Video summary

HOW TO PLAY AND WRITE LIKE MAC DEMARCO

Main summary

Key takeaways

Art and Creativity

Summary

The video is a guitar-focused walkthrough on how to play and write songs in the style of Mac DeMarco. It covers:

  • Dialing in amp/guitar tone (bright rhythm/treble pickup settings, reverb amount, and chorus/vibrato effects)
  • Explaining capo use (and why it’s sometimes used for open-chord ring/singing range)
  • Building an E-major approachable verse chord progression (diatonic + “5-to-1” resolution)
  • Adding DeMarco-like strumming patterns (tight vs open, muted hits, bass-forward feels)
  • Composing a second guitar melody by using chord voicings and slides
  • Creating a more jazzy/tension-filled chorus using unexpected chord substitutions (e.g., diminished and altered dominants) plus open-string switching between chords
  • Tips for improvising melodic solos using relative minor / minor pentatonic scales, with bluesy phrasing (bends, vibrato, hammer-ons) and practicing solos as short segmented ideas rather than endless runs

Artistic techniques / creative processes shown

1) Sound design for a “Mac DeMarco-ish” guitar tone

Pickup/treble vs rhythm settings

  • Use the treble pickup for a brighter attack.

Amp EQ

  • Raise treble/high for brightness.

Reverb amount

  • Keep it around average or slightly less.
  • Rationale: the song is “fast/punchy,” so too much reverb can muddy the sound.

Chorus/vibrato approach

  • Studio vs live note:
    • DeMarco uses different modulation feels (the claim is he uses a “mix/processing” approach that creates his studio vibrato feel).
  • If using a chorus pedal:
    • Set rate high
    • Set depth low (near zero) to get a more DeMarco-like modulation character.

Capo concept (explained even if not used in their written example)

  • Use capo to keep open-chord shapes while placing them higher for ring/sustain and to fit the singer’s range.
  • Support melodies that want open-string notes.

2) Songwriting framework: chord-first (with theory, but aiming for feel)

  • The progression and melody are interwoven, so either can come first.
  • Uses two “modes” of harmony:
    • Approachable / diatonic progressions (verse feel)
    • Jazzier / more dissonant tension progressions (chorus feel)

3) Building an “approachable” verse progression (the “DeMarco rules” approach)

  • Choose a key (example: E major).
  • Use chords that fit the E major scale.
  • Emphasize functional movement often including “5 → 1”.
  • Add the color of 7 chords, including dominant/diminished flavors where appropriate.
  • The example progression is described as a “1-6-2-5 type flow” (the speaker’s labeling is sometimes unclear), with the underlying method being:
    • diatonic chords + strong resolution

4) Strumming as an arrangement tool (tight vs open)

Two main rhythmic feels:

  • Verse (tight/catchy)

    • A busier, more rhythmic pattern with muted/tighter note decay.
    • Emphasis on short hits and syncopation.

  • Chorus (open/more sustaining)

    • Less tight, more “space,” longer chord sustain.
    • Drums/guitar strumming become more open.

Additional techniques:

  • Muted string “hits” between chord strikes (right-hand muting)
  • Bass-note-centered strumming in acoustic-like patterns
    • Focus on two bass notes + occasional upstroke to create the groove
  • Between-chord chord switching via open strings
    • Briefly strike open strings as transitions and sustain, rather than always fretting full chords

5) Writing a second guitar melody (counter-melody)

Process:

  1. Start with the verse/chorus chord progression.
  2. Use multiple chord voicings across the fretboard.
  3. Compose a melody that:
    • fits notes inside the harmony,
    • stays catchy and rhythmic (avoid lots of long sustained tones),
    • can be similar to vocals sometimes, or more country-blues-ish other times.

Techniques:

  • Slides (melody starts sliding into the next note)
  • Use chord tones/neighbor tones and small “tense” passing notes
  • Repetition with variation (e.g., similar opening phrase, different ending; higher on first pass, lower/more open on repeats)

6) Creating a “jazzy/tension” chorus with unexpected chords

Method:

  • Keep the “center” key/scale as a reference (so it still makes musical sense).
  • Substitute chords with unexpected harmonic choices to add tension:
    • diminished chords
    • altered dominants
    • 7th-based harmonies

Why it works:

  • It’s about moving away from what you’d expect, while still resolving nicely into the next chord.

Additional detail:

  • Uses open-string ringing inside the tension progression:
    • Let open strings resonate across changes for a DeMarco-like “ring and looseness.”

7) Soloing/improvisation in a DeMarco-adjacent way

Core approach:

  • Use the relative minor (example: E major → C# minor).
  • Prefer minor pentatonic for melodic improvisation.
  • Allow small departures for color, while keeping the core scale in mind.

Techniques:

  • Bends (bluesy), not-too-long holds
  • Vibrato on sustained/bent notes
  • Hammer-ons
  • Slides (carrying into notes)

Solo creativity practice:

  • Avoid an “endless run.”
  • Build solos as:
    • short segmented ideas
    • with clear phrase endings
    • with occasional silence/spacing for structure

Steps / advice presented

Gear/setting setup (tone)

  • Set guitar to treble pickup
  • Adjust amp EQ to make it brighter (treble/high up)
  • Set reverb to moderate/low (avoid washing out fast playing)
  • If using a chorus pedal:
    • rate high
    • depth low/near zero
  • Consider capo placement conceptually for open chords + singable range
    • (the video example song skips capo so viewers can follow)

Verse songwriting (example: approachable)

  • Choose a key (example: E major)
  • List chords that fit the major scale in that key
  • Prefer functional harmony that often includes dominant → tonic (“5 → 1”) motion
  • Use 7th chords for color (major/minor/dominant 7/diminished as needed)
  • Write a catchy, tight strumming pattern to match the harmony
  • Add muted percussive hits between chords

Melody writing (second guitar)

  • Use chord voicings to find note options on different fretboard positions
  • Write a melody that:
    • stays rhythmically catchy,
    • often uses slides,
    • aligns mostly with the harmony,
    • uses repetition with variation (similar start, changed ending)

Chorus / tension writing

  • Keep the harmonic “home” in mind, but replace expected chords with unexpected ones
    • especially diminished and altered 7 chords
  • Use open strings strategically for ringing transitions and more openness
  • Arrange for open sustaining strumming versus verse tightness

Soloing practice

  • Improvise mainly from relative minor / minor pentatonic
  • Use blues techniques:
    • bends
    • vibrato
    • hammer-ons
    • occasional slides
  • Create solos as short segmented phrases with noticeable endings or brief silence

Creators / contributors featured (end of video)

  • Marvin / MJ (credited via a “huge thank you” message)
  • Daniel (credited via a “huge thank you” for a donation)

Original video