
Our musical brains can be deep, but messy. Here’s how to organize it all.
Last updated on July 22, 2022
Musical research is an incredibly important aspect of growing as a musician. We’re already subconsciously absorbing information when we listen to music—even if it’s in the background. Documenting what we’re hearing can really solidify what we take away from the listening experience.
As musicians, we are sound. Everything we hear influences us, but the way we collect sounds can resemble how we might collect receipts for tax purposes: They’re just scattered all over the place. If that’s the case, when April comes around you suddenly wish you had a system for finding your receipts, organized by category, in one central location.
Our musical minds are similar to our households at tax time. You hear so many musical ideas but they’re completely unorganized. I started thinking about how to categorize my favorite musical ideas because I wanted to collect and record what I found influential. This led me to musical journaling.
The Musical Journal
My musical journal is a notebook where I write down musical ideas that I find appealing. I don’t make full song transcriptions. Instead, I highlight small phrases, a progression, or other details about a song. I make notes about how they work and what I like about them.
It’s less a personal Real Book and more of a recipe book. When most musicians transcribe, they often notate much longer sections or ideas. My musical journals are filled with smaller snapshots.
The Goal
My goal is to have a physical reference of ideas that inspire and appeal to me. I consult the journal when I need to play a certain style of music or jump-start some creativity. Musical styles tend to have specific elements and if you want to get deep into a style, you must get good at recognizing its traits.
For instance, I have a journal on punk music. It includes notes on my favorite punk songs from the Buzzcocks, the Clash, the Ramones, the Germs, the Dead Kennedys, Minor Threat, and Black Flag, to name just a few. When I need to play a punk gig or session, or want to compose in that style, I’ll go through my punk journal to see what progressions or chord shapes are common. Punk music uses a lot of full barre chords. If you play the right punk chords with the wrong voicings, it won’t sound like punk.
Different Journals
Back to organization. I keep a different journal for each style of music I’m researching. I have one for funk that includes songs by the Meters, Funkadelic, and Sly Stone. I have another for blues with research on Howlin’ Wolf, Mississippi John Hurt, Bukka White, Muddy Waters, and others.
Because I listen to and am asked to play different styles of music, my research tends to be broad. Although I would encourage you to listen to many different types of music, it’s not necessary to journal about everything you hear.
Here are just a few examples of things I like to include in my journals.
Song Tempo
Many musicians don’t make notes on song tempos, yet the tempo is incredibly important to the feel of a song. Changing a tempo by merely 2 bpm can greatly alter its sound and feel. If you study a specific style of music, you may also notice that a lot of it lives in a tempo neighborhood. Being aware of this can deepen your playing. In Fig. 1, you can see a page out of my journal about a song called “Western Dream.”
Chord Cycles
When researching styles of music, you will find similar chord cycles. Musical styles are like families, and chord progressions typically have a direct relationship to other songs in that genre. You’ll see a lot of I–IV–V progressions in the blues, for example.
Riffs
Guitar riffs also tend to get recycled. As with chord progressions, it might not be the identical riff, but it may sit in a similar position and use a closely related collection of notes.
Understanding these riff positions or collections is important. For instance, I’ve seen a lot of guitarists who study blues play the correct notes, but in the wrong position. Why does this matter? For one thing, the note’s timbre can be different, depending on what string it’s played on. For another, the position and fingering give you access to certain expressions like bends, hammer-ons, and pull-offs.
When I’m journaling, I note the position the riff is played in (Fig. 2). And it may vary considerably from where I play a similar riff in a different genre.
Melody
I know I just talked about positions and fingering, but I think too many guitarists look at music as a matter of positions on the fretboard. I can’t stress enough the importance of melody. One of my favorite things to do with students is to study the melody line of a song. It’s great for building good soloing skills.
Melody lines often give you everything you need to create a tasteful solo. Sometimes I’ll journal a melody line to a verse or chorus (Fig. 3). Then I’ll make notes about the melody’s relationship to the chords. Does it start on the 3 of the chord? Are there any interesting color notes in there that stick out to you?
It’s a great idea to take note of these things. These are sounds you might like to use in a different song. Understanding the melody’s relationship to the chord is vital: Don’t look at notes and positions in isolation, but rather in a melodic context.
You only truly understand the flavor of a note when it’s set against another note or a chord. These are like flavor pairings. Just as some pair white wine with fish, you may pair an E note in a melody with a C chord.
Form
Another corner guitarists paint themselves into relates to understanding song form. Many players start by learning sections of songs, but if you’re not looking at the whole form of a song, you’re seeing an incomplete picture.
Form dictates many musical decisions. You can’t fully understand why some of these decisions were made unless you look at the song as a whole. I mentioned not transcribing full songs in my journal, but I do mark out the form for reference and make mention of songs that have an unusual layout.
Consider “I Wanna Be Sedated” by the Ramones. It modulates up a whole-step after the first chorus. This is an interesting move—not many songs modulate that early.
Tools
There are several ways you can approach journaling. For instance, you can use a traditional notebook. I used to pursue journaling like an arts-and-crafts project. I had blank sheets of music paper and a wire-bound notebook. I’d notate a musical idea on the sheet music, cut it out, tape it into the notebook, and then write my notes around it.
I found this somewhat meditative. It forced me to take time to write it, cut it out, and tape it. I’d think about the music more before moving onto something else. Each entry wasn’t a brief moment, but rather a process to be experienced.
And although I liked it, it was a little difficult to do consistently on tour. I needed to have a book bag with several notebooks, scissors, tape, and blank music paper. I’d sit in my hotel room and research music and make a mess.
To reduce what I needed to carry around, I moved to an iPad. There is a wonderful app for the iPad called GoodNotes. It includes templates for sheet music, tabs, and ruled paper. It allows me to have a collection of journals, just as I would with a notebook. I can create a transcription and cut and paste it in my journal. I can write notes in different colors and highlight them.
Memory Man
I’ve always been fascinated with music, but my memory isn’t always the best. I can remember songs on tour and during a session, but fishing a song or idea out of my memory archives can be a little time-consuming. That’s why I always have my research with me: If I’m on a session and ask to play a reggae-like single-note line, I can open up my notes on reggae and check out my Max Romeo research.
Reading Music
You don’t have to read music to keep an effective music journal. It doesn’t matter so much how you make your notes as long, as they are well-documented and clear, and make sense to you.
I personally like reading music and understanding music theory. Which isn’t a surprise, since I wrote a book on the subject called Practice Makes Progress. It helps me understand and recall things more quickly. I can spot similarities and apply them to other situations more effectively. I don’t use theory to create music, just to connect a few dots.
Sounds
It’s also a great idea to include a song’s sounds in your journal notes. Is there a wah? A specific fuzz tone? A particular guitar or pickup position? I write down these tone recipes for future reference.
Gig Journal
On the subject of sounds, I also journal about guitar rigs for the various gigs I do. Taking pictures of pedalboards, amp settings, and guitars can really help you get back up to speed on a gig you haven’t played in a bit. Guitarists tend to be a tweaky bunch. We’re always trying new pedals and messing with settings, but sometimes we need to turn back the clock.
I don’t know about you, but I can’t remember what I used two gigs ago, let alone four or five. I play with a lot of artists and do a wide variety of sessions. Each of these gigs has very specific tone collection and I don’t use the same gear for every gig. I can either scratch my head for an hour or take one minute and look at my notes. I will also include notes on what presets I used for which song. If you haven’t been gigging regularly with a particular artist or band, don’t expect you’ll remember preset six for the fourth song in the set in eight months ago.
Fig. 4 is a page from my journal for Amy Helm. I tour with Amy a lot, but sometimes we have a few weeks off. During this hiatus, I’m likely to change pedals and do different gigs. Even if I know what pedals I used on an Amy’ gig, I still might not remember the exact settings on my Vick Audio ’73 Rams Head. Tracking down a photo in my photo library can also be tricky.
In the break from the last Amy Helm tour I played a gig with songwriter Abby Ahmad (who also happens to be my wife). They may share a few pedals, but it’s a very different sound and approach (Fig. 5). Having some assistance with gig recall allows you to make more music, more confidently.
Okay, now I think you have some work to do.
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Fralin launches custom Prewired Tele Deluxe ’72 Pickguard featuring Lindy Fralin’s Wide Range Humbuckers.
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With buffered bypass and top-mounted jacks, this compact pedal is perfect for adding punch to your playing.
Carl Martin has introduced the Tone Tweaker, a 12dBboost pedal designed to unleash the full potential of your favorite gear. This subtle yet powerful booster pedal is built with an internal voltage booster that provides extra headroom and makes your beloved tube amp sound even better. It is perfect for cutting through the mix during solos and adding extra punch to your rhythm playing.
Tone Tweaker features an efficient 3-band equalizer, allowing you to fine-tune your sound with dedicated controls for Mid, Treble, and Bass. Whether you want to add warmth to your midrange, more sharpness to your treble, or extra depth to the low end, Tone Tweaker gives you the tools to shape your sound with exceptional effect – subtle yet powerful.
Key Features
- 12dB Boost: Instantly enhance your signal with a clean, transparent boost that preserves the integrity of your original tone.
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- Top-Mounted In/Out Jacks and Compact Design: Designed to take up minimal space on your pedalboard, with top-mounted jacks saving space and providing a cleaner setup.
You can purchase The Tone Tweaker for $149 directly from Carl Martin and, of course, also at leading music retailers worldwide.
For more information, please visit carlmartin.com.
Carl Martin Tone Tweaker | Simple and Effective - YouTube
The Alabama-born country-rockers bring some custom gear from their home state to the stage of Nashville’s Ryman.
Mobile, Alabama’s Red Clay Strays started out as a local cover band. In 2016, they officially formed as the Strays, adding a couple players to round out the five-person outfit. After a few years gigging around the state and some festival slots, the band hit it big in 2023 when their song “Wondering Why” went viral on TikTok. It climbed up the Billboard charts and landed the band a deal with RCA Records. That led to their Dave Cobb-produced second studio LP, Made by These Moments, which was released on July 26.
In September, the band made their debut at Nashville’s Ryman Auditorium on tour behind the record, and guitarists Drew Nix and Zach Rishel brought a beautiful stable of American-made 6-strings for the occasion. They gave PG’s John Bohlinger a tour of the goods.
Brought to you by D’Addario.Faylands from Fairhope
Both Nix and Rishel play Fayland guitars, made by Chris Fayland in Fairhope, Alabama. Nix gives a quick, Ricky Bobby-esque rundown of his Fayland T-style: “It’s good wood, it plays real good. I don’t know what to do with my hands.” He strings it with .010s.
Memphis-Made
For semi-hollow “squishiness,” Nix turns to this Gibson ES-339, made in Memphis. This and Nix’s other guitars, including his Fayland and his 2017 Les Paul Classic with PAF-style Geppetto pickups, carry striking, detailed straps made by Jon Wye.
Drew Nix's Amp
Nix tours with two “run of the mill, Guitar Center” Fender Twin Reverbs, which he switched to after “blowing up” Rishel’s Fender Hot Rod Deville. The Ryman gig was being recorded, so Nix had a second one on hand in case the first ran into any issues.
Nix’s Straightforward Board
Nix runs a Pedaltrain Metro 24 board, which is loaded with an Ernie Ball VP JR, Peterson Strobostomp, JHS Whitey Tighty, Browne Amplification Atom, JHS Morning Glory, Xotic EP Booster, Strymon El Capistan, and Strymon Flint.
Fairhope "Firebird"
Rishel loves his Faylands, too. He tours with a baby blue “Mark II” Fayland Strat, equipped with stainless-steel frets and a Tele-style bridge pickup. His Fayland “Firebird” Tele is even more of a stunner, with its candy-red finish and firebird decal. This one has a trio of Lollar pickups, and a traditional three-way Tele switching system. A button between the volume and tone knobs activates the middle pickup for Strat-style tones and modified switching.
A Fine Vintage Super Reverb
Rishel picked up this 1968 Fender Super Reverb from Carter Vintage Guitars in Nashville, which he calls “the best guitar shop in the world.”
Zach Rishel's Pedalboard
On his board, Rishel runs a TC Electronic Polytune 3, SRossFX Sun King, MXR Custom Badass Modified O.D., Greer Super Hornet, SRossFX Echo Flex, TC Electronic Hall of Fame, SRossFX Dual Roebuck, and Keeley Dark Side. It’s all powered by a Mooer Macro Power S8.
Kurt Listug (left) and Bob Taylor (right) share a lighthearted moment.
This year marks a watershed for Taylor Guitars as the company celebrates its 50th anniversary of building high-quality instruments and contributing to the global music community. Over the past five decades, Taylor has grown from a small guitar shop in California to one of the world’s most innovative and respected guitar manufacturers. This milestone is being commemorated with several exciting initiatives, including a limited-edition anniversary guitar collection and the launch of American Dreamers, a new podcast miniseries featuring Taylor’s co-founders, Bob Taylor and Kurt Listug.
A Limited-Edition 50th Anniversary Collection
Three standouts in Taylor’s new 50th Anniversary Collection.
To kick off the celebrations, Taylor has introduced the first wave of models from its limited-edition 50th Anniversary guitar collection. These instruments, featuring exclusive appointments and designs, are crafted to honor Taylor’s tradition of innovation and excellence. Throughout the year, additional models will be released, each representing a chapter in Taylor’s journey over the past half-century.
In addition to the guitar collection, Taylor has launched a detailed timeline on its website that chronicles the company’s major milestones, innovations, and breakthroughs. This interactive resource allows fans and guitar enthusiasts to explore the evolution of Taylor Guitars and learn about the advancements that have set the company apart in the industry. From pioneering guitar designs to their commitment to sustainability, Taylor’s history is a testament to the company’s enduring passion for quality and innovation.
American Dreamers: A Podcast Miniseries
One of the most exciting parts of Taylor’s anniversary celebration is the release of American Dreamers, a podcast miniseries that offers listeners a unique glimpse into the history of the company through candid conversations with co-founders Bob Taylor and Kurt Listug. The podcast, hosted by Taylor’s Director of Sales, Dave Pelletier, dives deep into the personal and professional lives of Bob and Kurt, tracing their early beginnings and exploring the journey that led to the creation of Taylor Guitars.
The podcast starts with Bob and Kurt’s childhoods in San Diego, where they developed an interest in music and craftsmanship. Bob recalls how, during his teenage years, he became obsessed with making guitars, a passion that would later define his career. In American Dreamers, listeners get to hear the story of how Bob and Kurt first met at the American Dream guitar shop in Lemon Grove, California, when they were just 19 and 21 years old. The shop, with its free-spirited, hippie vibe, was a hub for musicians and guitar enthusiasts in the area. It was here that the seeds of their partnership were planted, leading to a business venture that would last over 50 years.
Bob Taylor (left) and Kurt Listug (right) circa 1973 – on the cusp of launching Taylor Guitars.
The Journey from a Small Shop to a Global Brand
In the inaugural episode of the podcast, titled “Episode 1: The Road to the American Dream,” Bob and Kurt reminisce about those early days, sharing the challenges and triumphs they faced in launching their own guitar company. After meeting at the American Dream shop, the duo eventually decided to buy the business and turn it into something even greater—a company dedicated to creating innovative, high-quality guitars.
Throughout the podcast, Bob and Kurt reflect on the pivotal moments that shaped the company’s growth, including their decision to implement groundbreaking guitar designs and their commitment to sustainability in later years. Taylor Guitars became known for its patented bolt-on neck, a feature that improved playability and ease of maintenance, as well as its forward-thinking use of responsibly sourced tonewoods. These innovations have solidified Taylor’s place as a leader in the guitar industry, setting new standards for craftsmanship and environmental responsibility.
Bob Taylor (left) and Kurt Listug (right) enjoy some of their new instruments in 1985.
American Dreamers isn’t just a historical retelling; it’s a treasure trove of insights for fans of Taylor Guitars and those interested in the art of guitar-making. The conversations between Bob, Kurt, and host Dave Pelletier offer a rare behind-the-scenes look at what it takes to build a successful guitar company from the ground up. For aspiring entrepreneurs, guitar enthusiasts, and anyone curious about Taylor’s success, this podcast provides invaluable lessons in creativity, perseverance, and the spirit of innovation.
A Year of Reflection and Looking Ahead
As Taylor Guitars celebrates its 50th anniversary, the company is using this moment to both reflect on its past achievements and look ahead to the future. The limited-edition anniversary guitar collection and the American Dreamers podcast are just two ways Taylor is commemorating this milestone year. By sharing the personal stories of its founders and showcasing the craftsmanship that has made its guitars world-renowned, Taylor is giving fans and musicians an opportunity to connect with the brand on a deeper level.
New episodes of American Dreamers will be released periodically throughout the year, and listeners can tune in on their favorite podcast platforms or watch video versions of the interviews on Taylor’s website. Whether you’re a longtime fan of Taylor Guitars or someone interested in the art and business of guitar-making, this podcast promises to be an engaging and informative series that highlights the passion and dedication that have driven Taylor’s success over the past 50 years.
Be sure to follow or subscribe to American Dreamers to stay up to date on the latest episodes and visit Taylor’s website to explore the full range of anniversary guitars and learn more about the company’s 50-year journey.