Satriani Inspired Tapping (Guitar Lesson)

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Kris Norris

Satriani Inspired Tapping

Kris Norris explains how to play a Joe Satriani inspired tapping etude.

Taught by Kris Norris in Kris Norris Artist Series seriesLength: 11:13Difficulty: 3.5 of 5
Chapter 1: (01:41) Introduction Welcome back to the Phase 2 Artist Series with Kris Norris! Kris performs an original composition to kick off lesson 11. This etude is designed to improve your two hand tapping technique. Kris cites Joe Satriani as his source of his inspiration for composing this piece. Players such as Stanley Jordan and Regi Wooten are also known for tapping in a similar style.

No Picks Allowed!

The pick is not used at all in this piece. Almost all notes sound as a result of hammer-ons and pull-offs. The few notes that are actually plucked are played by the fingers.


This piece is played with a clean tone on the neck pickup. However, it can also be played on a steel string acoustic to produce a slightly more percussive, Michael Hedges-esque sound.


Like usual, Kris' guitar is tuned down one whole step. All notes written in "Supplemental Content" sound one whole tone lower than written. The piece is written in the key of E minor. However, since Kris is tuned down, it sounds as though it is played in D minor.
Chapter 2: (02:25) The Left Hand When learning any new technique, it is always a good idea to isolate each of the hands if possible. This will allow you to focus all of your attention on one hand at a time.

Throughout the piece, the left hand must perform several "hammer-ons from nowhere." This technique omits the initial plucked note within the traditional hammer-on finger. Instead, the vibration is produced by hammering the left finger onto the fretboard. The velocity of the hammering motion determines how much the note vibrates and consequently how loud it will sound. When using this technique, you will need to hammer faster and more deliberately compared to a traditional hammer-on.

Hammer-on Guidelines

1. In order to play a hammer-on, the hammering finger must begin at a distance that is higher than how you normally want to play. Roughly half an inch is necessary to create the snapping movement of the hammer-on. This idea is similar to Bruce Lee's famous "one inch punch." Bruce Lee could smash his fist through a board from only one inch away. Hammer-ons should be performed in a similar manner.

2. Performing a hammer-on requires a forceful movement with a left-hand finger. The tone of a hammer-on is much clearer and louder when the hammering finger comes down fast and forcefully. If you bring your finger down to slow, the hammer-on will be weak or inaudible.

3. All rules regarding proper left-hand finger placement in relation to the frets become even more crucial when playing hammer-ons. Hammer the finger down right behind the fret. Hammering on top of a fret or too far from it will result in a poor tone.

4. Use the hard calluses on the tips of the fingers when making contact with the strings. This will help generate a louder tone.

Left Hand Strength Exercise

Practice the Strength Exercise listed in measure 3 to work on this technique. Every note in the exercise is produced as a result of a hammer-on from nowhere. Make sure that you play the exercise in the proper rhythm along with a metronome. Also, make sure that each note rings with a clear, loud tone.

The Basic Pattern

The basic right and left hand pattern that occurs in the piece is notated in measures 1 and 2 under "Supplemental Content." Practice this mini exercise to coordinate both of the tapping hands. Notes that are written with a "+" symbol are tapped by the right hand. The remaining notes are tapped with the left hand. If you can play this exercise comfortably, you shouldn't experience any technical problems when learning the entire piece.

At first, play the tapped notes with the right hand index finger. Then, repeat the exercise and tap with the middle finger. Finally, alternate between the index and middle fingers. For additional practice, use the ring finger throughout the exercise. Working through all of these combinations will broaden your tapping horizons. Many tapping pieces require the use of three right hand tapping fingers.

Note: Most tappers prefer not to use the pinky finger since it is weaker and produces a weaker tone.
Chapter 3: (02:07) The Right Hand Tapping Guidelines

A. Guitarists to Check Out

Van Halen
George Lynch
Steve Vai
John 5 aka John Lowery
Kirk Hammett
Joe Satriani
Ron Thal aka Bumblefoot
Michaelangelo Batio
Stanley Jordan
Jennifer Batten
Billy McLaughline
Kaki King
Nuno Bettencourt
Paul Gilbert
Gary Moore
John Petrucci
Adrian Smith
Andy McKee
Michael Hedges
Regi and Victor Wooten
Jeff Watson

B. Songs to Check Out

Ytse Jam - Dream Theater
A Fortune in Lies - Dream Theater
Pachendale - Iron Maiden
Flying High Again - Ozzy Osbourne (Randy Rhoads)
Crazy Train - Ozzy Osbourne (Randy Rhoads)
Jump Man - Buckethead
Jordan - Buckethead
Nottingham Lace - Bucketmead
Am I Evil - Metallica Version (Kirk Hammett)
One - Metallica (Kirk Hammett)
Eruption - Van Halen
Mean Street - Van Halen
Rock in America - Night Ranger

C. Tone

Most players prefer to use a high gain sound with the bridge pickup when playing tapping licks. Distortion compresses the signal of the guitar. As a result, notes played quietly sound slightly louder. Distortion also increases the overall sustain of each note.

It is entirely possible to perform tapping licks with a clean tone. When playing clean, you must tap more aggressively in order to produce notes that are appropriate in volume. Applying reverb and compression will help even out the volume and sustain of notes when playing with a clean tone.

D. Choosing a Tapping Finger

Tapping is typically performed with either the index finger or the middle finger. The third finger is occasionally used in certain rare situations. Both the index and middle fingers come with their own advantages and disadvantages. Most players find that it feels most comfortable to tap with the first finger. However, the pick is usually held with the first finger. Consequently, the pick must be tucked away somewhere in order to pick with this finger. Some players tuck the pick between the middle joints of the index and middle fingers. Others hold the pick between their teeth. Some players drop the pick altogether when tapping. When it comes time to pick notes, they simply grab a new pick.

Since the first finger typically holds the pick, many players prefer to tap with the middle finger. This allows you to tap without having to adjust your grip on the pick. Eddie Han Valen takes an interesting middle of the road approach. He frequently grips the pick between his thumb and middle fingers. This leaves his index finger free to perform tapping licks.

E. Economy of Movement

Economy of movement is key to playing tapping licks accurately at fast speeds. Keeping the fingers as close to the fretboard as possible at all times will ensure that each finger is prepared to play when called upon. Check out the following lessons for economy of movement exercises:

Matt Brown - Phase 2 Rock Lesson 1 - Most Important Exercise Ever
Danny Voris - Phase 2 Classical Lesson 4

F. Tapping Direction

There is no right or wrong direction when it comes to performing a pull-off with a tapping finger. Some players prefer to pull the finger straight downwards from the string towards the floor. Others prefer to flick the string upwards towards the ceiling. Experiment with both directions to determine which feels most comfortable for you.

G. Hammer-on / Pull-off Basics

Model your right hand hammer-on technique after the hammer-on technique of the left hand. Use the hammering movement of the left hand fingers as a basis for your hammer on and pull-off technique with a tapping finger. The basic mechanics of these techniques remain the same regardless of which hand is used.

When performing a hammer-on, the velocity of the tapping finger will determine the volume of the tapped note. The density of your callus on the tapping finger will also have a small effect on volume. The tapping finger should never be higher than 1/2 inch from the fretboard regardless of whether you are about to perform a hammer-on or a pull-off. Raising the finger higher will only cause speed and accuracy problems.

When performing a pull-off with a tapping finger, the volume level is controlled by how far you flick the string up or down (towards the floor or the ceiling).

H. Muting

Open strings have a higher tendency to vibrate sympathetically when distortion is applied to a guitar tone. Consequently, you must mute unused strings. Most players typically mute the lower, unused strings by resting the palm of the right hand on them. Occasionally, you may see a guitarist wrap a sock or a hair tie around the neck to help mute open strings.

I. Action

The height of the strings above the fretboard or "action" will impact the volume of tapped notes. If your action is set higher, you will need to use a more forceful hammer-on / pull-off movement in order to produce notes that are adequate in volume.

Add 9 Chord Exercise

In this scene, Kris demonstrates an exercise that will train both your right and left hand tapping skills. The exercise begins with a Dadd9 chord tapped with the left hand. These notes sound as a result of hammer-ons from nowhere. You have probably heard this chord voicing in songs such as "Every Breath You Take" by the Police or "Floods" by Pantera. Next, the right hand arpeggiates a D5 chord. Use the right index finger to tap notes on the fourth string. Tap all notes on the third string with the middle finger. The ring finger is used to tap notes on the second string. The right hand tapping pattern remains unchanged as the left hand continues to tap various chord voicings in measures 5-10. However, in measures 11 and 12 of "Supplemental Content" the right hand figure is slightly changed as the exercise draws to a close.
Chapter 4: (03:19) Improvising Watch and listen as Kris improvises a tapping piece using the concepts presented in the past several scenes. His improvisation is played in the key of E minor. All notes and chords are diatonic to the E natural minor (E Aeolian) tonality. Many add 9 voicings are used throughout the piece.

Note: Tablature / standard notation to the piece is provided under the "Supplemental Content" tab. This is not an exact transcription of what Kris plays since some of the ideas are improvised.
Chapter 5: (01:50) Variations Always keep an open mind when it comes to fingering a two handed tapping example. One of the advantages of the guitar is that the same note can be played in several different areas of the fretboard. You many need to adjust the fingering of a certain idea in order for two notes to ring together. Also, remember that the right hand may be used to play notes that typically the left hand would be responsible for. Watch as Kris demonstrates some examples of how the fingering can be adjusted to accommodate chordal ideas that involve two handed tapping.

Additional Tapping Ideas

Some additional ideas are provided on the final page of "Supplemental Content." Use these basic ideas as a source of inspiration when composing your own tapping music. Blocked power chords can be played by the left hand. Two notes can be tapped in succession on the same string with the right hand. Or, the right hand can slight back and forth between two notes on the same string. Experiment and come up with your own ideas as well. There is no limit to the possibilities available with two handed tapping.

Video Subtitles / Captions


Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

clarke1966clarke1966 replied

Thanks for the lesson Kris, this is beautiful stuff. One problem that I seem to have is that when I tap (at least on my acoustic) the string rings both above and below where I tap, so do I have to mute the string between the fret and the nut? I don't see you doing this on the vid.

lespaul305lespaul305 replied

thanks for the great lesson Kris, i always had problems with tapping like this... nice improve

spinfinityspinfinity replied

Beautiful playing, Kris. I have watched the impov part of this lesson multiple times just to enjoy it. I can't practice anymore cuz my ring finger hurts like hell now.

ian24ian24 replied

great lesson man, keep em coming! u got a great sound with a lot of those riffs, too. cant wait for the next ones!

mistafreezemistafreeze replied

I agree, watching these videos is better than watching tv or a movie. I cant wait till JamPlay starts doing extreme pans and experiments with motion blurs, lol. Final Cut for the win! Oh, and this video is awesome. Thx

sanctumzerosanctumzero replied

In what way is it inspired by Satriani? :P

kvdalykvdaly replied

Listen to Midnight from Surfing with the Alien, or Day at the Beach from Flying in a Blue Dream...that should help with the connection.

matt890camatt890ca replied

When I seen this in your introduction video I was hoping this would become a lesson...Awesome!!! Thanks!

vmfa122vmfa122 replied

The super high quality video, editing, and sound make these videos the best on the internet--keep up the good work!

cdawsoncdawson replied

Thanks man.. Kris is pretty good too!

Kris Norris Artist Series

Found in our Beginner Lesson Sets

Kris Norris kicks off the Artist Series with a wide array of ideas and lessons; from changing strings on a floyd rose, to advanced sweeping / legato techniques and soloing applications.

Changing Strings - Floyd Rose StyleLesson 1

Changing Strings - Floyd Rose Style

Kris Norris demonstrates how to install new strings on a guitar equipped with a Floyd Rose tremolo system.

Length: 13:43 Difficulty: 1.5 Members Only
Warm-up Exercises with KrisLesson 2

Warm-up Exercises with Kris

Kris Norris shows you his favorite warm-up exercises. These exercises will prepare you to play the guitar from a physical and mental standpoint.

Length: 12:16 Difficulty: 2.0 Members Only
Scalar Exercises: Left and Right Hand SynchronizationLesson 3

Scalar Exercises: Left and Right Hand Synchronization

Kris covers chromatic and scale pattern exercises. Also, he explains some variations on these exercise and provides you with the knowledge to create your own variations. Now you don't have any excuse...

Length: 20:23 Difficulty: 2.0 Members Only
Scalar Exercises: LegatoLesson 4

Scalar Exercises: Legato

Kris shows you the in's and out's of legato playing. These examples will benefit beginners and and advanced players alike. The patterns Kris uses in this lesson are based on the examples shown in "Scalar...

Length: 11:01 Difficulty: 2.5 Members Only
Chuggin' n Skippin'Lesson 5

Chuggin' n Skippin'

Kris covers right hand techniques such as palm muting, tremolo, palm muted string skipping, and upstroke accents.

Length: 13:26 Difficulty: 3.5 Members Only
Advanced Sweep Picking ApplicationsLesson 6

Advanced Sweep Picking Applications

Kris covers the right and left hand components of sweep picking separately. Then, he shows you how to synchronize the two. Three string arpeggios and five string arpeggios with hammer-ons are both included...

Length: 35:40 Difficulty: 4.5 Members Only
Remaining Foolish: Arpeggios & Scalar LinesLesson 7

Remaining Foolish: Arpeggios & Scalar Lines

Kris presents excerpts from his song "Remaining Foolish" from Icons of the Illogical. He explains the arpeggio patterns used in various parts of the song and also talks about alternate picked arpeggios....

Length: 17:40 Difficulty: 4.0 Members Only
Sweep Exercises Based on Canon in DLesson 8

Sweep Exercises Based on Canon in D

Kris uses Pachelbel's "Canon In D" as a way to practice arpeggio sweeps. He shows how to sweep and alternate pick arpeggios.

Length: 10:08 Difficulty: 4.5 Members Only
Counterpoint: A Shift In NormalcyLesson 9

Counterpoint: A Shift In Normalcy

This lesson is about the concept of counterpoint and harmony. Kris explores contrapuntal examples from his song "A Shift In Normalcy" off of his solo record Icons of the Illogical.

Length: 8:52 Difficulty: 4.5 Members Only
A Closer Look At Pick ThicknessLesson 10

A Closer Look At Pick Thickness

Kris analyzes different pick sizes and their effect on his playing. Using a slow motion camera, he is able to point out the differences in pick thickness.

Length: 32:24 Difficulty: 0.5 FREE
Satriani Inspired TappingLesson 11

Satriani Inspired Tapping

Kris Norris explains how to play a Joe Satriani inspired tapping etude.

Length: 11:13 Difficulty: 3.5 Members Only
Extending Your Musical Reach With 8 String GuitarsLesson 12

Extending Your Musical Reach With 8 String Guitars

Kris Norris takes a look at 8 string guitars and their possibilities. He demonstrates the versatility of an 8 string with jazz and metal applications. Kris also performs a short improv jam at the end.

Length: 10:34 Difficulty: 1.5 Members Only
Neoclassical InspirationsLesson 13

Neoclassical Inspirations

Kris teaches neoclassical examples from three of his favorite guitar players.

Length: 29:17 Difficulty: 5.0 Members Only
Rock & Metal Chicken Pickin'Lesson 14

Rock & Metal Chicken Pickin'

Kris displays some adventurous ways to use chicken pickin' in a rock and metal environment.

Length: 15:25 Difficulty: 3.0 Members Only
Exotic Embellishments In The Style Of Marty FriedmanLesson 15

Exotic Embellishments In The Style Of Marty Friedman

Kris teaches arpeggio examples that use notes outside of a scale. He also demonstrates an example using the Chinese scale.

Length: 12:19 Difficulty: 2.5 Members Only
Connecting Scale PatternsLesson 16

Connecting Scale Patterns

Kris shows you how to connect the patterns of a G major scale together.

Length: 15:28 Difficulty: 2.0 Members Only
Mastering Modes: Basic Scale Theory PrimerLesson 17

Mastering Modes: Basic Scale Theory Primer

This is the first lesson in the "Mastering Modes" mini series. Here Kris explains the fundamentals of scale basics.

Length: 19:08 Difficulty: 3.0 Members Only
Mastering Modes: IonianLesson 18

Mastering Modes: Ionian

In this lesson, Kris explains the history behind the modes and then explains the Ionian mode.

Length: 9:59 Difficulty: 2.0 Members Only
Mastering Modes: DorianLesson 19

Mastering Modes: Dorian

In this lesson, Kris covers the Dorian mode, which is the second mode of the major scale.

Length: 13:39 Difficulty: 2.0 Members Only
Mastering Modes: PhrygianLesson 20

Mastering Modes: Phrygian

Kris explains the basics of the Phrygian mode, which is a minor sounding mode of the major scale.

Length: 7:43 Difficulty: 2.0 Members Only
Mastering Modes: LydianLesson 21

Mastering Modes: Lydian

In this installment of the "Mastering Modes" mini-series, Kris covers the Lydian mode. This is the fourth mode of the major scale.

Length: 9:47 Difficulty: 2.0 Members Only
Mastering Modes: MixolydianLesson 22

Mastering Modes: Mixolydian

Kris explains the basics of the Mixolydian mode, which is a major sounding mode of the major scale.

Length: 10:00 Difficulty: 3.0 Members Only
Mastering Modes: AeolianLesson 23

Mastering Modes: Aeolian

Kris explains Aeolian, which is the 6th mode of the major scale. This is also known as the natural minor scale.

Length: 7:32 Difficulty: 3.5 Members Only
Mastering Modes: LocrianLesson 24

Mastering Modes: Locrian

Kris covers the Locrian mode, which is the 7th mode of the major scale.

Length: 5:48 Difficulty: 3.5 Members Only
Song Workshop ExperimentLesson 25

Song Workshop Experiment

Aaron Miller sits down with Kris in the JamPlay studio to discuss songwriting techniques.

Length: 78:38 Difficulty: 0.5 Members Only
Song Workshop Experiment - FinaleLesson 26

Song Workshop Experiment - Finale

Kris Norris and Aaron Miller are back to finish up what they started. Get ready for more songwriting, playing tips, and inside information. Enjoy

Length: 32:00 Difficulty: 0.5 Members Only
Picking Practice With Drum RudimentsLesson 27

Picking Practice With Drum Rudiments

Kris shows how some drum rudiments can be used to make exercises for your right hand.

Length: 18:33 Difficulty: 2.5 Members Only
Sliding ArpeggiosLesson 28

Sliding Arpeggios

Kris teaches how to use sliding techniques with arpeggios. He uses an example in the Lydian mode and also plays over a backing.

Length: 15:11 Difficulty: 4.0 Members Only
Left Hand Finger IndependenceLesson 29

Left Hand Finger Independence

Kris teaches exercises focused on getting the left hand fingers to be more independent.

Length: 26:19 Difficulty: 3.5 Members Only
Building Triad ArpeggiosLesson 30

Building Triad Arpeggios

Kris explains root triad arpeggios and their first and second inversions.

Length: 25:12 Difficulty: 2.5 Members Only
Practicing Triad Arpeggios ChromaticallyLesson 31

Practicing Triad Arpeggios Chromatically

This lesson focuses on sweep picking major, minor, and diminished triad arpeggios chromatically.

Length: 16:33 Difficulty: 3.0 Members Only
Re-voicing Progressions with InversionsLesson 32

Re-voicing Progressions with Inversions

Kris shows you how inversions can be used to create smooth voice leading within a progression.

Length: 14:34 Difficulty: 2.0 Members Only
Dual Tonality PentatonicsLesson 33

Dual Tonality Pentatonics

Kris shows how to combine pentatonic scales from different keys to form new and interesting sounds.

Length: 24:06 Difficulty: 2.0 Members Only
Betcha Can't Scale ThisLesson 34

Betcha Can't Scale This

Kris shows you how to learn scales vertically and horizontally on the fretboard.

Length: 16:11 Difficulty: 2.0 Members Only
The Neapolitan ChordLesson 35

The Neapolitan Chord

Named after the "Neapolitan School" from the 18th century and not ice cream, this chord is a major chord built on the lowered 2nd scale degree.

Length: 7:13 Difficulty: 1.0 Members Only
Diatonic Chords In G MajorLesson 36

Diatonic Chords In G Major

Kris shows the diatonic chords of G Major.

Length: 19:42 Difficulty: 1.0 Members Only
Diatonic 7th ArpeggiosLesson 37

Diatonic 7th Arpeggios

Kris teaches you how to play diatonic 7th arpeggios and their inversions in the key of G major.

Length: 15:47 Difficulty: 3.0 Members Only
Tapping 7th ArpeggiosLesson 38

Tapping 7th Arpeggios

Kris shows you how to play seventh arpeggios with tapping, legato, and string skipping.

Length: 7:45 Difficulty: 3.5 Members Only
Popular Chord ProgressionsLesson 39

Popular Chord Progressions

Kris shows some common major and minor chord progressions.

Length: 27:24 Difficulty: 2.0 Members Only
Quick Connect EMG Active PickupsLesson 40

Quick Connect EMG Active Pickups

Kris installs these new EMG pickups into his guitar.

Length: 26:15 Difficulty: 2.0 Members Only
Workshop With ChodypthLesson 41

Workshop With Chodypth

Kris Norris sat down with Chodypth, aka Cody, and this video is the result of a day of jamming and practicing.

Length: 77:35 Difficulty: 0.5 Members Only
Kris Norris

About Kris Norris View Full Biography Mr. Kris Norris was born August, 31 1978 in Canton, Ohio. He began playing around the age of 14. Early on the self-taught guitarist took an interest in metal and began playing in a local Virginia metal band. Kris' early influences were rooted in Swedish metal, bands include In Flames, Dark Tranquility, and Edge of Sanity. Norwegian Black metal also played a part in Kris' interest including early Mayhem, Emperor, and Ulver. Kris started Disinterment with future Darkest Hour bandmate Ryan Parrish. Disinterment lasted over 6 years and developed a local following in the Virginia metal by being some of the first players to incorporate Swedish metal and 3 guitar players.

College Days
When Kris was 17 he attended Virgina Commonwealth University School of Music (VCU). He studied Music composition and focused on film with world renowned composer Dika Newlin. Kris also studied classical guitar with John Patykula, prize student of Jesus Silva who was the prize student of Andre Segovia. Kris left the University after 6 years of studies. After college, he began his teaching career instructing private students and giving lessons at Mars Music. Kris' teaching career would eventually be put on hold to join Darkest Hour.

Darkest Hour Days
Kris' first album with Darkest Hour ,Hidden Hands Of A Sadist Nation, the 2005 release was recorded at Studio Fredman in Gothenburg, Sweden with producer Fredrik Nordstrom. Ironically, the same studio facilitated many of Kris' influences 10 years prior.

Darkest Hour's next release, Undoing Ruin allowed Kris to stretch his wings and show what he could truly do on the instrument with the addition of several solos. The record was produced by Canadian metal mastermind Devin Townsend (Strapping Young Lad, Steve Vai). Townsend was a big part of pushing Kris to his own musical potential on Undoing Ruin and even more so on the follow up record, Deliver Us.

Deliver Us was released in 2007 and debuted at 110 on the Billboard Chart. This would be the last Darkest Hour record with Kris as a member. The album like its predecessor was also produced by Devin Townsend, who was able to take a bigger hand in its production. Devin pushed Kris to experiment with his own playing and to hone in on his strongest abilities.

Kris' career with Darkest Hour spanned 6 years, 23 countries, 4 continents, countless tours, 3 albums, near 200,000 album sales, and many lifelong friendships made along the way. With the birth of his son in 2008, Kris felt he needed to take his career closer to home while still focusing on music and guitar. In order for Darkest Hour to devote 100% to their music and touring, Kris came to the decision to amicably part ways with the band.

His Future:
As of early 2009, Kris has full sponsorships from ESP, EMG, Peavey, DigiTech, InTune, and Morley. Currently, Kris is producing and mixing aspiring metal acts while also working for Final Symphony Studios out of Charlottesville, Virgina. Kris also edits records for James Murphy (Testament, Obituary, Death) at Safehouse Productions. Kris has released his first solo record through Magna Carta Records, entitled Icons Of The Illogical. His solo effort was recorded at Karma Productions with Cory Smoot (GWAR) and features vocals from Lamb Of God frontman Randy Blythe.

Kris is excited to be an addition to the JamPlay Instructor Roster. Lending his metal chops and thorough education to his lessons make him a valuable teacher. Kris is excited to be making lessons for JamPlay and just as stoked to learn new things from our other instructors. Check it out and stay Metal.

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Mike H.

"I feel like a 12 year old kid with a new guitar!"

I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! I am an advanced picker and thought I had lost it but thanks to you all, I found it again! Even though I only play by ear, I have been a member a whopping whole two weeks now and have already got Brent's country shuffle and country blues down and of course with embellishments. Thank you all for your wonderful program!

Greg J.

"With Jamplay I can fit in a random session when I have time and I can go at my own pace"

I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg


"I believe this is the absolute best site for guitar students."

I am commenting here to tell you and everyone at JamPlay that I believe this is the absolute best site for guitar students. I truly enjoy learning to play the guitar on Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.

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