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Brand New Guitar Bundles to Save you Money and Get you Extras!

Justin Johnson has created a huge new inventory of awesome instructional material for 6-string guitar & more, so while we’re restocking the shelves with all of this awesomeness, we took the opportunity to create some killer new DISCOUNT BUNDLES to reward you with discounts & extras for showing your support!  The more you buy, the more you save & the more Freebies you get, so DIVE IN, see what’s new, fill out your wish list, & come get it! 

Get all 6 of Justin Johnson’s newly released Video Courses for 6-String Guitar on Either DVD or Digital Download & SAVE $20!
Get all 4 of Justin Johnson’s Current Double Albums on Either CD or Digital Download & SAVE $10!

Go-To Tunings for Blues Slide Guitar

The vocal timbre and mournful wail of the slide guitar has become inseparable from the concept of Blues Guitar.  However, in order to master the classic Blues guitar styles associated with the finger slide, you must first familiarize yourself with the different tunings that are key to those styles.  Below is a list of my favorite, and most used, tunings for Blues Slide Guitar.  With each tuning I’ve included a video, demonstrating how that tuning can be used to create a stylistic mood, which differs with each tuning.  Remember, the more tunings you become familiar with, the more versatile you will be as a musician.

OPEN D & OPEN E TUNING
Open E: (E-B-E-G#-B-E) – tuned to E major chord
Open D: (D-A-D-F#-A-D) – tuned to D major chord
These two tunings are basically the same tuning… the only difference is that Open D is tuned one whole step lower than Open E.  The tighter string tension of Open E makes it easier to play with low action, but the lower pitch of Open D produces more low-end body, and can give you a swampier vibe.  That swampy vibe is all over this following video clip, which is is Open D tuning…

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OPEN G & OPEN A TUNING
Open G: (D-G-D-G-B-D) – tuned to  G major chord
Open A: (E-A-E-A-C#-E) – tuned to A major chord
These two tunings are also, in essence, the same tuning.  The difference is that Open G is tuned a whole step lower than Open A.  Delta blues guitarists like Robert Johnson made this tuning style famous.  The sound of this tuning is great for solo guitar Blues playing, and allows the player to construct elaborate bass lines, since the root note is on the 5th string, as opposed to the 6th (bass) string, thereby allowing the player two bass strings for the thumb to play bass lines and 4 strings for the fingers to pluck melody notes.
Listen to how the bass lines play an important role in this following video, which is in Open G tuning…

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STANDARD TUNING
Standard Tuning: (E-A-D-G-B-E) – not tuned to a chord
Standard Tuning is the most widely-used and standardized tuning for conventional 6-string guitar playing.  It’s great for fretted (non-slide) playing because it makes many chord shapes and scale patterns comfortable for the fingers to reach.  While it presents certain challenges for slide guitarists, Standard Tuning is actually a very versatile tuning for slide playing, offering many convenient chord fragments, both major and minor, up and down the fretboard.  The key to understanding how to play slide guitar in Standard Tuning comes with learning how to mute the unnecessary  strings, to prevent them from sounding.  I have created an entire instructional DVD for playing in Standard Tuning, which you can check out.. just CLICK HERE for more info.  The following video is an example of slide guitar in Standard Tuning…

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OPEN Dm & Em TUNING
Open Dm (D-A-D-F-A-D) – tuned to D minor chord
Open Em (E-B-E-G-B-E) – tuned to E minor chord
While these tunings are not very well-known historically, they are some of my personal favorite, and most-used, slide guitar tunings.  They are particularly great for playing in minor keys, but also work very well for Blues styles, even if the underlying harmonies are major.  Again, these two tunings are essentially the same tuning, but Open Em is tuned one whole step higher than Open Dm.  The following video shows how this tuning can be used in both fretted and slide styles.  The acoustic rhythm guitar is tuned to Open Dm, and the 6-string lap steel is also tuned to Open Dm…


Thanks for keeping the Roots alive!  Click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles.

~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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Over Two Continuous Hours of Cigar Box Guitar and Roots Music!

Of all possible ways to learn a musical instrument, I’ve found that the best method, by far, is to listen to (and watch) as much music as possible.  You can learn so much by watching how a player holds the instrument; the posture, the picking and anchoring techniques, etc…  So much can be gleaned by observing a musician as they are performing.

The best way to do this is in person, where you have a 3-dimensional view of the performance.  But we live in an age where the internet allows you to access a 2-dimensional live concert experience just about anytime and place you choose!  So sit back, relax, and learn from the music as it’s rolling by your screen… or just enjoy the show!

Thanks for keeping the Roots alive!  Click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles.
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

Below is a playlist that will continue to play through  over 40 Roots Music perfomances by Justin Johnson.  If you would like to browse through the videos, click on the menu icon in the top left corner of the video screen.  

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How to Use Your “Open G Tuning” Riffs in Any Key: Tuning Guide for 3- & 4-String Guitar

Open G is one of the most versatile and easy-to-learn tunings for the 3-string and 4-string guitar.  An open tuning is when a guitar’s open strings are tuned to a chord, therefore “Open G” tuning refers to tuning the open strings to a G major chord (G-D-G for 3-String) & (G-D-G-B for 4-String).

Open G tuning makes many riffs, scales, chords shapes, and chord progressions very easy to play when you are in the key of G, since your open strings make a G major chord.  I was recently asked this question:  “I am comfortable playing songs in the key of G on my 3- & 4-string, but is there a way I can use the same patterns to play in different keys by re-tuning the guitar?”  The answer is yes!  It’s very easy to change keys (or transpose) by simply changing the notes you are tuning your open strings to.

Below are two guides to transposing Open G tuning to different keys.  The column on the left tells you what key to tune to.  The middle column tells you what notes to tune each string to (bass note on the left, high pitched note on the right).  The column on the right tells you which string gauges work best for each particular tuning.  For example, if you know a song on the 3-string guitar in Open G tuning, but you want to play it lower, in the key of D, then you would tune the guitar to D-A-D and use the bass strings (E-A-D) from a 6-string guitar pack.

NOTE: Be careful not to put too much tension on a string, or it may break.  With certain tunings, the stings may seem too loose or too tight for your specific preferences.  This differs depending on your personal taste, string gauge, and the scale length of your guitar.  The general rule is that if your strings feel too loose once tuned, try heavier gauge strings; if your strings feel too tight, try lighter gauge strings.

To really dig into the chord and scale patterns that will help you master Open G tuning on the 3-String & 4-String, check out my Chords and Scales Book HERE.

Thanks for keeping the Roots alive, and don’t forget to click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles!
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

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Handmade Guitars with a Blues Bias – Interview with Little Crow Guitars

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jj sig little crowEver since I was a kid, when I brought my first electric guitar home from the hole-in-the-wall record store down the road, I have been searching for “my sound.”  I started off with soaking up classic Blues-inspired rock, and then began tracing those riffs and tones back to where they came from.  Having first been inspired by bands like Jimi Hendrix, The Rolling Stones, Clapton, and Pink Floyd, I was immediately drawn to the Fender sound.  I played for years in different bands, performing everything from Blues and Rock to Reggae and Country, all with that trusty Strat by my side.

Then one day I picked up a 4-string cigar box guitar, and my search for tone took a sharp turn.  I became drawn the the one-of-a-kind nature of the back-porch tone that came from homemade Roots instruments.  The fact that instruments like my Ironing Board Lap Steel, or Washtub Guitar, or Axe-handle One-String Diddley Bow, were made from found objects created an authentically bare-bones tone… it was a sound that reflected the eclectic history and DIY nature of Early Delta and Chicago Blues.

The classic tone of a Strat, and the rugged, down-home tone of the handmade & homemade roots instruments are two sides of the same coin… but I had always wondered if there was a way to merge these two worlds of tone into one sound that captures the classic quality of a vintage solid-body electric guitar without losing touch with the Rootsy simplicity of the earliest forms of Blues Guitars.  This search led me to Dave and Viv Street of Little Crow Guitars, a company based in Perth, Western Australia.  Once I got to know their work, and learned about the methods and philosophies behind their guitars, I realized that this was the company I had been looking for, for that perfect marriage of classic and one-of-a-kind.  In addition to their lines of high-end, custom guitars and basses, they have introduced a brilliant line of guitars called the Blues Plank Series which boasts some of the most innovative and daring Blues-inspired guitar designs I’ve ever seen.

I recently caught up with Dave Street from Little Crow Guitars to ask a few questions about guitars, guitar-building, and the history and inspiration for Little Crow Guitars. blues-plank-bo3-resonator_0143-1024x680

Q:  What was the inspiration for creating Little Crow Guitars?
A: 
I’ve always had an interest in musical instruments. In my early years of furniture making I made some tongue drums and marimbas. A couple of years ago (mid 2012) when we were having a quiet period for furniture sales, my thoughts turned to musical instruments again, this time guitars. As often happens this was spurred on by an event of fortuitous synchronicity: I heard a radio interview about a well known Australian Luthier and how he got started. I was inspired and this set the wheels in motion. We wanted a bird as our logo and after some deliberation we settled on the Little Crow — Australian and pretty well suited to the blues ethos.

Q:  One thing I love about your instruments, is that you use a lot of Australian timbers that aren’t often seen in American guitars.  Do you have any favorites, and reasons for favoring certain woods?
A: 
Our favorites are Mountain Ash and Blackwood. Both are well known (in Australia anyway) as good tonewoods. Blackwood is actually related to the Hawaian Koa and has similar qualities. Mountain Ash is less used as a tonewood which I’m surprised about, as it is amazingly resonant. It’s a little trickier to work with, as it is subject to internal checking (tiny cracks) so it has to be carefully graded. These timbers grow in Victoria and Tasmania. Here in West Australia we have West Australian Sheoak which is also a good tonewood and very stable. We use this for fretboards. We also use some Hard Rock Maple, Rosewood, Queensland Maple and Fijian Mahogany.

blues-plank-bo-series_0113-1024x692Q:  Your instruments all showcase your amazing woodworking skills.  What kind of background do you have in woodworking?
A: 
I actually came to Australia as a surveyor. Shortly after arriving, I met fellow South African Neil Erasmus who was a practicing cabinet maker of immense skill. He encouraged me to take up woodworking and suddenly I’d found the creative outlet I needed. We ended up moving to West Australia and setting up shop together where I learned all my woodworking skills. Later I met my wife Viv and we set up our own business called Ironwood Studio which has now been going for 23 years. Viv is the finishing expert in the business and she has carried this through to our guitar-making endeavor where she finishes all our guitars with a beautiful satin oil finish. Viv is also the reliable sounding board for new ideas and like a lot of creative partnerships she’s often the unsung hero who keeps the show on the road.

Q:  Your slogan is “Handmade guitars with a Blues bias.”  Has blues music been a big inspiration for the designs at Little Crow Guitars?
A: 
Well I’ve always listened to blues music in one form or another and when it came to making guitars it felt comfortable aligning ourselves with the blues genre — it’s the music we know and feel comfortable with. So we make guitars that we know will work in the blues field. It’s not so much a conscious design decision about the blues, but more an intuitive thing, having seen the guitars all the bluesmen over the years have played. That doesn’t mean there isn’t room for something new and innovative — I think the blues can be endlessly innovative and we hope to be part of that in a small way.   100_DSC_5428-Copy-1024x680

Q:  To me, the Blues Plank Series from Little Crow Guitars represents a perfect marriage between custom shop quality and affordability.  What is the concept behind the Blues Plank Series, and what type of models are currently available in it?
A: 
About a year after starting to make guitars I became aware of the cigar box guitar revival. This appealed immediately and instinctively to my love of minimalism. But not having much of a tradition of cigar smoking in Australia and so a lack of used available boxes I started thinking about other options. Petrol cans and biscuit tins were a possibility but then I thought: what about a basic solid body? We were already making 6-string guitars, why not 3- and 4-string as well. Then I saw Ted Crocker’s Honeydripper and was inspired. Then I heard Justin Johnson playing and was further inspired. Then I plucked up the courage to ask Justin if he’d be willing to demo and showcase a solid body 3- or 4-string (by this time dubbed t
he Blues Plank). He embraced the idea wholeheartedly, much to our delight, and they’ve been developing ever since, with Justin’s help and guidance.
We make a neck-through construction (NT 3,4) and a bolt-on construction (BO 3,4, resonator and bass).
The Blues Plank 6-String is also a neck-through construction. Initially produced with a single P90, this is still in development and will be available with other pickup configurations. A bolt on 6-string is also in the pipeline.

You can check out Little Crow Guitars’ website at: http://www.LittleCrowGuitars.com

Thanks for reading, and if you like this interview, please click the “FOLLOW,” button at the top right of this page to stay updated with future articles from RootsMusicSchool.org!
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

 

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“Dust My Broom” 3-String & 4-String Lesson ~ Slide and Fretted Arrangements

In this lesson, I teach a beginner arrangement of Elmore James’s, “Dust My Broom,” for the 3-string and 4-string guitar.  While this song was originally recorded by Robert Johnson on solo acoustic guitar, it was the Elmore James version on the electric guitar that really emblazoned it onto every Blues band’s set list till the end of time!  The slide guitar riff that opens the song, and is repeated throughout James’ version, has become one of the most significant and influential slide guitar riffs in history, forever assuring his status as a true legend of the Blues.

 

To receive notifications of future Roots Music School articles and lessons,  click “FOLLOW” to keep in touch!
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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“Hoochie Coochie Man” 3-String & 4-String Lesson ~ Slide and Fretted Arrangements

The rhythm guitar riffs in “Hoochie Coochie Man” introduce some of the most important and fundamental Blues Guitar techniques, such as call-and-response, muting, rhythmic syncopation, 12-bar-Blues, and more.  Hope you enjoy it!

 

Thanks for your support, and please click “FOLLOW” on this blog,
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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3-String Guitar Lesson – Pink Floyd’s “Wish You Were Here”

Pink Floyd’s song “Wish You Were Here” is a true Rock & Roll masterpiece!  It’s one of those songs that has been so firmly planted into the world’s musical consciousness that it’s hard to think of a world before it.  The intro guitar riff is one of the first riffs I ever learned on guitar, and David Gilmore’s acoustic guitar solo at the beginning of this song might as well have written the rule-book for classic rock acoustic guitar solos.

Aside from being an amazing song to listen to, this song is the perfect etude for learning the fundamentals of guitar technique, whether it be on a conventional 6-string or, in this case, the 3-string guitar.  The intro teaches you chord/melody playing, the solo teaches you the fundamental techniques behind string bending, string sliding, hammer-ons, and pull-offs, and the chord changes include some of the most commonly used open chord voicings.

Enjoy the lesson, and click “FOLLOW” to get new articles sent directly to your inbox!
~Justin Johnson

VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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How To Read Scale Diagrams …and Why?

BLOG IMAGE SCALE DIAGRAM EXPLAINAION

HOW TO READ SCALE DIAGRAMS …AND WHY?
by Justin Johnson
www.JustinJohnsonLive.com

Recently, I have been asked by several people, “How do you read a scale diagram?”  The easiest way to learn how to read a scale diagram is to first understand a few simple concepts about what scales are, how they are used, and why fretboard diagrams help.

1) What is a scale? 

A scale is a series of notes that, together, create a distinct harmonic feel and mood.  A scale differs from a chord in that a scale is a series of notes played one-at-a-time, while a chord is a combination of notes played all at once.

2) Why make a diagram, why not just write out the notes? 

Short Answer:  It’s easier!

Long Answer:  The guitar, by nature, is a very visual instrument.  The visual pattern that a scale’s notes make on the fretboard can be memorized, and then shifted up and down the fretboard.  This makes it extremely easy to transpose a song or melody into a different key, simply by moving the visual scale pattern up or down the neck.  For example, if you know a scale pattern for the G Major Scale and you want to play the A Major Scale… all you have to do is take that same pattern and move it up 2 frets.  This way, you are not having to think about the intervals of the scale, the sharps and flats, or the other seemingly endless hurdles involved with transposing to a different key.

3) Why are some dots on the diagram filled in, and others aren’t?

Those dots are filled in to indicate the “root note” of the scale.  The root note is the note that the scale is based off of, for example in the G Major Scale, the note “G” would be the root note.  Similarly, “D” would be the root note of the D Minor Pentatonic Scale.  If you have a scale pattern that has a root note on the lowest string, you could shift that pattern up and down the fretboard, and whatever note the shaded-in dot (root note) lands on, will be the root note of that particular scale.

——-

Now that we have some basic questions answered, let’s look at a couple of different types of fretboard diagrams.  In Figure 1, you will see three scale diagrams.  They are all diagrams for the same scale, the G Major Scale (Notice how both Scale Position Diagrams could be overlain onto the complete scale diagram on the left).  The diagram on the left shows a visual outlay of every note in the G Major Scale from the nut to the 12th fret.  This type of diagram is very helpful when you are wanting to see every available note on the fretboard for a given scale.

But what if you want to play the scale from start to finish in a specific region of the fretboard?  The first diagram isn’t very helpful for that purpose, so we will have to use a “scale position” diagram.  These diagrams have less dots, but they don’t repeat any notes, giving you a useful pattern for playing the notes in the scale sequentially and comfortably on the fretboard from the lowest note to the highest in that position.  Start at the lowest note one the lowest string, and work your way up.  Play each note sequentially on the low string, then move the lowest note on the next string, and so on, until you reach the highest note in the diagram.  Then go back down the scale, playing each note one-at-a-time in descending order.

The second scale digram in Figure 1 is the G Major Scale Pattern in Open Position, meaning that you can play this scale pattern from lowest note to highest note taking advantage of open strings without moving your fretting hand uncomfortably from that open position.

The third scale diagram is the G Major Scale in 5th Fret Position with the root note on the second string.  This diagram gives you a pattern for playing the G Major scale one note at a time, without having to uncomfortably move from that position around the 5th fret.

To sum thing up, scales are very useful in that they give you a harmonic “backbone” with which to flesh out your melodies.  If you know what you want your melody to “feel like” you can pick a scale that has a similar vibe and, BAM!  You have a starting point… a pattern of notes that will help you turn your “feel” into a song!  These are not rules, just helpful patterns.  If you practice scales regularly, you will learn valuable muscle memory and begin to build up a harmonic memory that you can rely on to guide your note selection when improvising or writing melodies and riffs.

Thanks for keeping the roots alive!  …and don’t forget to click the “FOLLOW” link on the right side of this page to get new lessons send straight to your email!
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

If you like this lesson, but would like more in-depth explanations and tutorials on Roots Music, Guitar, Slide Guitar, and more…  Check out my Instructional Video Series on Roots Music, available on DVD or via Digital Download at: www.JustinJohnsonLive.com

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