Practice with Wins.”  Many of these are ones our member of GuitarSuccess4U have come up with on their own.5. Go see a guitar player you admire in concert.Remember, this is not the same thing as watching someone on YouTube, which can be good.  But there's something about the excitement in a live venue when a performer interacts with their audience and plays well.I will never forget seeing the late Michael Hedges in concert in 1995.  It was inspiring to my guitar journey on multiple levels, because his skill set was unparalleled.  Also, the journey he took us on with his multi-faceted concert, all within the limitations of just a couple guitars, a flute, and a piccolo, was captivating.I kept a journal for many years of concerts I got to experience, and I jotted down particular elements of those shows that impacted me as a music listener, and also as a musician.  The Michael Hedges concert was the inspiration for that journal, and that memory still keeps me excited about the guitar.6. Have some sort of musical outlet for your playing.I want to credit one of our guest experts in GuitarSuccess4U for this suggestion.  His name is Brian Reding, and he not only produced my best album to date, he graciously filmed a video interview with me about many different aspects of musicianship, especially centered around listening well.The members of GuitarSuccess4U have enjoyed this interview immensely.Brian has been a music teacher, a funk band leader, and also a worship leader.  In his words, a guitarist needs to have an outlet for their musical expression.When we play our guitar in a collaborative, live setting, it validates our efforts.  Think about this.  If we keep our guitar in the practice space, no one but us gets to enjoy what we're working on.But if we team up with a worship team, a cover band, or even jam in a song circle of hobbyists, we get to share what we're working on, and play in collaboration with others.These collaborations give us the opportunity to practice and prepare music, and to self-observe when we're “in the moment.”  I guarantee you that playing with others helps us raise our game as musicians.If we can break past the intimidation factor and allow ourselves to be humbled a bit by the process, we will emerge as better players in many ways.  Our tempos, our musicianship, our ability to listen, these will all be enhanced.Also, if we know the band is expecting us to come prepared, that will provide accountability, leading to more diligent practice, more wins, and more progress.7. Connect with a tribe of guitar players.If you've experienced these episodes of Guitar Serious Fun for any length of time, you probably know where I'm going with this.I am honored to lead an online community of Christian guitarists called GuitarSuccess4U.It's unlike anything I've ever seen before.  Inside this community, those who engage in the weekly Zoom calls find a whole new level of support and encouragement.We also hosted our first ever live “in person” event in 2023.  It was unreal.  We had discussions, worship, teaching sessions, jam sessions, guitar diagnostics, member spotlights, and we feasted together. There were laughs, tears, hugs, and people bonded, because they had Christ and guitar in common.And as the members returned home, I'm confident that they each had more wind in their sails, a greater sense of purpose, and a desire to go deeper with their skills.The African proverb I've quoted before to my members, and in Guitar Serious Fun says,“If you want to go fast, go alone.  If you want to go far, go together.”Lastly, I'll circle back around to the title of this blog/podcast…8. Have serious fun.The guitar can be challenging, but it can simultaneously be very fulfilling.  A good challenge that we can overcome can really spur us on as we continue forward.I have several friends who hunt.  Given the choice between going out into the woods and pursuing their prey, even in difficult conditions…and having a large, freshly slain animal carcass delivered to their front doorstep, they would pursue the hunt every time.It's all about the thrill of the hunt. People in our culture are swayed by an “easy” way to learn.  But this can be short-lived and misleading.Guitar can be hard to learn.  I don't mean to make it harder; on the contrary, I want to make it simpler and also more fulfilling.  And in GuitarSuccess4U, I've found a way to cut through a lot of the confusion.But as I've talked about in these episodes, we do ourselves a disservice if we expect the learning process to only be fun all the time.Because what happens when the fun stops?  Should the learning stop?  I hope not.So, engage in serious fun, and watch what happens when you overcome obstacles that you didn't even know you could.Then, you'll find yourself, like in Guitar Serious Fun Episode 3, saying “Yeah Buddy.”You've probably noticed in today's episode that I've alluded to no less than five previous episodes of Guitar Serious Fun.  If you've already experienced all five of them, awesome.  Maybe spool through them again.  But if you haven't, your Serious Fun homework is to do so. These episodes are served up with a great deal of care, and they're concise, so you can enjoy them swiftly and gather wisdom and encouragement in an efficient manner.As we close, I encourage you to proactively build some infrastructure around yourself so that when you think of quitting your instrument, you will have much more protection in place.When others give up, you will press on.  And then…the joy of music and the long game will be yours.Lastly, if you want to know where and how to accelerate your progress in a serious fun way, in a community of like-minded followers of Christ who are also pursuing their dreams on the guitar, I invite you to check out GuitarSuccess4U.com.  This experience could also act as a catalyst for your guitar and music longevity, if you lean into it.Thanks for experiencing another episode with me today. I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…If you've ever slaved away with your musical efforts and been relatively unnoticed, or poured your heart out before an audience that gave you their “divided” attention, or had someone (maybe even a co-laborer in Christ) take your work for granted, this episode is for you.Sin is in this world.  Let's start there.  People will say things, do things, or fail to say and do things because the sinful nature affects all of our actions and omissions.But people are also human, and they sometimes forget to express how they feel if they appreciate something.  And forgetfulness is not typically something that people do intentionally.When things are said that are unkind, or body language communicates indifference or a lack of appreciation, this can be hard for those of us for whom “words of affirmation” are a key love language.  I'm speaking autobiographically, of course.And we can communicate a lot, even without words.But just as words of affirmation can be a huge blessing to me, words of criticism can really affect me, much more so than some folks I know who typically don't let those kinds of things affect them.If you want my insights into how to cope with criticism, I encourage you to check out Guitar Serious Fun Episode 58 - When Someone Criticizes Your Guitar Playing.Today's episode is a little different, because for those of us who serve, sometimes our work goes unnoticed.  So, someone isn't actively criticizing what we do…it's more like they are disregarding what we do.Is that ok?  Well, after you've heard what I have to say, it just might be.I'll paint three scenarios for you that have the potential to be discouraging, but really don't have to be.  And spoiler alert: there are four words that will make all the discouragement fade into the background or go away entirely. As I predicted, I hinted at these in Episode 66 of Guitar Serious Fun: The Guitarist We Should All Surpass.  I'll share these four with you as we're winding down today.But first, let's look at three scenarios together.Scenario 1: The Volunteer Worship LeaderLet's paint a picture of someone who has a tentmaker vocation to provide for their family, but they serve at their local church as a volunteer.  This is how I got started in worship ministry, and I'm grateful to have had the opportunity.In this first scenario, the church is likely small, and is therefore unable to pay for someone to serve in this position.Some worship leaders of the volunteer type are deeply appreciated, but let's talk about someone who is hypothetically disregarded for what they do, and perhaps sometimes taken for granted. Maybe the congregation sings with them, or maybe they only sing on the songs they prefer.But this individual works a full week, comes in on one of the weeknights to prepare things for the rehearsal, and then leads that rehearsal.  Maybe the band says “thank you for leading us,” but maybe they don't.And when Sunday comes around and they arrive early to make sure everything's in place, the band trickles in, they run the songs, and the service begins.  How does the church surround this individual to thank them?  Maybe they don't.  And then the week repeats, with work and volunteering, over and over.Now, the Lord doesn't call us to burnout, so perhaps this individual needs to build in time for rest and recovery.  But even then, without a certain amount of appreciation, they can lose stamina and their morale can decrease.Scenario 2: The Paid Worship Pastor or DirectorHere, we have someone who serves at the church and is actually monetarily compensated for what they do.  I've been here, too.Their role may be exclusively dedicated to music, or it may be a hybrid of music leading and administrating over the tech realm.  Or maybe part of their position involves shepherding the youth.But this individual is tasked with resourcing the teams in a similar way, and joins in meetings with pastoral staff so as to make sure everyone is on the same page.Now there are pastors out there who are musicians.  But some are not.  And although some value the musical contributions of the worship team, some – not so much. Let's say this worship leader leads four songs, that add up to 20 minutes.  Let's say the pastor preaches a sermon that's over twice as long.  Speaking quantitatively, one could say that the preaching of the Word is a higher priority, simply by virtue of the fact that more time during the service is allocated for it.But I would push back on that, because the service is a worship service, and the whole program, as it were, is intended to declare and proclaim God's worth, whether we are studying the Word, preparing for it, or responding to it.So, if a pastor does not show appreciation for the worship team or the worship leader/guitarist, it could be because the pastor is mostly focused on the text for that morning. And the pastor may be going over sermon notes in the front row…even as the band is leading soulfully from the platform.What if congregants arrive for the service after the music set has concluded?  What if they leave just as the closing song is starting?  That can be super discouraging for those who have prepared diligently to lead the singing.What if, in the re-cap meeting a couple days after that Sunday, the pastor guides the conversation to be mostly focused on the sermon, rather than the music?  Does this mean the music is any less significant?Well, it's not, but it might feel that way.Does the Pastor intentionally wish to make the Worship Leader feel like his or her work is less valuable?  I hope not.  But that message can still be communicated, or at least perceived.Scenario 3: The ConcertLet's say a guitarist is performing a concert.  This is something I've done more times than I can count. And when I perform, I generally classify my audiences into two categories. Type A audiences have come to hear me play because they follow me and enjoy what I do.  Type B audiences don't know anything about me, and my presence at their event is more of a surprise, or at least they don't know what they're in for.Typically, Type A audiences are more attentive and respectful.  Type B audiences need a little bit of “winning over,” but with my multi-faceted program and my winsome manner, I typically can draw them in within the first few minutes.But there are always exceptions.  Some concerts I've performed have been very well-executed, and yet…There are people who look bored or disinterested, even during some of what I would consider to be the most interesting parts of the show.  They may start talking to each other, or even to me if they're young and socially unaware.They may also be on their smartphone while I'm trying to sing from my soul.And although the vast majority of the audience tends to get on board, what am I tempted to focus on? The negative minority.Performance coach Tom Jackson, with whom I have studied, claims that if you are a performer, 97% of your audience wants to like you, and that remaining 3% will never like you, no matter what you do.And while it's important to acknowledge that there are going to be people who dislike our offerings or don't appreciate them, it's also important to remember those who do appreciate what we are presenting.So, perhaps I'm being swayed too much by the critics, but they're out there, and I feel underappreciated at times.What to do?Well, if you've come this far, you've probably identified in some way with at least one of the above scenarios where you've played your guitar, whether for pay or not.Let me ask a couple questions. First question: is it about us? Well, actually, when it comes down to it, it's really not.  Those can be harsh words to take in, but even my music (that I've worked so hard to craft and share) is not about me. And that's actually pretty liberating, because that means the criticism that comes is not really meant to be fully carried by me.  I can listen to it, and evaluate it, but it's just not mine to carry completely.And the lack of positive feedback is also not something I need to bear the weight of.  Again, I need to be objective and make sure what I'm doing is in line with my calling and what has been asked of me, but people, in their sinful or human nature, may not express their appreciation.Second question: if it's not about us, is that ok?Yes, I suppose it is.  Because if I'm ok with this reality, I can move on and focus on my art, and my worship offerings.Last question: who is it about?  In other words, Who is it for?The Lord.  Right? Colossians 3:23-24 says:Whatever you do, work at it with all your heart, as working for the Lord, not for human masters, since you know that you will receive an inheritance from the Lord as a reward. It is the Lord Christ you are serving.Years ago, we had a sweet missionary couple come speak to our Sunday school class.  Their names were Roy and Elvia Sprague, with the Northwest Independent Church Extension, a ministry to churches.To be frank with you, I can't recall much of what they said.  Except just four words.  And these four words have the potential to change the game for you.  These four words are:As unto the Lord.Perhaps that's all the Lord wanted me to remember, because those words are just as clear to me today as the moment they were spoken those many years ago.And what this means is that I can rest in the sufficiency of the Lord, for whom I am laboring so intentionally. Even these words I'm stringing together are in some ways designed to benefit and bless you, but if I don't get any feedback or positive comments from you (which are totally optional), I can still remember that this is for the Lord.A few years ago, I read a short book (and by this, I mean 44 pages short) with the title of “The Freedom of Self-Forgetfulness” by the late Tim Keller.  The cover of the book has a picture of a mirror with no reflection.  The title of the book and the image on the cover pretty much summarize the contents, but I do encourage you to look it up if you want some further reading on the subject of navigating what it means to be underappreciated.Wrap-UpSo, as you continue forward playing your guitar, take in the criticism, take in the affirmation, and even the silence.  But when feelings creep in that imply that you are underappreciated, perhaps not appreciated as much as you would like, or worse, remember this:The Lord smiles upon your sincere work.  And He's the One we're meant to please, above all others.I hope today's episode was encouraging to you.  Don't worry – I don't need you to extend your appreciation to me with a comment, unless you want to.But I will invite you to share this episode with someone you know, perhaps someone who serves in worship ministry and maybe plays the guitar as they do…and perhaps at times they feel underappreciated.It just might put some wind in their sails, and remind them of those four essential words: As unto the Lord.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

I'm honored to welcome back a previous guest on Guitar Serious Fun. She was actually our first guest ever - and she's got more to say today.Her name is Dawn Jones, and she is an International Speaker, Executive and Leadership Coach, Author, and Presenter of more than 20 published books and audio/video programs including her best-selling Top 7 Personality Challenges. She has also created and produced programs on Time Management, Supervising People, Conflict Resolution, Women in Leadership, and more.For over 20 years, Dawn Jones has empowered over 70,000 people in more than 1,700 presentations in 8 countries. Whether she is working with Leaders, Project Managers, Engineers, or Businesspeople, she is passionate about helping people achieve their goals.Dawn helps people recognize and resolve personality and communication challenges, all while helping her clients strategically reach goals, build healthy & productive teams, and increase profits.In her free time, Dawn and her husband volunteer and support non-profit groups in America and East and West Africa where they help people build a hope and a future for the next generation. I met Dawn over 20 years ago through her incredible Booking Workshop and Successful Booking curricula, the latter of which she actually allowed me to present the voiceover for her introduction. Dawn and I have both presented at Christian music conferences, and we've have crossed paths with some of the same people, including Morgan Cryar and Tom Jackson, whom I've mentioned in past episodes of Guitar Serious Fun.This is the audio from a Zoom call that I hosted with Dawn, so I invite you to listen in, listen closely, and grab some helpful tools from Dawn. You can learn more about Dawn at dawnjones.net.Dawn joined us in Episode 46: Reduce it to the Ridiculous, and provided some tremendous insights.And she's back!Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because our guest's highly articulate and intentional delivery will draw you in immediately.So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/fingerstyle.  It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…If you've always wanted to experiment with fingerstyle guitar but you didn't know where to start, you're in the right place. Fingerstyle guitar spans multiple genres, and can be applied beautifully to worship music, folk music, pop music, and more. Today, I'm going to show you my approach to a “crash course” for fingerstyle guitar. Now, as you may know, a crash course is a quick, intense approach to learning something, so I want to keep our expectations reasonable. The world of fingerstyle guitar is vast and beautiful, and even though we're only going to tackle one fingerstyle pattern today, I think you'll be able to celebrate a win with me, because it's a good one. So, let's embark on some important initial steps.Let's start by defining some quick terms. I like to use the Spanish system for memorizing my thumb and fingers. Even if we're not playing Spanish or classical guitar, this system can totally benefit us. The names of our picking hand digits can be found in this diagram. {Diagram – Abbreviations for Picking Hand Digits}Try saying just the letter that corresponds to each. We have: p, i, m, a, and c. Try going backwards: c, a, m, i, and p. Now, let's talk about how we place these digits on the strings.Our pulgar, or thumb, is so strong, that we can start by allocating strings 6, 5 and 4 to it. The thumb literally owns half of the strings for beginning fingerstyle guitar. Then, the indicio or index owns string 3, the medio or middle owns string 2, and the anular or ring finger owns string 1. The chico does not get used in these early stages.So, from low to high, the digits owning these strings are p, p, p, i, m, and a, and from high to low, they are a, m, i, p, p and p.Let's take what we've just established and apply it to a simple open chord: E minor. I'm just going to use my picking hand over and over to arpeggiate this open E minor chord. I encourage you to watch the video and to play along for this.Next, I'll form an A minor chord and play an arpeggiated figure that also repeats. Now that we've established the A minor notes, I'm actually going to make this just a bit simpler. I'll only be using the pulgar, indicio and medio – just p, i and m, for a pattern I'll call “Sweetly Rocking.” It's just one note shy of what's called “Travis Picking.” As you can see and hear, this sounds rather nice with just a single chord. But as I'm sure you're aware, fingerstyle patterns can be applied to any chord. The video has a demonstration of me playing this same “Sweetly Rocking” pattern through several chords, some of which are color chords.Even with a single fingerstyle pattern, there are so many possibilities!Well, this was indeed a crash course for fingerstyle guitar, but we made some great first steps.If you're ready to go deeper and discover insights that I've distilled down from almost 30 years of guitar study and performance, as well as crossing paths with some of the most accomplished fingerstyle guitarists on the planet, please visit www.GuitarSuccess4U.com. Hopefully this inspires you a bit with your guitar playing. Thanks for spending a little time with me today. Keep playing, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…It isn't actually helpful to always be learning things on the guitar.  Track with me as I walk you through some insights that could really bless you on your creative journey.I have a decent collection of guitar method books, DVDs, and yes, VHS tapes I've compiled from over the years.  Most of them are ones I've meticulously studied in order to enhance my knowledge of the instrument. I've also earned a Bachelor's degree in music, taken lessons, attended masterclasses, workshops, symposia, and traveled far and wide to acquire guitar and music knowledge.I am a lifelong learner.  But I'm also a doer.  By this, I mean that I am always looking for knowledge that can be put to use, and then, I'm also looking for ways to use it.To that end, I've recorded four full-length albums to date of my original music, mostly on the guitar, using the skills and tools I've developed through my various methods of learning. I've also arranged songs by other people, and I've performed more concerts and led more times of worship all over North America than I can count. I've applied much of what I've learned, because I've learned a lot that can be applied.Believe it or not, though, there's such a thing as spending too much time learning things.  How is this possible? The bottom line is that we spend too much time learning, and not enough time doing.Stu McLaren, an entrepreneur whose insights I have been blessed by in a membership I was a part of for several years, said something in one of his discussions. When the subject of knowledge versus action came up, he said something that really impacted me, and I have permission to share what he offered.  These were his exact words:“Learning new things becomes a form of procrastination that stops people from doing the very thing that they need to do to in order to move themselves forward.”Wait, what?  Learning becomes a form of procrastination?  It sure does. For the purposes of illustrating this point, I've come up with a hypothetical guitarist by the name of Mortimer. Let's say Mortimer has been playing the guitar for a few years now.  If Mortimer is hoping to write his own songs on the guitar, what happens when he subconsciously says to himself, “I don't know enough about the guitar yet to write songs”?Well, Mort will continue on his trajectory, learning guitar tools, but not applying those tools to making actual music.  And that, in a word, can be…tragic.What if, after a significant period of time (and even a year can be significant) Mortimer is still taking in guitar knowledge in some way, but nothing artistic has been expressed through his fingers or his voice?To his dismay, a year has gone by, and although Mortimer may have learned some new guitar skills, he may have traded the acquisition of those new skills for time lost making application of those skills.Poor Mortimer…let's not be a Mortimer.In order to avoid Mort's fate, we need to have a balance between acquisition and application.In our discussion, Stu went on to say that “Ideally, our experience should be equal parts ‘learn' and equal parts ‘do.'  Action is key.  Implementation is the key.”I think it can be elusive to embark on a quest for knowledge without necessarily having a plan to implement that knowledge.  So what can we do?Well, I recommend five things.1. Feel the Urgency.We don't have the luxury of unlimited time.  None of us has any promise of tomorrow.  Our health will not always be what it is.  Our physical ability to play and sing will not always be with us.Having a sense of urgency gives us a bit of perspective when it comes to realizing that now is the time to make intentional progress in the areas of learning, but also applying what we know. If we subconsciously say, “Well, I'm sure I'll get to a point to where I can use this stuff…I'll just keep learning for now,” we may wake up one day when it's quite a bit later in our lives, and some options aren't there anymore.Even if you're not like Mort, you may still have some guitar-related goal that you haven't checked off. You may want to record an album. You may want to join the worship team. You may want to team up with someone else in your friends or family circles to make music locally, or share your music with a community – whether in a living room or in an auditorium.But you need to picture yourself living your God-given dreams, and have some goals written down, perhaps even forming a level of accountability with someone you know, so that the urgency can remain, and the progress can be made toward application.2. Be Vigilant.As you learn things, perhaps you have enough musical savvy to see where the application factor can come in. But if you don't have this awareness yet, do your best to find out whether the stuff you're learning can be applied to what you want to do.In GuitarSuccess4U, my online experience for beginning and intermediate guitar players, I conclude every month of our Success Path with a Relevance Lesson. Just as you may suspect, the focus of that Relevance Lesson is to show where all the tools I've been teaching you that month can be applied. I spend very little time in GuitarSuccess4U teaching topics or tools that don't have much use.  Life is simply too short.Now here's the thing – some of the tools out there may be designed for the center of your wheelhouse.  Others may not. Exempli gratia – I'm a rhythm guitarist, not a lead guitarist, so most of my time is spent strumming or fingerpicking chords that have beautiful embellishments. I support my voice with the guitar.  So although I learn some scales to better understand melodies, modes, and even guitar position playing, you'll most likely find me as an accompanist to my own voice. Someone else may lean away from chord formulas and more toward developing fast melodic licks because – you guessed it, they are more of a lead guitarist who doesn't necessarily sing.  Each approach is valid.  But as you can see, certain topics and tools are more applicable to one guitarist than another.So I invite you to be vigilant, and to try to discern if what is being taught can be used by you in this season.  And yet remain open to the fact that maybe, down the road, something that doesn't currently apply to you, may become useful.3. Apply What You Know Now.In GuitarSuccess4U, I wrote a song about the learning experience we all have as guitar players.  It's called “My Sweet, Sweet Song.” It uses just one strumming pattern throughout, and it has five open chords that are very, very easy to play.This song is one of five instant bonuses that are made available to our members as soon as they join.Why would I make a song so simple available right away?  Because I want to get my members playing real music as soon as possible.  There's something very satisfying about playing an actual legit song.And if you're curious, the song comes with a deluxe PDF and 14 levels of play to allow literally anyone of any level to enjoy playing the song with the video lesson right away.  It has waffle chord shapes, tablature, and even notation for those note-readers out there.And it has a lead sheet, but also a chord chart, and even a rhythm chart.  All languages of music are considered and presented.“My Sweet, Sweet Song” is a perfect example of being able to play a song with just a handful of tools. If you know just a few chords and can keep time with a simple strumming pattern, you have enough to get started.Think about cooking for a moment.  Pretend that you wanted to make a meal one evening, and you only had a handful of ingredients, because grocery shopping was happening later in the week.Could you creatively combine those ingredients you had to make a simple but tasty dinner?  We all gotta eat.  You'd probably find a way to improvise something, even if it wasn't a subtle gourmet dish.I doubt that if you had, for instance, bread, cheese, mayonnaise, and a can of tomato soup, you would choose not to eat because you didn't have all the necessary ingredients for a slow-roasted brisket with spring vegetables drizzled in balsamic vinegar.You'd probably make a grilled cheese sandwich with tomato soup, right?The tools we have on hand can be put to use, and then we can add more to those tools over time.  Who says we can't write a song with four chords, and later discover a way to enhance that same song by weaving in some color chords, or even some additional chord substitutions? I've done it, to my utter delight, and the songs I've refreshed have taken on a whole new level of artistry.But here's the kicker – I didn't wait to write “the perfect song.” So make sure that you're placing yourself in a posture of being inspired to write, or perhaps arrange a song, based on what you currently know.  Don't procrastinate and wait – there's a song within you that can come to life based on what you know right now.4. Use Your GutThis one's a bit subjective, but this is where you need to be your own advocate. Let's say you've acquired a lot of guitar resources, and you just don't seem to have the time to implement them all, let alone go through the content.I've met a lot of guitarists who are in this set of circumstances.Before they know it, another learning opportunity comes along, with a new course, a new video series, a new guitar workshop or a retreat.  Are those opportunities detrimental?  Of course not.  They're designed to help you. They're also designed to help the person who wants to help you, and by that, I mean that they want you to purchase their product.  It's how they make their living, and that helps them continue to help others.  It's a significant part of how I make my living.  Nothing bad about that.  But the right thing at the wrong time can be the wrong thing.As good of a resource as something may be, those who offer it may not know where you are in your guitar journey, so you may need to assert your own needs.  This is where you need to be able to say, “Actually, I've got a good amount that I'm working on right now.  I'll set a reminder to check that out.”Or there may be an option for you to join a mailing list, to be kept in the loop to receive some free goodies, so that when the time is right for you to join, you can.  That's exactly what we have laid out at GuitarSuccess4U.There is so much out there on the web in terms of guitar resources and educational materials.  And a lot of it is excellent. GuitarSuccess4U is one of those resources, and it's amazing. But it's not for everyone, right now.It is for followers of Christ who are teachable, humble, willing to pay for value, learn at their own pace, and are all about glorifying the Lord with their gifts.  Inside the portal are over 100 lessons, and each is there for a very specific reason.But it is designed to be used in the season of life where you need that content and that experience.Contrast this to websites and memberships that give you access to tens of thousands of lessons.  To me, that can lead to overwhelm, quickly.  If people who use those tools can find what they're looking for and apply it, they can experience progress.But I'd say that a simple, clear path with curated content, and access to a community, all of which we offer, provides a great recipe for success…provided that the person using that recipe is self-motivated and can apply themselves to what they're learning, and then use that information to make real music.So use your gut as to whether you want to take on more tools in the season in which you find yourself.  You need to create the “grid” for your success, and if something doesn't fit through the grid, as attractive as it may be, it needs to wait.5. Learn, Do, Learn, DoSo as we wind down for today, I just want you to take hold of this rhythm.  Learn, do, learn, do.  Say that with me.  Learn, do, learn, do.Are there seasons of more learning and less doing?  Certainly.  Are there seasons of more doing and less learning?  Sure.But if we find ourselves just learning and not doing, something needs to change…otherwise we are ineffective, and we will find ourselves regretting our choices. And if there's one thing the devil always wants, it's to see followers of Christ become ineffective, or too busy to be effective.Wrap-UpWell, I hope today's discussion got you thinking about where you're at when it comes to your “learning” and your “doing.” Are you merely acquiring knowledge, or are you taking intentional time and approaches to putting it to use?Trust me, at the end of our lives, I think we'll wish we had taken more action towards fulfilling our God-given dreams, and less time learning how we might make them happen.Let's have some serious fun on the journey.So, if these words have resonated with you, it just might be time to take action.  And that might mean that it's time, for now, to take a break from learning guitar and start applying what you've learned towards making actual music.But when the time comes for you to level up your playing on the “learning” side so that you can “play” and “do” more, we're here for you at GuitarSuccess4U.➡️Can I ask a favor?  Would you share this episode with someone you know?  We would love for more people to experience what we have to offer.Thanks for experience this episode, and I'll see you next time.  Now go learn, do, learn, do, learn, do…Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…I'm about to get real with you, so buckle up.  Some of these episodes are practical, some are inspirational, and others are meant to challenge your character.This is one of those character-challenging episodes.But if you're receptive to what I have to share today, this episode has the potential to sharpen you.It's designed for followers of Christ who desire to “run the race in such a way as to get the prize” – as 1 Corinthians 9:24 commands us.I've been in the “Guitar Game” for almost 30 years. That is to say, I've been playing this instrument onstage, offstage, in the studio, by myself, in bands, as a worship leader, a songwriter, and a variety of other roles, to say nothing of the teaching opportunities I've had along the way, as I now lean full-tilt into equipping others to play this amazing instrument through my unique online experience at GuitarSuccess4U.I count it a privilege to have had these many experiences.But there's something I've battled to this day in terms of my pursuits and abilities.  And it's the struggle that comes with peripheral vision.  That's not a good thing to struggle with when you're running a race.Basically, I look to the side and see where people are on their guitar and musical journeys, and I get envious, arrogant, or even lazy.  I take my eye off the prize.Which of these three characteristics is attractive, or brings glory to God?None of them.I'm basically a hot mess at times, but the Lord can use anything, even my failures, for His glory.  And I hope He does something here, so that's why I'm stringing these words together.I'll unpack each of these three traits – envy, arrogance, and laziness, from the perspective of a guitarist who ultimately wants to bring glory to God.EnvyThe Bible is clear that we are not to envy others.  In the Gospel of Mark, chapter 7, verses 21-23, Jesus warns us that from out of a person's heart come evil thoughts, including envy.  He says these “vile” things “defile” us.That's pretty strong language, but I believe it's meant to get our attention.Wanting what someone else has, whether possessions or abilities, takes us nowhere good.So if there's another guitarist out there who plays a nicer guitar, plays more skillfully, or is in higher demand as a performer, worship leader, or teacher than I am, it's not fruitful to want to be as good or better than they are.Even if I work hard and practice hard, and do everything in my power to excel, if it's motivated by a desire to surpass those I envy, it's not coming from the right motivation, and therefore does not honor the Lord.This is easy to say, but harder to live out, as are many simple things of this nature.  But being envious takes my eye off the prize.So that's the envy factor.  On the other side we have…ArroganceIf you've ever met someone who's outwardly and blatantly arrogant, you know how repulsive it can be to interact with them, especially if they profess to know the Lord.But there's an inward arrogance that I can sometimes keep cloaked and hidden, and it's even more insidious and ugly.  Allow me to explain.When I hear another guitarist play who is less skilled than I am, there are times when I am somehow tempted to say to myself “Well, at least I'm better than that guitarist.”Saying or thinking this may give me a short-term boost of artificial confidence, but let me tell you, that feeling wanes quickly in the light of the fact that I know, in my heart of hearts, that this displeases the Lord as well.I again go back to Mark, chapter 7, verses 21-23, and what do I find, right there in the same passage about envy?  Arrogance.  It's stacked up right there, along with several other unattractive traits.Yeah, arrogance does not serve anyone.  It creates a false sense of self-worth, based entirely on pride and the belief that I am somehow better than someone else.Objectively speaking, I may have a more valuable guitar, or I may be better practiced, or more confident, or have more tour dates or more guitar students than someone else I see out there, but so what?  It's really not important.And did you know that envy and arrogance can be combined?  I can literally think “I really wish I was as good at such-and-such as that person, but at least I'm better than them at this-and-that.”  Yeah, not healthy at all.I've taken my eye off the prize again.So, arrogance does not serve me, and does not honor the Lord.LazinessThere are many Proverbs in the Bible that speak to the subject of laziness, but I'll hone in on one that creates a rather vivid image.  Proverbs 26:15 says, “A sluggard buries his hand in the dish; he is too lazy to bring it back to his mouth.”What an image, right?  Imagine someone who wanted to eat their food that way.  They wouldn't really get a whole lot of nourishment, would they? Well, if my hands are idle like that, I won't make the progress I long to make as a musician, on any level.Fortunately, the value of hard work has been “baked into” my upbringing.  My father taught me the value of a good work ethic even from an early age, leading by example with integrity in a career that was entirely commission-based.And there's an entire spectrum of work ethic, from doing nothing, to working way too many hours and forsaking family time.  It's about a balance.But in some musical endeavors, I've been lazy.Sometimes, it's because I've thought to myself that some of my ministry work wasn't that important, which is deceptive, because Kingdom work is always important.Sometimes, my laziness crops up, because when envy kicks in, I somehow subconsciously think to myself “I'll never be as good as that guy, or that gal, so I may as well not put in the work.”And this form of self-sabotage manifests itself in the form of missed practice sessions, or “phoning it in” when I really could put in more effort.But in my laziness, I might get passed up by a less-skilled guitarist.So, then another problem appears.  Because if I then decide to attempt to be less lazy, but only to avoid being passed up by someone, that's the wrong motivation as well!Laziness also takes my eye off the prize, because I'm no longer “pressing on toward the goal” (as Philippians 3:14 calls us to).So laziness takes me nowhere good.Three AntidotesLet's now talk about the antidote we can each take in, to help us overcome envy, arrogance and laziness.The antidote to envy is gratitude.  We can be grateful for what we have, where we're at, and – wait for it – we can even be grateful that the Lord has blessed someone else with their gifts and success.  This includes gratitude for what the Lord has given to secular musicians.  God can use anything.  If I'm discontent about something, especially if it's because I'm envious, all it takes is a bit of gratitude to steer me right back on course. We have a framed quote at home that says “Gratitude turns what we have into enough.”Wow.  Let that sink in.1 Thessalonians 5:18 exhorts us to “Give thanks in all circumstances; for this is God's will for you in Christ Jesus.”If it's God's will, we would do well to do that, right?Next, the antidote to arrogance is humility.Genuine, sincere humility is the opportunity to think less of ourselves, even when the temptation is there to do the opposite.When people have praised me for my musical gifts, I try to direct the praise upwards, by way of a hand gesture pointing to the Lord as the Giver of my gifts. But I can also sincerely thank them for their affirmation, as I am a steward of those gifts.Philippians 2:3 says “Do nothing out of selfish ambition or vain conceit.  Rather, in humility value others above yourselves.”Someone once told me that the opposite of faith isn't doubt – it's confidence in the flesh.  I don't know if that resonates with you, but the idea of exalting myself is really a way of taking from God's glory.So, humility is the sure method of combating arrogance.In terms of laziness, the antidote for that is hard work, but with one qualifier: as unto the Lord.  I may unpack those four words in a future episode of Guitar Serious Fun, but let me first quote Colossians 3:23-24:“Whatever you do, work at it with all your heart, as working for the Lord, not for human masters, since you know that you will receive an inheritance from the Lord as a reward.  It is the Lord Christ you are serving.”Mic drop. If I'm serving Christ with my gifts, I would do well to work hard for His glory.  And then the laziness factor gets put in check.Not of This WorldYears ago, a friend gave me a copy of Petra's album “Not of This World,” and the title song reminded me that we are strangers and aliens here.  So our behavior should look different from those who don't know Christ.In the secular world, envy, arrogance and laziness are common.There can also be a “corporate ladder” feel to the pursuits of a secular musician.  They can pursue accolades, sponsorships, renown, and a social media following with viral responses, ultimately leading to more income.We can lean into our good work, too, but we need to have the right moral compass.  Is it wrong to work hard?  No.  Is it wrong to have a solid social media following?  No.The soul-searching questions of “why do you do this, and for whom” can shed a lot of light here.And if our eye is on the prize, we can, by God's grace, keep things in balance.The Guitarist We Should All SurpassNow we get to the crux of our discussion.  It's become very clear to me that…There will always be someone better at guitar. There will always be someone who is not as gifted at guitar. There will always be someone who works harder than we do.  And… There will always be someone who doesn't work as hard as we do.As long as I'm living on planet Earth (and I don't foresee us colonizing Mars any time soon), I will be here with a lot of people.  And rather than give in to the struggle that comes with peripheral vision, I can focus on the prize, and what the Lord desires of me.And now, things get really simple.  Because although there will always be someone better, or not as gifted, or who works harder, or doesn't work as hard as me, each of these facts becomes irrelevant.This happens when we identify the guitarist we would do well to surpass in all of these categories.I'll now speak directly to you, and who you would do well to surpass.It's someone I suspect you know.It is: the guitarist you were…yesterday.  That's it. Work hard to surpass where you were yesterday in all these areas.  Be grateful when you cross new frontiers.  Be ambitious.  Find joy, or even serious fun on the journey.  And give yourself grace, knowing that it is Christ whom you are serving.Don't look to the side and give in to peripheral vision.  Take it from someone who has wasted a lot of time doing that.  Look ahead and run the race well.And if you find along the way that you need to do business with the Lord, take a break, leave your gift at the altar, and go be reconciled to your brother, or confess to the Lord, and then come back and offer your gifts some more.Keep your eye on the prize.Wrap-UpWell, I hope this discussion blessed and challenged you.Now, you may be thinking, “Dude, you're like, bearing your soul here.  That's awfully personal.”  Yes, I agree, but if this podcast is designed to enhance your guitar journey, transparency can be a part of that, with a view to sharpening you.  Again, if you're offering your gifts to the Lord, and I am as well, could it be a blessing for me to share with you what has inhibited my offerings, and what has allowed me to overcome those challenges?I think so. I welcome your comments and thoughts, and if you're looking for like-minded followers of Christ to run the race with as you discover your guitar gifts, I invite you to check out GuitarSuccess4U.com. If you've heard my heart a bit in these words, you'll know that more of this, as well as lighthearted thoughts, and amazing battle-tested guitar tools are waiting for you when you join us.  GuitarSuccess4U isn't for everyone, but if you consider yourself to be grateful, humble, and you're willing to put in a realistic amount of work to claim your definition of guitar success, you are welcome in our tribe.Thanks for listening, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript (and photos) included below…My eldest daughter recently returned from her first international adventure.  She went on a special trip with some of her schoolmates to England, Scotland and France.  While in England, she had the privilege of visiting The Kilns, a beautiful house in Risinghurst, Oxford. When she got home, she shared with me how profound of an impact this experience had on her. Why is this house significant?  It was the home of author C.S. Lewis, who blessed us with a host of literary works, including the Chronicles of Narnia.Upstairs in the house is the wardrobe that inspired those amazing books.I'm including a few of my daughter's photos here.C.S. Lewis has had a profound impact on me as well, through his writings and quotes.  In my opinion, one of his most powerful quotes comes from The Weight of Glory, in the “Learning in War Time” segment he crafted during World War II. Lewis said this:“If we let ourselves, we shall always be waiting for some distraction or other to end before we can really get down to our work.  The only people who achieve much are those who want knowledge so badly that they seek it while the conditions are still unfavorable. Favorable conditions never come.” That'll preach.I can fall prey to procrastination, and can self-sabotage by waiting for favorable conditions, especially with my musical development and progress. But I don't have to.None (or some) of the following are real quotes I've heard or spoken, but they should give you an idea of what “favorable conditions” might look like, and how the “perfect” scenario can be a little elusive.“I'll practice when I've got more time.”“I'll play my guitar when I can make an actual physical space to practice.”“I'll write songs when I have less going on.”“I'll audition for the worship team when I'm a bit more polished.”“I'll make plans to collaborate with a fellow musician when school is out.”“I'll develop my creative and practicing routine when school is back in session.”“I'll get my guitar tuned up at the shop when I have a bit more flexibility in my schedule, or some more financial resources.”“I'll learn to play the guitar when my life is a bit less hectic.”Do any of these sound familiar?Perhaps the best way to combat these, well, potential “excuses” is to meet them head-on and to have an intentional, gentle debate with them, to see how legit they really are. Let's do this here and now, and I'll walk you through my approach to each of these.If the statement is “I'll practice when I've got more time,” could something be done to make the time? What could be moved around so that more time could be available? If we want to set aside two hours every day for practice, that could rock our schedule paradigm pretty hard.But what about 10 or 15 minutes?  Is there a specific time of day where that modest segment of practice could happen? Consistency trumps intensity, right?Maybe a short practice session could happen in the morning before everyone else in the house is awake, or in the evening when they're asleep.  Maybe on a lunch break.But setting aside that time, and committing to it (even deciding the night before that it's going to happen) will help us overcome the hurdle of reluctance, when willpower wanes. We can say to ourselves, “I've already decided to do this, so I'm going to follow through and do it.”By way of a parallel illustration, we all need to eat, right?  I don't picture myself saying, “I'll eat meals when I have more time.”  That wouldn't make sense, would it?Music can be nourishing to us in some ways that food cannot, and if we don't play it very often, we can grow hungry and feel starved for that rich part of life that we know can bless us.  So, let's see if we can prioritize just a small segment of consistent time.What about “I'll play my guitar when I can make an actual physical space to practice.”?In a pinch, virtually any space can become a temporary practice space.I have found some unique, unusual places to practice my guitar (a college hallway, a moving vehicle while wearing a seatbelt, the bow of a boat, a dock, a picnic table, and more.) None of these were really “favorable conditions,” but I made do, and I made progress.I will say that having a space set aside that's inviting and cozy can really make practicing more creative.  We talk about this in one of the bonuses I give my members of GuitarSuccess4U as soon as they join.  It's called “10 Tips for Making Your Solo Practice Space Great.” But even without a permanent space, we can still make space to get some practicing done.If the statement is “I'll write songs when I have less going on,” well, when might there be less going on? Some of my best songs emerged in a very full season of life.  And some songs are born out of stressful or emotional seasons.  If I had waited for the emotions to subside, the fodder for my creativity might not have been as fresh.This is a question that could be expanded upon in an entire episode, but can creativity be scheduled? In her book “The Creative Habit,” Twyla Tharp absolutely argues in favor of this.  I love that book.  In my GuitarSuccess4U lessons, you can see her book winking at you from my bookshelf just to your left as I teach.Cultivating the creative habit could be one of the best habits you develop, in any season of life.What about, “I'll audition for the worship team when I'm a bit more polished”? Well, yes, worship directors want their members to be practiced and playing well, but there may come a time when someone just needs to step forward and audition, if only to get a little feedback.And even if the answer from that worship director is “Not yet,” the guitarist auditioning can gain some insights for what they can work on. Better to know more at this point about what's needed, so as to be able to spend the next three to six months working intentionally on what will serve them and the team better, be it rhythm, clean chords, dynamics, or whatever's needed.Skill is something that can always be developed, and if we wait until we're “perfect” at something, we may be waiting an awfully long time.Next up is, “I'll make plans to collaborate with a fellow musician when school is out.”  Yes, school can be a pretty jam-packed season.  Take it from someone who has sat with his kids for countless hours working through math, vocabulary, and quizzing them in preparation for exams.  I get it.  School is busy.But so is summer.I watch in awe as our summers get filled with lots of (good) activities that can sometimes give us less margin for the other things we've wanted to do. Sometimes just setting aside time on the calendar can be the best measure of being proactive. This includes reaching out to a fellow musician and saying, “Hey, let's take time a week from Saturday from 1 to 4 p.m. for a creative musical session, whether jamming, co-writing, or just enjoying playing through some songs we both know.”Because if we don't make time in the summer to do the things we long to do with guitar and music, we'll fall prey to believing this next statement…“I'll develop my creative and practicing routine when school is back in session.”And then we're busy with school, hoping for another opportunity next summer.Yes, it can be a bit of a circle.  Not a vicious one, but a predictable one. But school does offer a routine. And a routine can be a great framework to latch habits onto, including creativity and practice, both of which I've mentioned.  With care and intention, the creative routine and/or the practice routine can be brought alongside the school routine.Maybe you have flexibility in your day to where the kids are at school and you can do some of your music.  Or maybe after you've welcomed them home, as they get settled into their afternoon homework, you can grab your guitar.Or maybe you're the student, and you've had a full day of classes.  The guitar can still call out to you from your practice space and invite you to use a different part of your brain for a few minutes before you get down to studying, or even as a study break.  I did this more times in college than I can count.There are windows of time where we can build our dreams even during the busy-ness of the school year.  They might not be “favorable conditions,” but they can still happen.Next, we have “I'll get my guitar tuned up at the shop when I have a bit more flexibility in my schedule, or some more financial resources.”Postponing guitar repair is something I've seen many people do.  We can often hobble along on a guitar that “sort of” works well, but we can be foregoing a better situation.Now, it can be expensive to repair certain guitars.  But where I take my instruments at Mike Lull's Guitar Works, they evaluate and provide an estimate, free of charge, so I at least know what I'm in for, and then I can budget or save for it.But imagine if you had high string action, for example, and all it took was a new nut, saddle, or even a truss rod adjustment to change the game and give you the playability you longed for. It could make all the difference in the world.  So, dropping off your guitar at a shop you trust, and having them evaluate it, perhaps on your lunch break, could be worth less than an hour of your time to invest. Waiting to do this could lead to low morale, because the instrument is going to be less responsive, and then…you guessed it…less motivation for practice or even creative expression.Finally, for your consideration, “I'll learn to play the guitar when my life is a bit less hectic.”Some of the busiest people I know can still find time for their music.  You've heard the saying, “If you want to get it done, give it to a busy person, and they'll make the time to do it.” There's a lot of truth in that. The reality is that we each have “life.”  Stuff we want to do, stuff we need to do.  And we make time and prioritize those things that are important to us.There is a beautiful dance that goes on in the life of a parent, because they have work, leisure, and they're constantly speaking into the lives of their kids.  It's a great privilege.  And it can be tiring in a good way as well.When I was growing up, my mom had a framed saying on the wall that said “Trying to keep house while children are growing is like shoveling the snow while it's still snowing.”Right?But here's the thing.  We need to shovel the sidewalks, whether it's snowing or not.  And maybe we get the reward of a day or an afternoon where our sidewalks are pristine and have no snow on them.But that's not real life.  So more than likely, we'll need to shovel them again.  Soon.  And we'll need to keep house, and chase our kids around, and help them with their homework, and make dinner, and do dishes, and all the things that come with life.We all have to be realistic with what we ask of ourselves, but with the beauty of music and the deep calling many of us are walking in, sometimes we need to wade in and face those “unfavorable conditions.”When we do, we discover the joy of learning and progress that's waiting on the other side.So, which “favorable conditions” are you waiting for, and what can you do now to seek knowledge (especially with guitar and music) even though those conditions aren't present yet?If you're looking for a tangible solution, I've got one for you.  And you may have heard me talk about it.  It's called GuitarSuccess4U. Suffice it to say, it's a game-changing, unique and accessible approach to learning the guitar, for beginning and intermediate Christian guitar players who need the flexibility to pursue their definition of success at their own pace, from the comfort of home.We've poured thousands of hours and decades of experience into something that will save you time, and more importantly, discover the joy of music as you fill in all kinds of gaps that lead to musical artistry.And we've factored in the idea that favorable conditions aren't realistic. As one of our member, Megan, has said…What's really cool is that for each lesson, we provide a video version (that can be sped up if you'd like), as well as an audio version, and even a transcript that you can read along with or skim through.  Many of the lessons also have full-color worksheets.Can you see how we're working to make conditions more favorable for your guitar development?And if you're wondering what the financial commitment is, currently the monthly tuition for beginners is $29 a month.  That's it.  That's like 95 cents a day.  Compare that to a month of professional lessons of this caliber at about $300, and we're talking about an incredible value.Intermediate members pay annually for all access, and their tuition is $297 a year, which amounts to 81 cents a day. This means that intermediate students have a full year of access to incredible content for less than the price of a month of lessons.Yeah buddy.I will say this – no matter what kind of guitar learning experience may be out there, no matter how awesome or affordable, it's not going to work for someone who signs up for it, but doesn't utilize it.  Right? This applies to any endeavor – we've got to take some time to dig into what's available.I can't say enough about GuitarSuccess4U.  I'll let you check it out for yourself.Well, I hope today's discussion was fruitful and encouraging for you, and maybe it helped dismantle some of the apparent barriers to your guitar progress.I still stand by what C.S. Lewis said: “Favorable conditions never come.”  But I love what he said just before that statement: “The only people who achieve much are those who want knowledge so badly that they seek it while the conditions are still unfavorable.”How badly do you want guitar knowledge?  Badly enough to seek it while conditions are still unfavorable?I sincerely, truly hope so.And I hope you desire to seek guitar knowledge with me and our tribe of eager guitar learners who love Jesus.  You've come this far.  Maybe you'll take the road to GuitarSuccess4U that has opened before you here.  I can't wait to see what's next.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/5boxes.  It will give you a much clearer grasp of what I'm sharing here.Transcript included below…Today's strategy will be super helpful in showing you key locations on the fretboard that you can use as marker points on your way to mentally owning your guitar.Memorizing the fretboard can be a confusing, frustrating process. But it doesn't have to be. In fact, it can sometimes be sweet. Speaking of sweet, my wife really enjoys chocolate. Now, if I was a really generous and thoughtful husband and I wanted to dote on my wife extravagantly, I could – Buy Chocolates Each Friday.Hold onto those four words for a moment. I have a tactic that could be really helpful to you as you endeavor to tackle certain specific locations on the fretboard.If you've experienced previous sample lessons of mine, you know that I've highlighted natural notes on my fretboard maps, and today is no exception.Have a look at the diagram I'm providing here. Up and down the fretboard, we have a “boxed set” of four notes. These notes are B and C, and E and F.I've made all the Bs pink, all the Cs orange, all the Es green, and all the Fs blue. On my diagram, you'll see all 6 of the pink Bs, all 6 of the orange Cs, all 6 of the green Es, and all 6 of the blue Fs.But there are only four situations inside our frontier here where the four notes are all grouped together on consecutive strings on the same two frets, so I've grouped them into four nice little boxes, which I'm calling “sweet boxes.”Let's use the mnemonic device from earlier – Buy Chocolates Each Friday, to help us as we go from the lowest to the highest strings, playing the notes B & C, and E & F on juxtaposed strings at the same frets.We can reference each red box that encapsulates these four notes.We can first go from the lowest strings to the highest strings. We'll start on strings 6 and 5 at frets 7 and 8 as we “Buy Chocolates Each Friday.”Next, we can move to strings 5 and 4 at frets 2 and 3, as we “Buy Chocolates Each Friday.”We can then move to strings 4 and 3 at frets 9 and 10 as we – you guessed it – “Buy Chocolates Each Friday.”For now, I'm going to skip over to strings 2 and 1 at frets 0 and 1 with – once more with feeling – “Buy Chocolates Each Friday.”We've played the notes in four intact boxes that span 2 strings. Let's do a little sleuthing here. If I'm playing a set of two juxtaposed strings, and I have a 6-stringed instrument, how many sets of juxtaposed strings can I access? Well, I can play on strings 6 and 5, 5 and 4, 4 and 3, 3 and 2, and 2 and 1.So, I can play five sets. But haven't I only shown you four boxes?That's exactly what I've done. That's because we have an anomaly, because of the tuning of our guitar.  Although most strings are separated by a perfect 4th, one set of strings is separated by a Major 3rd. And which set of strings shares that interval? Strings 3 and 2, the strings I skipped over a moment ago.Now, what if I bought a box of chocolates for my wife, but I accidentally dropped the box as I was crossing the street, and it got ran over by a truck? Well, it wouldn't look like a box anymore. Because of the tuning between strings 3 and 2, we have an anomaly. If we look closely at our piano fretboard from today, we see that we do have another “box” on strings 3 and 2, but it is disjointed because it got ran over, and that's why I'm outlining it in blue. I'd feel blue if my chocolate box got ran over, wouldn't you?So, if I want to play this set of B & C and E & F here on strings 3 and 2, I'll need to play notes on frets 4 & 5, and 5 & 6 respectively. “Buy Chocolates...Each Friday?” Yeah, maybe next Friday, right?So, now you can play all five sweet boxes from low strings to high strings – strings 6 through 1, including the box that got ran over. As you can probably tell, two of these boxes are lower in register – indicated by bold letters on our diagrams.You can also move from the lowest frets to the highest frets for these five sweet boxes, as I demonstrate in the video that accompanies this article.This discussion has been pretty technical, but you of course have the option of watching and re-watching the video if you want to establish these locations more securely.The next level is to try to access these five “boxes” either by ascending or descending strings, or ascending or descending frets.But get to know these patterns with the Five Sweet Boxes. They will serve as great anchor points for full and partial chords, the capo, and also scales, arpeggios, and any musical fragment that's anchored on the fretboard in any key. Thanks for exploring this lesson. Keep showing up! And if you want a much more comprehensive, self-paced experience, treat yourself to www.GuitarSuccess4U.com.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…If you've been following me for any length of time, you know that I'm very fond of analogies and their power to help illustrate a thought. So, go here with me as we talk about SCUBA diving.  That's right, the Self-Contained Underwater Breathing Apparatus that many of us recall Jacques Cousteau using in his amazing undersea expeditions.Years ago, I had the privilege of training to be a PADI diver – another abbreviation for you – Professional Association of Diving Instructors. I trained in the cold waters of the Puget Sound.  And on my many adventures, I got to go on a lot of different diving expeditions that varied in difficulty and complexity.My first of several trainings was the basic Open Water Diver course.  And it began in the classroom, but was shortly followed by several training dives in…The Local Swimming PoolSince I had never donned the BC (Buoyancy Compensator) with the tank and the regulator, my instructors wisely thought that training in a pool would be the safest controlled environment.  And they were right.Once I had the gear on, I was able to submerge myself and enjoy the quiet world of underwater buoyancy, even as I looked around and saw the pool tiles and stripes that marked the depths.This was a great place to start, but ultimately, it was not going to be the best place to remain.  What followed logically was…The Sheltered BeachWe have some beaches in the Puget Sound that have great topography for walking into steep inclines and getting right into the water.  But the water is cold, and it's murky, and there are some unpredictable aspects to the submarine landscape of Puget Sound. My instructors knew their way around, and they showed me where to go, so after several open water dives, I was ready for…The ReefMy dad and I took some of our less heavy dive gear on a plane down to Belize in Central America, where we enjoyed diving on Glover's Reef, about 2 ½ hours off the mainland.  This is where we saw the more beautiful colors, because the water was super clear.I was able to go up and down steep walls of coral and sea life, because I had gotten really good at controlling my buoyancy level with my devices and even my breath.I still hungered for the next level of challenge, which ended up being…The Night DiveDiving at night is also exciting, because even if you're in the murky waters of the Puget Sound, which we often were, we got to shine our light, which contained all the colors of the spectrum, and see things in their true colors.But diving at night required an extra level of certification.  It was important that we know how to plan for unforeseen circumstances, like how to signal our diving buddies if we got too far away from each other, or how to surface if there was an emergency.Night dives were a step towards the next type of diving which was…The Wreck DiveI promise we'll talk about the guitar very soon!  You might be thinking – is this a blog about scuba diving?So, if you're going to swim inside a wreck, there's a next level certification.  This is because you have to be very aware of yourself spatially.  Having a tank on your back makes you larger, and unable to fit through smaller openings in a wreck.It's one thing to dive into a wreck; you also have to be able to get back out of the wreck. And I had bought a book called “141 Dives in Washington and British Columbia,” so I was super excited to discover the vast collection of undersea wrecks that were silently waiting…whether boats, train cars, or other unexpected playgrounds.  Next was… The Drift DiveThe best way to describe diving in a current is that it's like flying underwater.  We dove in a passage in the Puget sound called Agate Passage, for which we had been certified, but it had to be a 3-man operation. One person drove the boat on the surface   while two divers floated almost effortlessly below, holding onto what I'd call a “wishbone” rope that split to their two ends, and went up to a float on the surface.But the water, as we had been warned, was swift.  The boatman actually had to zigzag upstream, against the tide, to keep pace with the divers. The best part was that the water brought so many nutrients to the sea life on the floor that it was just teeming with anemones, mosses, and other organisms.We dove when the tide was moving, so we could get the most motion underwater.  But it was also a bit precarious, because if one of us let go of the rope and drifted away, it could have gotten dicey.Fortunately, the third man of our operation was a Master Diving Instructor who showed us exactly what to do. Optional Dives: Ice Diving and Cave DivingNow that I have a wife and kids, I'm much less adventurous when it comes to thrill-seeking.  So, I can confidently say that I will never dive in ice or in caves.Ice diving involves cutting a hole in an icy lake, and diving down in the water to see the dark, clear landscape.  I'll let you think about what might happen if a diver lost track of where he or she entered the ice.But don't think about it for long.Similarly, cave diving involves a very specific approach, including a dive line, so you can make your way back out.  But unlike ice diving, cave diving can get really claustrophobic with small, dark passageways, and the silt on the floor of the cave can get kicked up, thereby decreasing or eliminating visibility.And the divers only get so much air in their tanks.I'll watch movies about ice diving or cave diving, thank you very much.  No need to experience these myself.Plan the Dive…Dive the PlanOne thing that teachers of many different skills will say is that some of the beginning concepts we learn are used by experts.And one thing I learned early on as a diver was the importance of having a plan for every aspect of the dive, and sticking to it.Even if I was planning to dive to 50 feet and I dropped a piece of gear like a light or a camera, and it fell to 100 feet, my plan was to complete the dive and surface, without trying to salvage the gear. Changing the duration or the depth of a dive mid-stream is not wise, for multiple reasons.  There are dive tables that show the amount of nitrogen concentration in the blood after a certain amount of time at depth.It's just not worth it to push the limits.  So, having a plan, and sticking to it, leads to peace of mind, but also safety.The Guitar…OnstageOk, now the moment you've been waiting for.  Connecting the dots.  This has got to be one of the most long-form analogies I've ever offered, but if you've come this far, you'll appreciate it.The Local Swimming Pool = The Living RoomHere's where everything will start to make sense.  If you've been playing the guitar a certain amount of time, you'll feel the urge to share what you've played with someone else.A low-pressure performance opportunity involves playing something you've learned on the guitar, in a living room setting, probably for family and maybe a few friends.  This is the first place to start. It's a safe environment where people will be very understanding.    They may even politely applaud, even if you struggle at times.The Sheltered Beach = A Church Group Gathering (E.G. Bible Study)There may be an opportunity for you to bring your guitar to an existing group who might appreciate what you have to share. This could be a life group bible study, a youth group, or some other informal gathering where people are open to hearing a couple songs from you, or having you lead them in a couple worship songs.Again, the pressure is low, because they're just glad to have you with them.The Reef = An Open MicHere's where a forum for sharing your talents is in place, but with less people you know.  You'd be stepping up to a mic (or plugging in your guitar) in a performance space that will likely have sound reinforcement with a PA, and some folks listening.Note that I said “some.” There may be a fair amount of people chatting, even as you play.  Don't take this personally. They're not there for you – they want to have a place to hang out, and they might listen in for a few minutes if they like what they hear.The Night Dive = A Worship NightHere's where you can step into a worship team environment, perhaps in a supportive capacity, strumming your guitar while someone else takes the lead. You're not primarily responsible for holding tempo or starting songs, but you do get to be part of a group and to feel what that's like. Mistakes are more audible, though, so you'll need to be well-prepared and adapt to changing variables.The Wreck Dive = A Professional ConcertThis is where I spend most of my time as a guitarist.  I've toured all over North America and played venues as small as a coffeehouse, and as big as a grandstand. Each has a different intimidation factor, because although the sheer grandeur of the grandstand and all those people in the stands can cause nerves, the intimacy of a coffeehouse where people are sitting right in front of you, just feet away, is a different kind of intensity.As with wreck diving, I as a performer need to be keenly aware of everything that's going on in the space, whether I'm solo, or with a band.  I need to sense if the audience is with me.  If the audience is made up of multiple ages (as mine typically are) I get to respond to their comments.If the emcee goes rogue and says something that doesn't set me up for success, I can adapt.  If something unexpected happens, like we talked about in Episode 45 of Guitar Serious Fun – “Glancing Back, Looking Forward,” I can adapt.But if I don't adapt, you guessed it…things can be…a wreck.  So, I approach the live concert performance with respect.The Drift Dive = The RecordingWhether I'm stepping into the audio recording studio, or filming a video, whatever will be captured will have a lasting finished product. It will be memorialized on a website, or on social media, or it may be sold as a product that someone can watch over and over, so I definitely want to get it right.There is some room for post-production and editing, but it serves everyone well to have the material practiced to precision.Being super prepared is essential.  And like the three-man operation of a drift dive, I'm relying on at least one other person in the mix to, well, mix and dial whatever's needed for production.Lastly, for now…Ice Diving and Cave Diving = Live VideoIn this day and age, we're doing a lot more live streaming with music.  But depending on the audience size, it can be a little intense, especially since the recording is kept or archived.Imagine if a glaring musical mistake happens in a live video concert or a live worship concert.  How much of that can be edited out or forgotten?  Hopefully, most of it. But unlike a non-live recorded video, the pressure is really on, because in addition to the people watching in the room, there are present and future people who will be watching over the camera feed.So, a live concert or a live worship offering is something to be carefully considered.Plan the Dive…Dive the Plan = Plan the Set, Play the SetI know a lot of people who are spontaneous when it comes to music.  I am not. I'm working on it, but really, my creativity comes in the planning of an event. My set lists and my cue sheets really show my process.  And maybe in a future episode of Guitar Serious Fun we can talk about planning and creating set lists.But for now, I'll let you know that I like to have a plan from which to depart, if necessary.  And I usually have minimal departures.This allows me to stay on track, and to avoid distracting my audience or congregation with what I call “blinks” that take them out of the experience.Closing ThoughtsSo, are you ready to step out onto the stage with your guitar?  Maybe you need to start in the living room. Or maybe you're ready for the concert.But one thing's for sure: each of these subsequent venues (or types of diving) involves more and more pressure.When it comes to the ice divers and the cave divers out there, they didn't go under the ice or into the cave for their very first dive.  They started in the local swimming pool and worked up to it.In a similar fashion, a beginning guitarist doesn't embark on a professional concert offering right at the get-go.  He or she starts out in the living room as their first performance venue, and eventually they become an expert at whatever level they feel called to be.So, as a guitarist on stage, start with something simple, and see how you do.  Look back at how it went.  Ideally, record yourself and objectively evaluate what you did.And when the time is right (and you'll know,) notch it up a bit to the next level.We should always be bringing our best for the Lord, no matter how large our audience.  And really, He is our audience.But let's bless those who are listening in by playing well.I hope this unique way of drawing parallels to our guitar journey was helpful and interesting.  And if you're a scuba diver, or even if you're not, I'm hoping that my analogy helped bring things into sharp relief for you.Finally, if you're looking for some solid tips and tools for enhancing your guitar progress in a seriously fun way, alongside fellow like-minded followers of Christ, I invite you to check out GuitarSuccess4U. Here's to many great guitar expeditions.  Thanks for listening, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk briefly about what the implications are when a guitarist gets sick.Now, when you saw the title of today's episode, perhaps you thought the word “sick” was slang for “awesome,” or “ridiculously skilled,” like a guitarist who can play blisteringly fast licks on his or her instrument.But if you listen to my voice on the podcast version of this, you'll be able to tell instantly that I've got quite a bit of congestion, because I actually am sick.  I woke up with what I might call my “talk radio” voice.  And a whole lot of coughing.Thanks to the magic of audio editing on the podcast version, I'll be able to notch out any coughing fits or the need to blow my nose or sneeze, but if you're listening, you will still need to endure this altered sound of my voice for just a few minutes today.Here's why.I rarely miss the opportunity to learn something, and today is no exception.  I invite you to learn with me.  Here are a few talking points I'll offer you.  First…Illness is a part of life.Illness, though annoying, is a reality on our journeys.  Even if we're super healthy overall, we will occasionally encounter illness. And how we respond to that illness can be a mindset thing that helps us recover more quickly, but also embrace the need to take time to recharge.When I'm sick, I'm reminded that this world is not my home, and that my strength does not come from me. I'm also reminded that prayer is important, and if I take each bout of coughing as an opportunity for a brief prayer to the Lord to sustain and restore me, I take my eyes off myself and I focus on the Great Physician and what He might be teaching me.I've said this before, and I'll say it again: we are always learning…or at least we always can be.  Second…We can power through…until we can't.Sometimes, the illness is slight, and we can pace ourselves with fluids, vitamin C, and gear down just a bit as we continue with our work, our practice, and our lives. But some illnesses really knock us over at times.I've met guys who are super “masculine” who say “I'm going to ‘embrace the suck' and just power through this illness.  It's not going to affect me.”  Or “I refuse this, so it's just going to go away.”Meanwhile, they're physically miserable.  It might actually be better if they took a day or more to heal.I don't necessarily think “powering through” an illness is the best course of action, but if the illness is slight, taking things just a bit slower and being aware of our bodies and minds can help. As I string these words together, my mind is pretty clear, but not as clear as it is when I'm healthy, so if there's less logic in my thoughts, that may be partially due to my illness.  So, I ask for your grace, if that's the case.  Hey, that rhymes. Now, if someone has a severe or chronic health situation, sometimes things need to be put on hold on some level.  It's ok to do that.  We need to be able to give ourselves permission to hit the “pause” on some areas of our lives.  Next…Illness is an opportunity to learn things.Some of us, including me, sometimes tend to think that we have unlimited energy or strength, but this isn't reality.  This misperception can get checked real quick if a bout of illness comes along.Living like I'm in charge takes me places where the Lord is not the focus, and then I forget that each breath, each heartbeat, is a gift from Him.Colossians 1:17 reminds us that “[Christ] is before all things, and in him all things hold together.” He is literally holding me together.  I'm not doing this – He is.So perhaps a bout of illness can be an opportunity to be reminded that my strength, my life, my breath…these are not my own. And it's humbling, for sure, but it also lends perspective.  Humility never hurt anyone, and neither did perspective.  Next…It takes two to tango.Since this is a guitar blog, let's talk for a moment about the guitar, and how we learn.The guitar learning experience requires two basic parties: a teacher and a student.  If one of the parties gets sick, well, the lesson needs to be rescheduled. It just makes very little sense to try to keep a lesson while one party is fighting something…and if that lesson is in person, there's the risk of “sharing” what one of them has with the other.For years, I taught one-on-one guitar lessons, with a roster of 50 students and a waiting list.  I enjoyed it, especially when students applied themselves.I also had a cancellation policy, because inevitably, some students missed a lesson due to illness.  And once in a while, my health (or lack thereof) precluded me from teaching well.  So, I'd cancel a day of lessons, and would reschedule those students' times with me at their nearest convenience, usually the following week.It can be inconvenient to cancel a lesson due to illness, but here's the thing…this can actually be prevented, even in the case of illness.  Go here with me.You may know that I've created an online guitar learning experience unlike any other.  We have premium lesson content that I've recorded in video, audio, and transcript format, with full-color worksheets. And my members get access to these materials 24/7.  So, if I'm ill, I don't have to worry about trying to be strong enough to teach a lesson.  I can rely on the lesson content that I've carefully crafted, that's waiting for my members in the portal. And of course, that lesson content was captured when I was feeling well, and thinking clearly.Conversely, if a member is ill, they don't have to go through the lesson content at that time.  They can wait, and recover, and then revisit the lesson at their own pace, at a time when they're feeling better.  They can even “batch watch” some of the lessons, or speed them up if they want to.Problem solved.  The tango can continue, even despite illness.Now, some students prefer a one-on-one teacher, and I fully support that, but if you think about the logistics around driving to a person's teaching studio, or agreeing on a mutual time to connect either in person or over Zoom, there can be added factors to overcome.By contrast, the learning environment I've put together is a game-changer.The lesson content has been created based on almost three decades of touring, performing, leading worship, and recording in the studio, so it's highly relevant, and can be enjoyed over and over. Plus, we have guest experts who speak on a variety of guitar-related topics as well…which you wouldn't find in a one-on-one lesson environment.I'll leave it with you to take a closer look at what we've got, but rest assured, if you're a beginning or intermediate Christian guitarist and you're looking for something to help you get out of a rut, you may have just found it. You can check it out at www.GuitarSuccess4U.com.  Next…Perseverance and patience are worthy things.Struggles and trials, especially like illness, can lead to opportunities for perseverance and patience. James 1:4 reminds us that “Perseverance must finish its work so that you may be mature and complete, not lacking anything.” And patience is one of the fruits of the spirit in Galatians chapter 5. The Lord can use illness to produce these virtues in us…if we allow Him to do so.  Lastly…We are being renewed by the Lord.I'll leave you with one more passage of scripture.2 Corinthians 4:16 says: “Therefore we do not lose heart.  Though outwardly we are wasting away, yet inwardly we are being renewed day by day.”We are all getting older.  We are all getting weaker.  But these are only the physical sides of things. Illness is a physical thing.  Sure, it can impact us emotionally, but when we are spiritually nourished by the hope that we have in Christ, we remember that we are not bound for this world.We can make music (especially when we're feeling well), but we can also rest and recover. We can also experience lifelong rest in the sufficiency of God's plan to bring us home after we've learned what He wants us to learn here.So, keep learning, keep growing, take things at your pace, and remember that when illness comes – the learning and growing doesn't stop; it's just a little different.Well, I hope today was uplifting and encouraging for you on some level.  Thanks so much for being willing to listen to my “talk radio voice” as I've shared these thoughts with you.My coughing has brought me what I like to call a “rockin' headache,” so I'm going to go lay low, force fluids, and do all the things, so I can get back to life. But even as I do this, I'm going to prayerfully invite the Lord to continue teaching me that He is my strength.  I'll see you next time…hopefully, when I'm feeling much better.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

I'm thrilled to welcome our second guest to Guitar Serious Fun.Today's episode includes a discussion for what it means to embrace “Good Difficult” things, including aspects of our guitar journey.Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because our guest is super engaging and enthusiastic, and listening to her will be inspiring and uplifting in many ways. I'm not kidding!Our guest, Erin Pakinas, is a mother of 5, lives on a farm, has a humorous and godly perspective on life, and she and her husband are pursuing Christ's glory as they do their good work.Together with our pastor's wife Morgan Higgins, Erin hosts a podcast called Hauling Off, which speaks to a variety of topics around our church and classical school.Erin and her husband are members of GuitarSuccess4U, and when I approached Erin to talk about today's subject, she was only too happy to jump into the mix.So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/syncopation.  It will give you a much clearer grasp of what I'm sharing here.Transcript included below…Did you know that syncopation, in addition to being one of the most effective tools of music to engage the ear, is also one of the most precarious when it comes to playing accurately?As strumming or flatpicking guitarists, we often come across guitar music that is syncopated…so what do we need to do when that happens, and what do we need to watch out for? First, let's define syncopation as: a temporary displacement of the regular beat in music, typically caused by stressing the weak beat. In other words, it's an offbeat rhythm that sounds more unique and perhaps a little unexpected. And syncopations happen a lot, especially in guitar music. Now, if we stress the strong beats as we play, like 1, 2, 3, 4…we'll have a much easier time staying on track, because those are pretty easy to feel, hear, and articulate. But here's the thing: playing on the beat isn't always sonically interesting.It's often more artistic to occasionally leverage syncopation.If you've played syncopations on your guitar – in just about any style, it's possible that your tempo has been accidentally altered – and that usually means it has increased, probably without your intention, maybe even without your knowledge.This has happened so much in my musical interactions with others, that I've come up with a simple saying about it. And here it is. You ready? Every syncopation is a temptation for acceleration.Do you believe it? I've worked with instrumentalists who somehow end up increasing a syncopated song's tempo incrementally to where it's distinctly faster than when it started. Sometimes this happens with a keyboard turnaround or a drum fill. You can probably tell where I'm going with this – it can also happen with our strumming or flatpicking on the guitar. I say “our,” because I've done it too!Let's take a look at two short syncopated examples I've created for you as we discuss potential pitfalls, and some strategies I recommend to avoid those pitfalls.Before we get into these two examples, let's remind ourselves that quarter notes are counted with “1, 2, 3, 4,” eighth notes are counted with “1 & 2 & 3 & 4 &” and if we JUST count the offbeat 8th notes, we have “& & & &.”  Right? Syncopation with StrummingThe first example I've put together for you is a strumming groove involving multiple up strums, with some notes tying into other notes, creating several syncopations. This groove in 4/4 time features a plethora of “offbeats” which are indicated by the “&” symbol. Note that four of these offbeats are accented, indicated by the accent symbols above the notes, but also the balls on the ends of the arrows.The dotted arrows, as you might imagine, are silent. This is my special strumming system that I use in GuitarSuccess4U to help color-code ALL our strumming patterns.Here's the most important tip I can offer you when it comes to syncopation as you strum: keep your hand moving. All the time. If we pause, or even try to move “economically” by only strumming as the articulated notes appear, we will likely accelerate. Remember, every syncopation is a temptation for acceleration.If you're a detail person, you noticed that there are 10 points of contact because of this rhythm. And 10 is an even number, right? So, that means we could strum down and up and complete the cycle here, even though we'd be strumming incorrectly.But we actually need to move down and up for 16 strums, even the ones that are silent, so we can stay on track.Syncopation with FlatpickingIf you like to play individual notes with a pick, I've got one more example for you. An open A minor pentatonic syncopated riff is a great place to hang out for a moment.And as you've probably seen in flatpicked notation, we have a symbol above the downstroke that looks like an industrial-strength staple, and then above the upstroke, we have a rather slender looking “V.” Feel free to articulate this, and remember to pick down on the beats and up on the offbeats, whether voiced or silent. Closing ThoughtsNow, there will be exceptions to what we've talked about today, but the vast majority of our playingwill be cleaner and more precise if we follow this approach.Why am I so particular about strumming or picking down on the beats, and then coming back up on the offbeats, whether voiced or not? It's because I really don't want us to even have to think about it. If you've experienced Guitar Serious Fun Episode 48: “Strumming: Sloppy or Skillful?”, you know that once we've got this figured out, we can move on to making music.Speaking of, I'm sure there's a song at your fingertips that has syncopation in it, whether strummed or flatpicked. If you look closely at your song, you'll find some instant application for what I've shown you today.Until next time – pursue skillful playing, and remember: don't give in…to the temptation of syncopation.And don't forget to check out www.GuitarSuccess4U.com, where we go deeper with all kinds of tools, including strumming on multiple levels!Thanks for hanging out with me, and I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…It could be argued that we live in an age of impatience. We want our Amazon Prime delivery to arrive the day before we click the mouse.  We want our restaurant food hot and ready as soon as we pay order it.  We want “instant results” with less effort.Sure, some of those things are possible (maybe not Amazon a day early; I was of course being hyperbolic.)  But it's my conviction that good things come to those who wait…and that better things come to those who invest with patience and persistence.But these are not universal virtues; we're often looking for hacks that can sometimes come in the form of shortcuts or substitutes.  These impatient steps can lead to a certain amount of results, but at what cost?Cramming in CollegeWhen I was in college, many of my professors gave me a heads-up about when our major exams would be.  And I knew that studying for these exams would be essential.But sometimes I was guilty of “cramming” the night before, having done little or no studying thus far. Occasionally, I pulled off a B+ on the exam, but the downside was that shortly after the test was finished, I had forgotten most of the material.I had used my short-term memory as my cache for the information on the test, because I had crammed it.  But here's the thing – I was earning a music degree.  Do you think some of those early concepts (especially music theory) came back later and needed to be recalled for “next-level” courses and exams? Yep.  So, I learned quickly not to cram, at least not in my music major.Speaking transparently, I still did some cramming of concepts for some of my General University Requirements, but looking back, that wasn't wise either.I had substituted cramming for actual diligent study, and I reaped what I had sown.Fire and WaterTwice, recently, I've seen signs that have cautioned me against substitutes for the sake of safety.I was walking in the local Wal-Mart and spotted a multi-pack of fire clickers.  You know, the lighters with the trigger and gooseneck end that you can use to light a fire on a grill or in a wood stove.On the packaging, I saw these words:“No lighter is child-proof.  There is no substitute for proper adult supervision.”I agree.  Giving little 3-year-old Johnny access to one of these lighters and letting him run through the house or the yard with his “torch” could lead to serious problems. And that's probably why this warning was issued.  Some parent somewhere abdicated their responsibility to keep the lighters out of reach, and either by action or omission, let a young one access the lighter unsupervised, and then…there was a fire of some kind.The same day, I took my daughter to swim practice, where I observed this sign on the wall at our local pool:“Watch your children for pool safety; there is no substitute for supervision.”This warning sign spoke volumes, even in a venue where three lifeguards were standing ready.Now, these two warnings about fire and water imply the potential for extreme scenarios, but each of the warnings was likely the result of a parent choosing in the moment not to be as attentive and present, perhaps because they were trying to do too much at once. Now, kids can be hard to chase down.  Some of them abuse trust or think they can do more than they can.I can't speak intelligently to potential circumstances where fire or water got out of control, and they're likely a lot more complicated circumstances than I might realize, but one thing is true: if those children had received undivided adult supervision, their safety would have been improved significantly.“Cakedrastic” Circumstances On a lighter note, I've tried my hand at baking things with comedic results.  And sometimes this has happened as a result of trying to substitute an ingredient or a method that had not been tested.I've tried an ingredient substitution, and watched in sorrow as my “baking project” became a drastic baking disaster. I had been looking for a shortcut, or I was impatient and didn't want to run to the store or visit a neighbor to get the actual ingredient I needed, and thus, I allowed a substitute to decrease the quality (or obliterate the quality) of what I was putting together.But as the soprano Beverly Sills is known to have said, “There are no shortcuts to anywhere worth going.”The Iron TriangleYou may have heard of the Iron Triangle.  I talk about this sometimes, because I think it's a super important picture to remember.  It applies to a lot of different aspects of life, whether business or just doing things we do each day.There are three sides of the Iron Triangle: Good, Fast and Cheap.  According to the rule, you can have two sides, but not all three.If something is good and fast, like overnight shipping, it's not going to be cheap. If something is good and cheap, like a professional graphics designer waiving his fee for your album art as he “makes time” in his off hours to gradually get it done, it's probably not going to be fast.And if something is fast and cheap, like a quickly microwaved freezer meal, it's probably not going to be that good.We have to be able to accept these parameters, because they're almost on the caliber of laws of nature.  They really can't be bent.  We can sacrifice aspects of each of the sides in favor of having all of them, but they won't hold together as well.Learning the GuitarLet's take this idea of “no substitutes” into the guitar learning realm, which is a huge part of my passion – equipping beginning and intermediate Christian guitarists.In this day and age, we have a lot of options at our disposal for guitar learning.  Some are in-person, with a one-on-one guitar teacher.  Others are at workshops or conferences as a group.Then there are apps and digital products like recorded instructional videos.There's also something called “edutainment” – the idea of sharing an Instagram reel or a YouTube short that has 60 seconds or so of information…with a nugget of instructional wisdom, encapsulated in a fun, entertaining manner. I've been trying my hand at these recently.  And if you wanted to follow me, I certainly wouldn't mind.  I'm findable on Instagram at www.Instagram.com/guitarsuccess4UI'm also findable with a whole set of YouTube shorts at www.youtube.com/@guitarsuccess4uSo, each of these learning methods has merits, and each has downsides.Without drawing a Venn diagram and taking opportunity each apart, I will say that when it comes to learning the guitar, some substitutes are less optimal.  Like those that don't have personal connection.As relational beings, we as humans appreciate the opportunity to have genuine interaction with some sort of dialogue (I'm not talking about Artificial Intelligence.)  Emotional exchanges where we have the opportunity to encourage each other are more valuable than we may realize.So, a guitar method book, a DVD, or digital iterations of these in the forms of PDFs and online videos, can only take us so far.  I can't ask a PDF if it was glad to be a part of my guitar development that day.  I can't receive sincere, specific, verbal insights from a pre-recorded video about what I'm working on.And try as they might, the innovators of AI cannot replace a real person.  They might get close with permutations of responses, but an actual conversation with a person is unique and special.Again, those tools (and digital interfaces like apps, quizzes, and even guitar-emulating video games) can provide value and enjoyable experiences.But there is no substitute for interpersonal interaction.To me, the best of both worlds is to have excellent teaching materials with…a personal touch.  And I've done this for a couple decades – offering one-on-one lessons with worksheets and charts I've made, that I've personally walked my students through, giving them gentle encouragement and accountability along the way.But with a studio roster of 50 students a week with a waiting list, something had to change for me.  In addition to touring and recording, life also got fuller with the beautiful addition of family.Here's where I was…I didn't want my learners to have to experience unnecessary substitutions, at least not in large amounts.So eventually, the Lord brought to my wife's mind the idea of creating an online experience where students could access the most relevant concepts I have curated from my three decades of guitar playing…and those could be combined with actual interaction with…me.We call this unique experience GuitarSuccess4U.The teaching materials are meticulously crafted to be simple and accessible (and that took literally thousands of hours, so as to save my members a lot of that time.)  Totally worth it.Side question: what's the only non-renewable resource we use every day?  Time.  Now, there's a difference between saving time and wanting to do something that takes almost no time.  I'm wary of someone who uses language like “instant” or “overnight.”  As a musician, nothing, and I repeat, nothing has come to me instantly or overnight.  Some of my best songs have literally taken years to develop.  That might discourage you, but if you're in this for the long game, you'll see the value of taking the time to dig in and discover your potential.Also, never underestimate the power of community for the benefits of encouragement, accountability, and the gentle reminder that you are not alone.The interpersonal interaction inside GuitarSuccess4U includes our weekly Zoom calls, as well as comment threads in the portal where the membership materials are.  My goal is to host an in-person guitar camp for my members in the near future.And while the membership is at a manageable size, I do offer private one-on-one lessons over Zoom, and in person for those who are within driving distance of my studio.But in this way, I have offered my members a battle-tested curriculum with videos, audio files, transcripts, and PDF worksheets for maximum effective learning and retention…and they experience the blessing of community as well.  Peek at our online Google Reviews and you'll see how much our members love this.Think about this for a moment.  If you watch an instructional guitar video, and you have a question, you might be able to find an answer with enough sleuthing.  But what about being able to bring that question to the one who created that video and that worksheet, in a real-time Zoom call?I love answering questions based on the material inside GuitarSuccess4U.  I also love it when our members help each other answer questions.If you desire to get out of some guitar ruts, to explore new musical frontiers, and to discover your guitar potential for the glory of God, I encourage you to check out www.GuitarSuccess4U.com. You just might find the learning experience you've been waiting for.Remember – there are lots of easy shortcuts that promise “hacks” for learning the guitar, but many of them only take you so far.  True, quality musical offerings require a “long game” mindset.  And that is a worthy thing. But we have found a way to save you a lot of time, to help you learn the things you need to learn for your definition of guitar success.  There is time that's required…it's not going to happen instantly or overnight, but in that way it actually feels more worthy, because you've invested the time. It's been my experience that if I don't invest time or resources in something, I just don't value it as much.  If I'm given something, I appreciate it, but if I earn it, or earn the money to purchase it, I think I'll take much better care of it.The same could be true in an investment like this.  We find that when people pay, they pay attention.   So, accept no substitutes for good guitar teaching.  I challenge each of my members to put a reasonable amount of time and effort into their learning, and when they do, I hear about the wonderful results they are getting.Some of the best music we will ever play is waiting just on the other side of some good, diligent hard work.  That sounds a lot like serious fun to me.I hope today was a good balance of ideas that were convicting and encouraging.  But please, lean into your guitar pursuits.  They are worth it.  And please check out GuitarSuccess4U.  And share this episode with someone.  And follow me on Instagram and YouTube.  You know, all the things.I'll leave you with this quote from the famous inventor Thomas Edison.  He said, “There is no substitute for hard work.”I really don't have anything to add to that.  Thanks for listening, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about what to do when someone criticizes our guitar playing.I'm taking a swing at another subjective, relational topic today.  So, if you experience these words and you agree, disagree, or have things to add…your comments are welcome, especially if they are constructive. I certainly encourage you to honor the Lord with your comments – but if you've been experiencing this content for even a few episodes, I'm thinking you are already on board with that.  I'd also like to extend a word of gratitude to my wife, Whitney, for helping me gather some thoughts for today's episode.If you're like me, you play the guitar.  And if you're like me, you want to get better at playing the guitar.But there are times when we get discouraged because of what people say about our guitar playing.I've got a few strategies I want to invite you to consider on your guitar journey that might give you some encouragement. Two main types of criticismCriticism can be divided into two basic categories.  First, the type that's designed to tear down, and second, the type that's designed to build up.If criticism is offered in such a way that it basically says, “What you're doing is not good, or not good enough,” with no suggestion for how to improve, I'd call that the negative, “tear down” type of criticism.We have an enemy.  Satan.  The father of lies.  The devil.  The accuser.  And he can often be a part of this kind of criticism.These kinds of darts he throws are intended to destroy, paralyze, and keep us from moving forward.  And sometimes something is said that is directly intended to wound, or it could be said in a less than intentional way and therefore perceived as negative criticism. There are things people have said to me in musical and non-musical circles that were very unkind.  And they were communicated in ways that could have been improved upon, or even not spoken at all.I saw a movie several years ago that I cannot openly recommend to fellow Christ-followers because the language was so coarse.  It was the 2014 movie Whiplash, where the protagonist, a very gifted drummer named Andrew, comes under the tutelage of a ruthless jazz teacher by the name of Mr. Fletcher.  Fletcher stops at absolutely nothing to get the very best from his students and shows no empathy or care for their feelings.  His words are crude, unkind, and he even resorts to shouting and slapping one of his students for not playing in tempo.This “quality at any cost” mentality is very much “of the world,” and I don't believe it has a place in our faith-based approach to music.Again, we are called to “play skillfully,” as Psalm 33:3 commands, but we are also called to “speak the truth in love,” as Ephesians 4:15 reminds us.As I watched Whiplash and observed the faces of the students under Fletcher's direction.  They wrestled with the pursuit of perfection and the simultaneous hurt they experienced from such harsh criticism.  They played better, but in my opinion, it wasn't a “win.”Criticism that is intended to build up, on the other hand, is typically offered in the form of constructive criticism.  Just as buildings are constructed, criticism offered with the intent to build up, is constructive.If someone offers me constructive criticism, it usually comes in the form of showing me what needs work…but then, wait for it…how to improve.This essential component of a suggestion for how to make something better really makes the criticism constructive.This type of criticism is from the Lord.  Philippians 2:13 says, “For it is God who works in you to will and to act in order to fulfill His good purpose.”  If He is working in us, He will bring people into our lives to help make us into vessels for His glory.So, constructive criticism is intended to help us remain humble, and to grow spiritually.  If we are teachable, we can be open to constructive criticism.Consider the sourceIf criticism of any kind is offered, we have to be careful not to simply accept it without thinking.  We need to consider the source.I've shared this story before, but a fellow dorm dweller in college heard me playing my very first hours of guitar, and said, “Dude, whoever's trying to play that music, just stop.  You suck.”  This was a source that probably was not worth listening to.  He offered no suggestions except to quit.  Not a great source to receive opinions from.I've also shared this story before.  I recently posted a video on social media of me teaching a basic guitar concept.  One person offered a single comment: the word “moron.”Now, that is instantly recognizable as negative criticism.  There was no suggestion for how to improve, just this simple negative word.  I was curious, so I clicked on this guy's profile.  All of his photos showed him frowning.  He looked, quite possibly, like one of the most unhappy people I had come across in a while.And he himself hadn't contributed anything for others to consume or enjoy.  A telltale characteristic of a critic is that he or she doesn't actually produce much – they typically spend most of their efforts cutting others down.  It's not a generous posture at all.Social media is tricky.  Not everything that's offered in terms of comments is worth considering, especially the negative stuff.  There are things people will type into a comment that they would never even think about saying to someone's face.  It's like shooting from behind a hunting blind or something.To use another description, when I was in my more mischievous pre-teen years one winter, I was outside with some of my colleagues, and there was one kid I didn't like very much because he had always been unkind to me. Rather than make efforts to reconcile and mend the relationship, I chose to make a snowball and lob it vertically overhead, with perfect precision so that it came down the back of the inside of his coat.I had thrown it straight up, but by the time the snowball got back to earth, I was turned and looking a different direction, and the expression on my face was “innocence.”  I had been a coward.  But he found me out and an adult had to get involved.People who offer negative, borderline anonymous criticism, are really not worth listening to.Anonymous criticism on a comment card at church carries zero weight with me. Things like “I didn't like that arrangement of that hymn,” or “Too loud,” without any contact info with which to engage, are really not worth my time.  If they include an e-mail address or phone number, I can open a conversation and get to know where they're coming from. Now, if someone offers criticism of a negative nature, and I have a chance to consider the source and realize that the thoughts were well-intended, if offered in a hasty manner, I can have grace for their miscommunication.  I think of younger kids in some of the school chapels I've presented.Sometimes, young kids might shout out things like, “That doesn't look right,” or “You played the wrong note,” or something like that.  No filter, right?  What they're trying to do is add their voice to the conversation, even if it's not presented eloquently or diplomatically.  I can let those comments go.If someone I care about says something a little harshly, I need to seek reconciliation, and to keep short accounts.  I'll need to go to them and say, “Hey, did you really mean what you said when you told me I was playing too fast?”And perhaps I was.But the relationship is more important than what is being criticized.I have had a handful of ministry relationships where I thought I had communicated my concerns and criticisms well enough while offering suggestions, but they were not received as I had hoped.  And looking back, I could have used a different method.E-mail is a way of communicating information, but it's really not great for communicating emotion, because people can read into it.Suffice it to say, when I've offered criticism or suggestions over e-mail, I've had mixed results.  The better solution would have been to gather with them in person, and have a conversation face-to-face, or at least allow them to hear the tone of my voice over the phone.When I've sent e-mails containing constructive criticism, some folks have chosen to discontinue their part on the team, but without giving me a chance to work through the misunderstanding with them.This can be really tragic, because not only can they harbor resentment without seeking reconciliation, they can actually convince others to leave with them.  And it's my conviction that this kind of behavior is not a way to honor Christ.  The deceiver loves it, because it causes division.Now, if I was rude or mean to a team member without explanation, they still have the burden to seek reconciliation, as Matthew 18:15-20 commands us.  But my desire to restore, even under the misunderstanding circumstances, has not always been accepted or received.Speaking of Christian circles, I wish I didn't have to say this, but some very mean, negative criticisms (without constructive suggestions) have emerged from the mouths of some people who profess Christ.  This is not a display of the Fruit of the Spirit. But since we're all sinful by nature, it's going to happen.  Let's be aware and prepared for it.Lastly, on this subject, don't forget that we ourselves can self-criticize.And what we say, we can start to subconsciously believe.  Words like “I'm so stupid,” or “I'll never get this,” are not only destructive to our process; they're insulting to our Creator.When we start to hit the “repeat” button on those words in our heads, even after we stop saying them, we start to believe them.Our inner critic can take something we say (or someone else says) and magnify it.  So, we need to take every thought captive (1 Corinthians 10:5) and to check it with what would honor the Lord and ourselves, as His children.Instead of negative self-criticism, we can say things to ourselves like, “I may not have this yet, but I'll keep working on it,” or “Rome wasn't built in a day,” or “This is the long game.”  But it needs to be less negative, and more constructive.So, we need to consider the source.  And if we are the source, let's be sure we're offering constructive criticism in a way that honors others and ourselves, as well as the Lord.Consider the motivationIf someone is offering criticism, they have some sort of motivation.  It could be to make themselves feel better by belittling us with an insult.  Or, it could be to help us grow as musicians, or even with our character.  Proverbs 27:6 says, “Wounds from a friend can be trusted, but an enemy multiplies kisses.” If the motivation of the person offering their opinion is to help us, we would do well to receive their counsel, even if it doesn't feel good.  On the other side of that conversation, we can experience growth, progress, and forward momentum.If they only want to be mean, we can allow the Lord to take those arrows, and then we can move on to the next conversation, or even more appropriately, we can take a little time in the Word to read what God has to say about us.Maybe try reading Psalm 139 as a start.But everybody has an opinion. And like it or not, any sort of ministry where we offer our musical gifts, especially up front on the worship platform or the stage, is bound to draw unsolicited input from congregants or audience members who would never in a million years have the courage to step up and do what we do.You are not your musicI book my own shows, and Whitney has helped me do this for several years.  We hired a few part-time booking assistants for a few months, but I'd say that most of the booking responsibilities, especially in recent years, have been mine.It's exciting and unpredictable to send e-mails, texts, and to hop on the phone, because you never know what people are going to say.  Some may be very responsive and excited, others moderately interested, and others disinterested, or even silent (which, over time, can communicate disinterest.)Early on, when someone was disinterested in hosting my ministry, I took it rather personally.  I thought, “Maybe I don't have something to offer.” But here's the thing.  I had played enough concerts and led enough times of worship that people had verbally expressed to me their deep appreciation…so I had temporarily forgotten that I did have something to offer. But not to everyone.Imagine if in the process of reaching out to five dozen venues or so (which is what I typically average in a booking session), every single venue said, “Yes.  Let's put something on the calendar.  And we can accommodate your honorarium, no problem.”First, I'd need to make sure I wasn't dreaming.  But second, if they all wanted to book me, my calendar would be overwhelmed with commitments, to say nothing of the physical toll it might take on me to have multiple days of engagements in a row.I've found my sweet spot of about 30 to 50 shows a year or so.  One year I did about 100, and it was too much.  There are other artists out there who can play 200-300 dates a year.  That's fine, but it's just not for me.If I want those shows on my calendar, I need to sift through the venues that aren't interested, to get to the ones that are interested.  If, every time someone said “No, we're not interested,” I decided not to get back on the phone or send any more e-mails, I'd be giving in to unnecessary discouragement.I received some helpful insight from Dawn Jones about this early on.  Dawn was our guest on Guitar Serious Fun Episode 46: Reduce it to the Ridiculous.  When talking about rejection in the booking realm, Dawn encouraged me to pick out an object on my desk.  I chose a mug full of highlighters.She said, “David, I want you to think of this mug of highlighters as your ministry talent – your guitar playing, your singing, your worship leading and your performing.  When a venue says they're not interested, they're not saying that they're not interested in you.  They're saying that they're not interested in your ministry talent.  It's like they're saying, ‘We don't have a need for highlighters with the projects we're working on right now.'”I literally printed up those words and put them on the mug of highlighters right where I could “read them on the run.” I know it can be easy to take things personally, and I'm working through this off and on as I do ministry, but the one thing I can keep coming back to is the fact that my gifts, abilities, and talents are not me.Tom Jackson, a performance coach I've mentioned in previous episodes, asks the question, “Is everybody who listens to your music going to like you?”  The answer is obviously, “No.”His follow-up question is simple but illuminating: “Is that ok?”And when we answer, “Yes,” we realize how incredibly liberating that is. I am not my guitar.  I am not my music.   I am not my abilities. Who I am is a child of God.  And being loved by Him, at the end of the day, is what matters most.Sturdy VesselsWhen I was on staff as a Director of Worship, I put together an audition process that allowed me to keep a moderately high standard for the musicians I brought on board. I say “moderately,” because in church ministry there can be a fine line between excellence and perfectionism.  And one person who works really hard and plays a few songs really well could actually surpass the merits of someone who's very talented but plays sloppily because they don't practice.Character is paramount, as well.So, when I auditioned people to be on the worship team, I made it very clear at the beginning that they need to be ok with the word “No” or the words “Not yet” after they audition.  They aren't automatically granted a spot on the team just because they auditioned.To those whom I felt weren't ready, I offered constructive criticism and gave them some things to work on, so that in three to six months, they could come back and audition again.  But even at that point, they still needed to be ok with the words “Not yet.”When I've said “No” or “Not yet” to some folks, they've been pretty upset, for one reason or another.  Perhaps they were allowed to offer their musical gifts at their previous church but weren't up to our standards yet.  Perhaps their level of self-awareness was not high. But for one reason or another, I've had to respectfully decline bringing them on board.  When they've gotten upset, their “true colors” of being offended or annoyed have shown me that their character was also not ready for the worship leading responsibility.Those who remain teachable and humble are much more suitable for the worship team, especially because they'll go work on their skills and come back.Now, on the subject of sturdiness, we need to be strong enough to take criticism without harboring resentment for receiving it. We need to acknowledge that the Lord makes each of us for various purposes.  2 Timothy 2:20 talks about articles that are for special purposes, while others are for common use.For the clay to tell the potter “Hey, I belong in a palace, not a small house,” may actually skirt the edge of telling the Lord that He doesn't know what He's doing.Maybe our intuition for guitar playing or music is not strong enough to be shared on a platform.  Ever.  Could we embrace that?Maybe it's something for us to share with friends and family, or perhaps in a Sunday school classroom.  Does that make it any less significant?In God's Kingdom economy, I'd say “no.”We need to be sturdy Christians who aren't bowled over by a little gust of wind in the form of criticism of any kind. We need to be able to take it, consider it, and benefit from it – wait for it – even if it's offered by a mean person in a mean tone.If someone says something truly unkind with absolutely no intent to edify us, we can still learn.  At the very least, we can learn from that exchange how not to speak to others.We're always learning…or at least we always can be, and this doesn't just include music, right?So, when someone criticizes your guitar playing, your singing, your hair, or whatever, ask yourself whether it is negative or constructive criticism.  Consider the source.  Consider the motivation of the person criticizing you.  Remember that you are not your music.  And stay sturdy. We are playing the long game.  To last long enough to play the music that the Lord has called us play, for the people He has called us to play for, we need to be sturdy and resilient.  The promises of His Word will be there to remind us that we are precious to Him.And if you want to play the long game with me and other like-minded guitarists who are followers of Christ in a seriously fun environment at your own pace, from the comfort of home, in a highly affordable experience that is unlike anything else, please check out GuitarSuccess4U.com. Lastly, if you enjoyed this episode, please comment.  If you didn't enjoy it, please also comment.  But if you have criticism, I encourage you to keep it…constructive.  Right?Keep showing up, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com