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Playing Lead and Scales (Guitar Lesson)

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Steve Eulberg

Playing Lead and Scales

This lesson introduces you to the basics of lead guitar. You will learn alternate/double picking as well as the major scales.

Taught by Steve Eulberg in Basic Guitar with Steve Eulberg seriesLength: 45:00Difficulty: 2.5 of 5
Chapter 1: (2:50) Introduction and Lead Information At this point, you have learned some basic and intermediate chords. Also, you are now acquainted and comfortable with the technical components of guitar playing. In this lesson, these concepts will be applied to a whole new area of musicality-playing melodies. The music theory concepts that link certain chords into key centers will now be applied to determine which scales will work over a given chord progression.

Don’t be intimidated by the process of learning scales. It is much easier to learn scales on the guitar than any other instrument. This is due to the fact that scale patterns on the guitar can easily be shifted up and down the neck to different keys.
Chapter 2: (2:26) Scales and Their Uses Since the guitar can function as a melodic instrument as well as a rhythmic instrument, all playing can be grouped into three basic categories. As a guitarist, you will either be playing rhythm, lead (melodic content), or a combination of both. In this lesson, Steve plays a nice arrangement of “Will the Circle Be Unbroken.” This arrangement is an example of combination rhythm/lead playing. Steve is simultaneously playing chords and the melody of the tune on the bass strings.

In order to play in this style, two areas of study must be mastered. First, the initial chord must be learned. “Will the Circle” is in the key of C. As you might have guessed, the first chord in the tune is C. When a chord is played, it is described as being in a certain “position” based on its location on the neck. Since the basic C chord contains 2 open strings, it is said to be in “open position.” At this point, we know two very important pieces of information pertaining to this piece of music. The song is in the key of C, and it is played in open position. In order to add the melody to the song, the C major scale must be learned in open position.
Chapter 3: (3:16) Double Picking/Alternate Picking In order to play melodic lines comfortably and musically, a technique referred to as “alternate or double picking” must be mastered. Due to economy of motion, alternate picking enables one to play twice as fast. In order to master this important technique, apply it to the basic fingering exercises that you have learned in earlier lessons. Play each fretted note four times. The first stroke should be a downstroke. Then, continue with an alternating up, down, up, down pattern. Keep the pick as close as possible to the strings at all times!

Once you have mastered playing the exercise this way, play it without repeating each note. Watch Steve demonstrate this idea, then emulate how he plays.
Chapter 4: (16:45) Diatonic Major Scale and Pattern Before you learn the fingering pattern for the “open” C major scale, some basic music theory concepts pertaining to scales must be learned.

The major scale is referred to as a “diatonic” scale. Scales are either grouped into two categories: diatonic and chromatic. A chromatic scale begins on a specified pitch and ascends in constant half steps until that pitch is reached again. A diatonic scale refers to a specific tonal quality associated with a specific key center. The C major scale is a diatonic scale. It is major in quality, and it is associated with the key center of C.

Every single scale follows a specific pattern of half and whole steps. On the guitar, a half step interval is found one fret away. Thus, a whole step represents two frets. The major scale, regardless of which key you are in, follows the following pattern of half and whole steps: whole, whole, half, whole, whole, whole, half. C to D is a whole step interval as well as D to E. Since the scale mainly consists of whole steps, it is much easier to memorize the exceptions to this rule. A half step exists between E and F. B and C are also a half step apart. If you are performing, and you forget the fingering pattern of a scale, memorizing these intervalic relationships just might save you from disaster!

Steve demonstrates the C major scale in the context of an open C chord. By learning the scale this way, you are preparing yourself to play a melody in C major while simultaneously playing a C chord. Watch Steve carefully to learn and memorize the fingering pattern he demonstrates
Chapter 5: (8:26) Two Octave Pattern One disadvantage to playing scales in “open” position is that their fingering patterns are not movable. In other words, these patterns can’t be shifted up the neck in order to play in different keys. However, the patterns that Steve demonstrates in the following two scenes can be shifted up and down the neck to any key.

The first pattern begins with a root note on the sixth string. The root of a scale is the key center and starting note. For example, C is the root of the C major scale. This scale pattern spans two octaves.

Note: Click the “Supplemental Content” tab for a fretboard diagram of this scale pattern.
Chapter 6: (8:58) Two Octave Pattern on 5th String This scale pattern contains the exact same notes as the pattern learned in the last scene. However, this scale is played in a different position on the fretboard. Also, this scale pattern begins on the fifth string, not the sixth. So, why learn the scale in two different locations on the fretboard? Here are a few very important reasons:

1. Learning multiple scale patterns for a single key increases your overall knowledge of the fretboard.

2. When improvising a solo, guitarists frequently shift to different positions. This enables the guitarist to seamlessly shift from one range of notes to the next. Watch any professional guitarist play a solo. Does he or she stay in one position on the neck or move up and down it? Chances are that you observed several position shifts within one single solo.

3. Position shifts enable the player to reach higher and lower octaves, or different registers. Also, some melodies are much easier to play if you shift positions rather than staying in one vertical pattern.

The scale pattern that Steve demonstrates in this scene contains a position shift. This portion of the scale will probably require some extra practice. If necessary, isolate this shift and drill it until you feel comfortable with it.

Note: Click the “Supplemental Content” tab for a fretboard diagram of this scale fingering.
Chapter 7: (2:31) Ending and Credits Learning to play scales and melodies musically is a lifelong process. Consequently, you should practice your scales slowly and carefully. Learning scales can be a very overwhelming process. There are multiple scale types (major, minor, diminished, etc.) and several different positions on the neck to play them in. To make this long process manageable, learn a few patterns a month. Once you have memorized a pattern, try playing it in all 12 keys.

Becoming an accomplished musician can easily be compared to building a house. You must start with a strong foundation. Otherwise, the whole structure will topple. Since scales are the building blocks of all music, significant time must be devoted to learning their patterns and uses.

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.

bvstringbvstring replied

I can repeat the one octave, two octave and extended 5th string scales anywhere on the neck "without looking" I understand this is the key to finding available notes for solos within a song that I now can only play by strumming chords. So how do I pick a scale to explore for each song. Start that scale on the note that is the key the song is in? Or?

wchristiewchristie replied

What do the numbers on the white board represent? Frets? Fingers?

Bradley.ConwayBradley.Conway replied

Hi wchristie! The numbers represent the full steps (notes) in a scale. In this case it's the Diatonic scale, but it could be used for scales as well. Each number represents a whole note, however depending one scale or mode you're playing it may require half notes. You can see the half notes on Steve's chart by the red hash marks in-between the whole notes. Steve describes this really well at 02:45 of scene #4. I hope this helps :)

desirockerdesirocker replied

Just to clarify, the Two octave pattern only works when you begin the scale on the 6th string? There isn't a two octave equivalent for starting on the 5th string? Thanks

desirockerdesirocker replied

Wait its covered in the next lesson. Steve Eulberg - Your the best!!! :)

leoking46leoking46 replied

is there a picture of the c scale for lesson 11 so I can practice

guitar007guitar007 replied

Click on Supplemental and you'll find the patterns for the major scale. To play a C major scale, start the pattern at a C note on the A string or the E string. Hope that helps.

leoking46leoking46 replied

is there a picture of the c scale for lesson 11 so I can practice

leoking46leoking46 replied

is there a picture of the c scale for lesson 11 so I can practice

guloguloguyguloguloguy replied

I am ALWAYS amazed at how skilled musicians (like Steve Eulberg) can just jump in and start 'jamming' right along with other playing musicians, and know just where to find all of the 'right notes' (obviously there's a LOT of need to understand the importance of proper "Scale Patterns", and also to know what chords go well at each point along in the tune! => [This is when it starts getting to be really FUN, and One starts "Grinning" intensely, Roy Clark! LOL!!! :D ]

guloguloguyguloguloguy replied

Do you encourage students to also try to practice using the 'alternating' picking techniques, (swinging the pick up/, then down\), as they work their way up and down through the various scale pattern?.... Once we've pretty well got the basic Major scale patterns learned/memorized, then what might be some good 'exercises' to practice picking out within the overall 'scale pattern' - for instance, would it be good/best to then try to pick out every other note within the scale?...., or perhaps should we try to pick the 'odd numbered, or even numbered tones within the Major scale?... (such as playing "C",(D),"E",(F),"G",(A),"B",..... going up, and then, backing downward, through the pattern. Obviously we want to eventually be able to quickly and instinctively find the next most important notes within a given scale, which will help formulate the notes of the (arpeggiated) chords we'll need to be using in a tune.....(?)

guloguloguyguloguloguy replied

I might have missed your explanation of the red squares being drawn around the "Root Notes", within the Major scale patterns that you have laid out on the lower portion of the board. It might help if you could draw in the horizontal and vertical lines (representing the strings and frets (respectively), for each of the 'scale' patterns shown.

guloguloguyguloguloguy replied

On the (lower portion of the) white-board, I was a bit confused ,(at first) about the 'scale' patterns that you're showing, until I realized that on the left (direction) was/is toward the nut, and the lower tone strings are toward the bottom of the shown 'scale' patterns. Also, I then realized that you have 3 different 'scale' patterns shown (each starting at a different point, or on a different string. I understand it, (after getting my directional 'bearings' oriented), but, I hope others with less experience will sort this out in time. You're a very good, and patient instructor! = it's much appreciated!... :D [I need to move toward lessons on how to derive 'scales', melodies, and the various related arpeggiated chords, all within the context of a given 'scale' pattern, and in a given key].

omar2005omar2005 replied

Steve, you're a great guitar player!:)

gannablegannable replied

wish he would chart the major diatonic pattern because i cant follow whart he's doing. and i dont understand what he's saying

AaronMillerAaronMiller replied

Hi, here is a link to our scale library: Does that help?

gannablegannable replied

don't understand what where on the fret board im supposed to be picking

blueser100blueser100 replied

This lesson, by far, is one of the best I have seen that explains the relationship between melodies, scales, and positions. Understanding these extended major scales is the missing puzzle piece that I needed to be able to improvise and play the notes in my head but which were not yet under my fingers. Thank you Steve!

captshadycaptshady replied

I don't understand how you're playing an F scale, when you would have to start in position 2, which would be first fret of the 6th string. Your #2 finger would start in the first fret, so when you go up to the A string, there's no place for your first finger.

steveeulbergsteveeulberg replied

Captshady, in my description 2nd position starts with the 1st finger on the 2nd fret. 1st position, or home position, starts with the 1st finger on the 1st fret. Does this help?

grubbyjeansgrubbyjeans replied

Thanks for a great lesson on playing scales. I've been struggling with learning the patterns for some time, and enduring "You never play anything but scales.", mostly during Dancing With The Stars or American Idol. :) For those of you who have never met Steve, if you get the chance to meet him and attend one of his classes, it is WELL worth the money. I've had the privilege of both and he is a great teacher.

raffybraffyb replied

Steve, thank you for the great lessons. Any advice on how to practice my diatonic scale patterns to commit them to memory? i.e besides just repeating them, do yo u recommend a specific way to practice committing them to memory? Much Thanks,

girljamzgirljamz replied

I will not read Dwalson's note anymore. this was a very confused student! Whew. Steve. getting the scaale part i always feared. take a little at a time like you said. Do you teach Phase II?

OldensloOldenslo replied

Bing! Does the room seem a bit brighter? WOW! I got it Steve, thank you. I saved the best lesson for last!!

pammiesuepammiesue replied

I have learned so much in these lessons. I have decided before I go any further, I am just going to concentrate on perfecting these scales. Thank you Steve. You are a great teacher.

bungalowbillbungalowbill replied

when you play the F by the nut you have to play open strings so why not mention that

cgrapskicgrapski replied

I want to ECHO two things raised a few times here: Overall - this was wonderful. BUT ... 1) Can you please post the tab for the melody for "Will The Circle" - this would be of great help. 2) Although maybe this is a bit further along than the intention of the lesson - could you at least "explain" how it is that you are combining the melody and the chords as you play. This is a piece of the puzzle I have been trying to figure out for some time - and you bring us right to the edge of getting there ... but not over that point.

atlasatlas replied

great,as he said spend more time and i am sure you will understand, just be patient, we will not understand everything on a day or dos gracias

atlasatlas replied

great,as he said spend more time and i am sure you will understand, just be patient, we will not understand everything on a day or dos gracias

darryl56sdarryl56s replied

This was a great lesson. I had to watch it twice before getting the full understanding. Learning the guitar is a very systematic process and requires patience if you want to really understand what's going on and master the instrument.

wscovelwscovel replied

Hi Steve; I liked the "will the circle..." witht the llead/melody in it. However, can you do another video or 2 on going thru the details of this. You have us on the verge of "kicking this off". Please don;t leave us hanging. Bill

shunshun replied

in which order do you play it?

shunshun replied

how can you read the scales!?

yatta 428yatta 428 replied

Steve will you put the tabs for the melody line for that song up.

marka70marka70 replied

OK. I understand and can play these scales now. But, now what? I don't understand how/when to use them, other than just playing them. How do I convert them into something that I can use, like a solo? If I'm using a C Major scale for a solo, am I using just the notes in that C Major scale but in different combinations? Thanks!

marka70marka70 replied


carolccarolc replied

I understand the major scale pattern as is written on the white board during the lesson, but the diagrams in the supplemental section make no sense to me at all. What am I missing? Whenever Steve puts diagrams up on the whiteboard, I pause the lesson and write it all down, then replay that part til I get it. Wish those parts of the lessons were available in the supplemental sections.

carolccarolc replied

Went over it again sloooowly and had my aha moment. Very, very cool.

squigsquig replied

Need to break it down more in video. For example, when playing will the circle be unbroken in the C cord it would be much better to go very slow and show every note as played. I understand how to do the scale the way you are teaching, but very difficult to tie together while playing song

squigsquig replied

Need to break it down more in video. For example, when playing will the circle be unbroken in the C cord it would be much better to go very slow and show every note as played. I understand how to do the scale the way you are teaching, but very difficult to tie together while playing song

mikea3mikea3 replied

Hey Steve this is the lesson I have been waiting for. Been playing guitar casually for yeras with lots of different chords but never any melodies or leads or bass runs which I always wanted to do. Now you show us a couple scales and all of a sudden the possibilities are endless and obtainable with practice. Thanks so much for these lessons and your teaching style. It's almost like you know what we are thinking before we ask and then you go ahead and answer our questions. I guess that all comes from - "Been there, done that". Once again, thanks for sharing what you know with all of us in a most effective way!

steveeulbergsteveeulberg replied

Dwalson, your confusion is not unusual. Songs and tunes do not use every pitch and tone available, they always choose some and omit some others. The way we understand how to order these tones comes from experiments done in Alexandria and in Greece that also led to mathematical understand as well. They distilled their knowledge into 4 note tetrachords which become 7 note modes. Later the "missing" notes were inserted, which produced chromatic scales and the chromatic fret pattern on the guitar fretboard. So now we must skip some frets in order to get the notes we want by omitting the notes we don't want. SO there's a long answer. Short answer: is Yes, to your observation that some notes go well together (we call those modes or scales.)

dwalsondwalson replied

Lost...I don't understand what a scale is and why it is. Why is a scale made the way it is? Why are certain notes part of a scale while others are left out? Are the notes of a scale melodically pleasing when played beside one another? Are all these notes based off of human perceptions of pleasing sounds? I can't think of any other reason, because it would be arbitrary otherwise, when you are taking wood and wire and applying all of these heirarchies and attaching relationships to different sounds which seem to have no other connection other than a value that we place on them. How is it determined what is a pleasing sound and what is not? Once I learn these scales what do I build off of them? Are they the ingredients to a cake (the song)? How is this "music"?

furrytoonfurrytoon replied

Hi, I am very very happy. I Have been playing keyboards for years and never before I had got this so clear like now. Thank you very much Steve.

caleb97caleb97 replied

i finally am learning guitar, and thought it would be hard. THX.. You make it easy.

steveeulbergsteveeulberg replied

Cool! Thanks for the feedback and working on your guitar!

marktardiemarktardie replied

Steve, you are a wonderful teacher. I've been playing pretty much the same songs my friends taught me for 25 years (and have been terrible). Through this time I had a good handle on chord shape (from books), but never knew what I was really doing. FINALLY after all this time I feel like I'm learning something. All of these lessons have been huge AH HA moments for me. Thank you so much!

buster56buster56 replied

steve, great lesson. it really works but dang man playing these scales the way i want to is kicking my butt....getting better tho. thanks alot man.

dwlinkinsdwlinkins replied

Steve, Why don't you show the notes for this song?

icergbicergb replied

E|------------------------------------------------------- B|------------------------------------------------------- G|------------------------------------------------------- D|----------------2--0-----2----2--0--------------------- A|-----0--3--3----------3-------------3--3--3--0--------- E|--3---------------------------------------------3----3- E|------------------------------------------------ B|------------------------------------------------ G|-------------2--0------------------------------- D|----------2--------2-------0--2-----0--2--0----- A|-0--3--3----------------3--------3-----------3-- E|------------------------------------------------

squigsquig replied

What are you showing here?

icergbicergb replied

oops E|------------------------------------------------------- B|------------------------------------------------------- G|------------------------------------------------------- D|----------------2--0-----2----2--0--------------------- A|-----0--3--3----------3-------------3--3--3--0--------- E|--3---------------------------------------------3----3-

icergbicergb replied

ok that didn't work

oneillclanoneillclan replied

had an ah ha moment on scales..been playing for years and never got it until now..thanks steve

mslevymslevy replied

Great stuff Steve, you are a great instructor!

bmccoybmccoy replied

Steve you are too cool!!

november9november9 replied

Hi!! This sequence is really nice to find the scales. But, I noticed that if you start with the G# on the D string, it does not work. It seems that you have to move the last sequence (134) to the next fret(F). Is that right? Thanks

tigerzztigerzz replied

making a lot of sense......realizing I have to move on from my private guitar instructor. you rock Steve!

bertusgbertusg replied

Aha! These patterns are like cheating! I've always known that scales are what's holding me back, and one day I will have to learn them. Now I'm no longer terrified of what I expected to be difficult, boring and hours and hours of practicing. I'm actually looking forward to learning many many more scales - Thanks Steve, you rock man!

jet3rryjet3rry replied

Wow! The "pattern" thing makes sense to me. Thanks for this great lesson, Steve!

ntonantona replied

Its great to watch you playing these scales. but I cant follow because you playing them so fast.

jessjammerjessjammer replied

I'm sure you've found this by now, but the patterns Steve's using are shown in fingerboard diagrams in the Supplemental Content tab.

cris elstrocris elstro replied

I am looking for "Ode to Joy". I had some music I had downloaded from JamPlay and lost it. Can you tell me where to find it? I think it was from one of your lessons. Thanks

phantom363phantom363 replied

This was my favorite lesson so far. After practicing the heck out of the 6 string two octave scales, it feels (i.e. sounds) like something is lacking when I play the the two octave on 5 strings without the two "missing" notes on the top of the scale.

jhenriksenjhenriksen replied

Steve said the 6th string major pattern works with any 6th string note and even went up and down the fretboard using the 6th string pattern. But I don't see how the 6th string pattern works when you start with the F note on the first fret, 6th string. The pattern requires you to play F and G on the 6th string and then drop down to the 5th string but when you play the open A and then Bb, that does not follow the pattern. The pattern does work if you start the F on fret 13, but not when you start on the first fret. What am I missing? It looked like Steve played the 6th string pattern starting with the first fret F note but the pattern can not be followed and still play the F Major Scale.

pdedeckerpdedecker replied

This has been another one of those lessons that teaches mind-boggling things you can do with a guitar, although the concept is relatively simple. When I tried playing a melody anywhere on the fingerboard for the first time I thought wow... this is great.

tuesdaytuesday replied

Hello Steve, I'm really enjoying the lessons and I've learnt more in the last few weeks than I have in years. You are a very clear teacher and the pace of the lessons is just right. I'm trying hard with the scales but I have a couple of questions if thats OK. When you played the scale you started with your 2nd finger on either the 5th or 6th sing - you then said that you could play this pattern starting with the 2nd finger on any fret. For eg you said that if you moved your 2nd finger up a couple of frets you'd be playing A. You advised us to play this pattern up and down the neck on each fret saying the name of the note. Could you please tell me which note is equal to which fret. For example if I start with my 2nd finger on the 5th fret how do I know what note that is. I'm sorry if this is a little confused. Thanks again for the great lessons. Tuesday

tuesdaytuesday replied

Hello Steve, I posted you yesterday about the notes....well, I've just completed lesson 17 'Clearing up Confusion' and my question has been answered. I've copied out the pic of the guitar neck and written all the notes in as you suggested. Thanks the fog is slowly clearing - I'll soon be ready to move on I'm either going to go to the celtic or bluegrass section. I'm still not very good with barre chords and I'm slow with the scales but I will continue practising these - thanks Tuesday

mayankmayank replied

hello steve , i read got above lesson but few questions are in my mind that is about one octave major scale and two octave major scale position what the digits were saying means if we were to find ascale in one octave position and two octave scales please

fingadofingado replied

Major AHA! Great lesson, Steve!

revansrevans replied

I enjoyed this lesson especially the patterns. since you were using the circle be unbroken as the example were you challenging us to figure the notes out since it was not given in the notes, so we could play it?

larry clarry c replied

Whoa....Time to practice

rhall84900rhall84900 replied

Steve, The major scale patterns for the 6th and 5th strings are great. I'm trying to understand why you can use the same pattern regardless of of fret you are on for the major scales, but when you are doing a pentatonic scale, the pattern changes depending on the fret you start on. Thanks Robert

martinthallmartinthall replied

Best lesson yet Steve. Thanks again for your great work!

jnc51jnc51 replied

Steve, I had an Ah ha. The major scale makes sense to me know and easy to understand; great lesson.

dewin32dewin32 replied

Great lesson, I've just worked out which 2 notes I need to play to complete the second octave of the extended scale from the 5th string. Ah ha!

lespaul305lespaul305 replied

Great Lesson Steve, thanks for showing the patterns. It takes a big load off, rather than memorizing all the scales

ndodsonndodson replied

Great lesson Steve. That "Two Octave Major Scale Pattern" is worth its weight in GOLD. You just opened up the whole fingerboard for me. I can now play any melody in any key, well maybe with a lot more practice! I have been having fun playing little tunes now anywhere on the neck.

fretboardnewbfretboardnewb replied

thanks a lot for this lesson steve i have been trying to learn the major scale for all a-g now that i know the patteren it will be very easy since scale is same as bar chord again thanks alot........

jmillerii43jmillerii43 replied

The supplemental content for this lesson is confusing. It doesn't any order of what to play.

gunwallsarchibaldgunwallsarchibald replied

Is that a Walden Guitar your playing? If so, which model? I love my Walden (G570).

cbw2003cbw2003 replied

Is this lesson basicaly the Circle of Fifths? Can you put the tab of the song Steve is playing in the Supplemental Content section? Thanks.

wattswattwattswatt replied

i agree the tab to the melody that Steve played in the last chapter would be handy in the supp content

jeep15603jeep15603 replied

Holy typos, Batman! Did anybody notice the closing credits say "Lesson 1" instead of Lesson 11"? Someobdy forgot to play the 1 on the A string. LOL!

SylviaSylvia replied

ha ha ha! So it does! Did you notice you did a typo on the word, "somebody?"

rumble dollrumble doll replied

This looks like yet another very important lesson from Steve and makes me realise just how little I actually know! However, I think I'm going to have to watch it a number of times over as my brain (and hands) are just not quick enough to take in exactly what he's doing just from watching. And I'm pretty much lost with the theory on the board...but that's down to me to start studying the theory! :-)

jamcatjamcat replied

Steve I have gota tell ya. Great lesson! I wish that the board was part of the supplemental. There was a time when the theory drove me crazy. But somehow it begins to make alot of scense to me now. No matter what anyone says, keep taching theory.

ron620ron620 replied

Steve, I would like to see a note diagram for every way that you played Will the Circle Be Unbroken, it would make it much easier for me to know exactly where and what notes should be played. I find it a bit difficult to pick it up just by watching you do it.

jimc1097jimc1097 replied

I agree... It is hard to tell what Steve is playing from just watching his fingers.

golfnguitargolfnguitar replied

Steve ... I picked up the 8th fret C scale from another guitar internet video but until I watched this lesson I didn't know it held true for all 12 frets. WOW!! I think my brain just had one of those light bulb moments you mentioned in an early lesson. I now see the whole fret board in a new light. I'm Pumped! l

christotheschristothes replied

The explanation of the fingering pattern is a great tool. For some reason the other instructors that I've watched on the site don't mention this critical piece of information, which makes the whole thing click.

egul89egul89 replied

steve i wanna thank you for helping undrstang and beggin playin the guitar. i have really enjoyed your style of teaching and i really picked up on everything you have said. AGAIN THANKYOU

max108max108 replied

Scene 1 Intro, last 35 seconds maybe dont work. Im playing on HQ

jboothjbooth replied

Fixed, thank you so much for the comment.

johnne321johnne321 replied

last 20-30 seconds don't work

jboothjbooth replied

Hi, which quality setting / scene were you viewing?

kevinacekevinace replied

Everything seems to be playing okay to me. What scene are you talking about? 6 or 7? What quality videos were you playing? Low? Medium? High?

Basic Guitar with Steve Eulberg

Found in our Beginner Lesson Sets

Phase 1 Acoustic Lessons with Steve Eulberg is a great place to begin your journey as a guitarist. With over 30 years of playing experience, Steve appreciates the importance of beginning your guitar training the correct way - no bad habits! These lessons are not just for acoustic players. Electric guitarists will receive the same benefits from this lesson series.

The Absolute BasicsLesson 1

The Absolute Basics

You will learn the parts of the guitar and how they function. Steve also discusses the importance of technique.

Length: 45:09 Difficulty: 0.5 Members Only
Your First ChordsLesson 2

Your First Chords

Three simple chords will literally enable you to play millions of songs. In this lesson, you will learn the primary chords for the key of G.

Length: 40:00 Difficulty: 1.0 Members Only
Strumming TechniqueLesson 3

Strumming Technique

Now that Steve has taught some chords, he will go over the proper methods of strumming and right hand technique.

Length: 42:00 Difficulty: 2.0 Members Only
All About ChordsLesson 4

All About Chords

This lesson is all about the various aspects of chords.

Length: 39:00 Difficulty: 2.0 Members Only
Chord TheoryLesson 5

Chord Theory

Steve explains how basic triads are formed in this lesson. He also explains the relationship between scales and chords.

Length: 40:12 Difficulty: 2.0 Members Only
Intro to FingerpickingLesson 6

Intro to Fingerpicking

Steve Eulberg introduces you to the wonderful world of fingerpicking.

Length: 51:00 Difficulty: 3.0 Members Only
Bringing it TogetherLesson 7

Bringing it Together

Steve starts to weave the strings of the past lessons together.

Length: 47:00 Difficulty: 2.5 Members Only
Chords, Keys and RelationshipsLesson 8

Chords, Keys and Relationships

This episode delves further in the realm of chords, scales, keys and the relationships between them. You will also learn some new chords.

Length: 34:25 Difficulty: 3.0 Members Only
Barre ChordsLesson 9

Barre Chords

This lesson covers power chords and barre chords. You will learn how these chords are formed and how to apply them.

Length: 38:24 Difficulty: 3.0 Members Only
Tools for GuitarLesson 10

Tools for Guitar

Steve explains how basic tools such as the metronome, capo, and picks aid your guitar playing. Enjoy!

Length: 27:12 Difficulty: 1.0 Members Only
Playing Lead and ScalesLesson 11

Playing Lead and Scales

This lesson gets you into the basics of playing melodies on the guitar. Playing melodies and solos is often referred to as "lead guitar."

Length: 45:00 Difficulty: 2.5 Members Only
Hand StretchesLesson 12

Hand Stretches

Steve demonstrates some great stretches for the hands, wrists and upper arms.

Length: 8:12 Difficulty: 0.5 Members Only
Different GuitarsLesson 13

Different Guitars

Steve discusses the difference between the steel string acoustic, classical, and 12 string guitars.

Length: 12:00 Difficulty: 0.5 Members Only
Changing Guitar StringsLesson 14

Changing Guitar Strings

This lesson is all about changing guitar strings. This process can be very frustrating, but it doesn't have to be. Learn some great tips from Steve.

Length: 37:00 Difficulty: 0.5 Members Only
Timing and TempoLesson 15

Timing and Tempo

Steve Eulberg delves into the wonderful world of rhythm and time signatures.

Length: 29:00 Difficulty: 2.5 Members Only
Circle of FifthsLesson 16

Circle of Fifths

Steve Eulberg introduces the Circle of Fifths. He demonstrates a song that features a Circle of Fifths progression.

Length: 15:30 Difficulty: 2.5 Members Only
Clearing Up ConfusionLesson 17

Clearing Up Confusion

In this lesson Steve attempts to clear up some confusion with previous lessons. He will talk about reading tablature, note names, chord names and more.

Length: 15:52 Difficulty: 2.0 Members Only
Review and Moving OnLesson 18

Review and Moving On

Steve Eulberg does a quick review of this lesson series and talks about moving on.

Length: 12:44 Difficulty: 2.0 FREE
Completing LessonsLesson 19

Completing Lessons

Steve answers the popular question, "When should I move on to the next lesson?" by sharing his personal goals and some important advice.

Length: 6:19 Difficulty: 2.0 Members Only
Steve Eulberg

About Steve Eulberg View Full Biography An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the “sweet music” of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

Lesson Information

Acoustic Guitar Lessons

Acoustic Guitar

Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.

Miche Fambro Miche Fambro

Miche introduces several new chord concepts that add color and excitement to any progression.

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Mark Kailana Nelson Mark Kailana Nelson

Mark Nelson introduces "'Ulupalakua," a song he will be using to teach different skills and techniques. In this lesson, he...

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Marcelo Berestovoy Marcelo Berestovoy

Marcelo teaches the eight basic right hand moves for the Rumba Flamenca strum pattern. He then shows you how to apply it...

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Kaki King Kaki King

In lesson 6, Kaki discusses how the left and right hands can work together or independently of each other to create different...

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Mary Flower Mary Flower

Mary talks about the key of F in this fantastic lesson.

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Pamela Goldsmith Pamela Goldsmith

Pamela brings a cap to her first 13 JamPlay lessons with another original etude inspired by the great Leo Brouwer. This is...

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Calum Graham Calum Graham

Award winning, Canadian fingerstyle guitarist Calum Graham introduces his Jamplay Artist Series, which aims to transform...

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Trevor Gordon Hall Trevor Gordon Hall

Fingerstyle guitar is a broad term that can incorporate percussive elements of playing as well as Chet Atkins/Jerry Reed...

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Rich Nibbe Rich Nibbe

Rich Nibbe takes a look at how you can apply the pentatonic scale in the style of John Mayer into your playing.

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Trace Bundy Trace Bundy

Trace Bundy talks about the different ways you can use multiple capos to enhance your playing.

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Electric Guitar Lesson Samples

Electric Guitar

Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.

Paul Musso Paul Musso

JamPlay is proud to welcome senior professor and Coordinator of Guitar Studies at the University of Colorado at Denver,...

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Steve Stevens Steve Stevens

Steve Stevens shows some of his go-to licks and ideas while improvising over a backing track he made.

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Joe Burcaw Joe Burcaw

Join Joe as he shows one of his favorite drills for strengthening his facility around the fretboard: The Spider Technique.

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Mark Brennan Mark Brennan

Mark Brennan teaches this classic rock song by Jethro Tull. Released on the album of the same name in 1971, this song features...

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Guthrie Trapp Guthrie Trapp

JamPlay introduces Nashville session player Guthrie Trapp! In this first segment, Guthrie talks a little about his influences,...

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Eric Haugen Eric Haugen

Eric Haugen discusses the goals of his "Six String Problem Solver" lesson series and what kind of material it covers.

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David Ellefson David Ellefson

David Ellefson, co-founding member of Megadeth, explains his overall approach to teaching and learning bass in this introductory...

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Dennis Hodges Dennis Hodges

Learn a variety of essential techniques commonly used in the metal genre, including palm muting, string slides, and chord...

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Billy Sheehan Billy Sheehan

Billy starts his artist series off with a lesson on something he gets asked the most to explain: right hand 3 finger technique.

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Steve McKinley Steve McKinley

Steve McKinley talks about evaluating your bass and keeping it in top shape. He covers neck relief, adjusting the truss rod,...

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