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Tapping Exercise (Guitar Lesson)


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David MacKenzie

Tapping Exercise

David MacKenzie introduces the tapping technique and teaches a fun exercise. This lesson includes a backing track.

Taught by David MacKenzie in Basic Electric Guitar seriesLength: 22:44Difficulty: 2.5 of 5
Chapter 1: (01:21) Lesson Introduction Welcome back to the Phase 1 Basic Electric Guitar series with David MacKenzie! In this lesson, Dave introduces the tapping technique. You may hear other guitarists or bass players refer to this technique as "two-hand tapping." Tapping is used to play rapid arpeggios or scalar lines on a single string. Since tapping typically involves slurs (hammer-ons and pull-offs), it can be used to create a smooth legato sound.

Tapping Basics

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
Buckethead
Nuno Bettencourt
Paul Gilbert
Gary Moore
John Petrucci
Adrian Smith
Andy McKee
Michael Hedges
Reggie 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.

To begin with, Dave eliminates the pick from the equation altogether. This allows you to focus all of your attention on the basic mechanics of tapping. Spend a significant amount of time experimenting with both the middle and index fingers. Once you become proficient with the basic tapping mechanics, feel free to add the pick back in.

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.

The direction in which Dave pulls the finger off the string depends upon the context of the tapping lick. For fast licks, he usually pulls upward towards the ceiling. In slow passages, he may pull-off the string down towards the floor.

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. Watch Dave in the lesson video for a demonstration of this technique. 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.
Chapter 2: (04:44) Tapping Exercise In this scene Dave, demonstrates various arpeggio patterns that involve tapping. These arpeggio patterns will eventually be strung together and played as an exercise with a backing track.

A. Tapping Arpeggios

Typically, tapped licks outline a specific chord progression. Tapped arpeggios are played by a lead guitarist while another guitarist or the bass player supplies the chord progression underneath them. In most basic tapping examples, the arpeggio played by the lead guitarist is the same as the chord played by the rhythm section. This is not always the case however. Metallica's Kirk Hammett is known to play multiple arpeggios over a single chord played by the rhythm section.

B. Arpeggios in the Exercise

The exercise in this lesson begins with a root position arpeggio of Bm. A chord or arpeggio is played in root position when the root note is played as the lowest note. This B note is played at the 7th fret of the first string. The other notes in the arpeggio, D and F#, are played at the 10th and 14th frets respectively.

While resting the heel of the hand on the strings, pluck the first string to sound the B note. Then, hammer-on to the D note with the pinky finger. Finally, use the index finger of the right hand to perform a hammer-on. Pull-off with the tapping finger to sound the first note of the next beat. This basic pattern of hammers, pulls, and taps is applied to each arpeggio in the exercise.

Practice this pattern with the Bm arpeggio. Play in a steady eighth note rhythm along with a metronome. Do not proceed to the next scene until you can comfortably play through the basic tapping pattern used in the exercise.

Trill Exercise

To become acquainted with the basic tapping motion, practice performing a trill between any two notes on the same string. Dave demonstrates this exercise with the notes B and F# on the first string. Fret the B note with the left hand. Then, hammer-on to the note F# with the tapping finger. Pull-off with the tapping finger from F# back to B. Rapidly repeat this process to perform a trill. Watch at 02:30 as Dave demonstrates this miniature exercise.

Note: Tablature and standard notation to all lesson exercises can be found under the "Supplemental Content" tab.
Chapter 3: (01:12) More on the Tapping Exercise G Major Arpeggio (1st Inversion)

A 1st inversion G major arpeggio is played next in the exercise. A chord or arpeggio is played in first inversion when the third of the chord is played as the lowest note. Within this arpeggio, the left hand continues to play the B and D notes on the first string. The tapping finger now must tap the note G at the 15th fret of the first string. This arpeggio is played in the 3rd and 4th measures of the exercise.
Chapter 4: (05:12) Next Part of the Exercise A Major (1st Inversion)

A first inversion arpeggio for A major is used next in the exercise. The third of A major, C#, is played by the left index finger at the 9th fret of the first string. The third or pinky finger hammers onto the note E at the 12th fret. Then, the right index finger taps the root note at the 17th fret.

All major and minor arpeggios can be tapped in root position, first, inversion, and second inversion on all six strings. Memorize the fretboard patterns for these inversions on all six strings.

Bm (1st Inversion)

The chord progression returns to the I chord (Bm) in measure 7. However, this time around, the arpeggio is played in first inversion. D is played as the lowest note at the 10th fret of the first string. The pinky frets F# at the 14th fret. The right hand taps the root note at the 19th fret.

Since the action gets higher as you move closer to the bridge, you may have to play with a slightly more deliberate and quick tapping motion.

D Major (Root Position)

Next, a root position pattern for D major is played on the second string. The left index frets the root at the 10th fret. The pinky hammers onto the third, F#, at the 14th fret. The right index finger taps the fifth, A, at the 17th fret.

A Major (Root Position)

After the D major arpeggio is played, the exercise jumps down to the second string. Now, an A major chord in root position is played on the second string. This A major arpeggio utilizes the same fret locations as the root position D chord played on the first string.
Chapter 5: (03:14) Finishing up the Exercise G Major (Root Position)

G Major, the VI chord in the key of Bm, is used once again after the A major arpeggio. A root position arpeggio is used for G major on the second string. Simply slide each of the notes from the root position A major chord down two frets when playing the G major arpeggio.

In the final two measures of the exercise, arpeggios for Bm and Aadd9 are used. A root position Bm arpeggio is played twice on the first string. Then, three notes that imply an Aadd9 chord (A, C#, B) are played on beat 4 of the second to last measure. This arpeggio continues through the final measure as well.

Note: A full Aadd9 chord is spelled A, C#, E, B.

Practicing the Exercise

Work through the exercise by practicing two measures at a time. Make sure that you play along with a metronome. Then, begin to practice through the exercise as a whole. Do not leave a large pause between each arpeggio. Follow the rhythms indicated closely to make sure that you are playing the exercise correctly. Do not deviate from the rhythms indicated in the first page of the lesson exercises. Once you become an advanced tapper, you can experiment with various rhythms. For example, each arpeggio can be played in triplet or sixteenth note rhythms.
Chapter 6: (04:04) Putting it Together Dave uses this scene as an opportunity to review each of the arpeggio shapes used in the exercise. Follow along closely with the fretboard provided in the top of the lesson video to make sure that you are note playing any incorrect notes.
Chapter 7: (03:01) Song Demonstration Dave demonstrates how you can practice the exercise along with a backing track. Playing with the backing track will help you improve your rhythm and performance skills.

Note: A transcription of the entire backing track can be found under the "Supplemental Content" tab.

The backing track begins with an introduction section. Drums are played for two measures. Power chords are strummed and sustained for two measures each during measures 3-10. Then, the lead guitar part enters as the main section of the track begins.

During the first several repetitions of the main section, Dave plays the tapping portion in eighth notes. As the track continues, he varies the rhythm of each arpeggio. The order of the notes within each arpeggio is changed as well. Now, each arpeggio is played in a steady sixteenth note rhythm. Then, the exercise is played using the original arpeggio pattern in sextuplets. It will most likely take you several weeks if not months of practice before you are ready to tackle the sixteenth note and sextuplet variations. Dave switches back to a sixteenth note rhythm to close out the performance.

The outro section of the track features a vamp on the B5 and A5 chords. Refer to measures 3-4 of Lesson Exercises (pg. 3) to learn what Dave plays over this section.


Video Subtitles / Captions


Member Comments about this Lesson

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adris8adris8 replied on December 31st, 2009

good lesson dave. umm i got a question though, when tapping on the 2nd string in 8th notes like in the song Am I Evil. I keep getting the 1st and 2 string muddled up. Because i have some trouble with the tapping finger and muting the other strings.

cmp1969cmp1969 replied on July 23rd, 2009

Dave, great lesson. Just when I thought I knew how to do something you showed me what I was doing wrong. Now just to get my coordination the way it should be. Thanks again!

david.mackenziedavid.mackenzie replied on July 24th, 2009

your most welcome. keep after it, and you'll be flyin around the neck in no time.

tangohuntertangohunter replied on July 18th, 2009

I cant feel my pinky...

robd1robd1 replied on May 17th, 2009

Dave, I find myself tending to use the 3rd finger on my left hand rather than my pinky when tapping. Should I spend a lot of time training myself to use my pinky instead at this stage or is it ok to let this be my one vice?

david.mackenziedavid.mackenzie replied on May 18th, 2009

i too tend to use my 3rd finger, but it is good to get the pinky involved where you might need to stretch more to reach a note. usually on the lower frets. learn to to use both the 3rd and the pinky just in case.

mastodonrocksmastodonrocks replied on April 29th, 2009

Dave: these lessons are great. Please keep doing these lessons. I'm learning a lot & enjoy playing more. Good Work !

david.mackenziedavid.mackenzie replied on May 8th, 2009

thank you for the comments. there are lots of ways to do tapping. this was just to get you guys/gals going. i have much more to show you, and hopefully motivate, and inspire you to do your own thing, as well make it easy to figure out other guitarist's techniques.

mastodonrocksmastodonrocks replied on April 29th, 2009

Great Lesson Thanks ! I don't know anything about the technique of Tapping. Is this lesson just the basic idea, or is this really how someone like Edy Van Halen does Tapping ? Joe

omrisamaomrisama replied on April 10th, 2009

I'm trying to tap One solo at full speed but it doesnt sound as loud... it's like, I hit note number 1 of the tapping arppegio (I think that's what it's called) Than I can quickly tap the other two notes while holding note 1 but they won't sound as loud. When I'm doing it slower they are much louder though. Dmac didn't mention One at all during this lesson :P'

adris8adris8 replied on April 15th, 2009

If you are doing some tapping and you find it hard to make more volume of what you're tapping, try heightening the pickup that you use primarily for the work your doing. By doing that, it will increase the output of the pickup however be careful not to make the pickup too high or else you might run into some problems like short sustains and very poor tone. If you do not know how to do this, try checking out the internet on how to make your p/ups higher. Adris

dripmandripman replied on April 10th, 2009

I had the same problem at first, but then i just practiced tapping quite a bit and I think the main reason is probably finger strength, at least that was my problem.

jc110188jc110188 replied on April 11th, 2009

That is an awsome Captian America shirt by the way, good lesson to.

flyrerflyrer replied on April 11th, 2009

you

flyrerflyrer replied on April 11th, 2009

Great lesson Dave great to see back here !!!!! (you even mentioned us leftys LOL) Russ

matt890camatt890ca replied on April 10th, 2009

This is fun lesson....Thanks Glad to see you back in action!

david.mackenziedavid.mackenzie replied on April 10th, 2009

Sorry that i did'nt mention about what kind of volume and gain you need. actually though you should be able to sound out notes while unplugged, and even on an acoustic guitar. it takes patience to do this technique, i did'nt learn it overnight either. so just stick with it and you will get it.

mattbrownmattbrown replied on April 10th, 2009

More gain will definitely help. First and foremost however, you probably need more power going into the tap. The velocity at which your finger travels towards the string determines the volume of the tapped note. Once you develop some calluses on your tapping finger, the tone will naturally be louder as well.

omrisamaomrisama replied on April 10th, 2009

Good lesson. Tapping is important in Metal soloing... But still, do I need more gain or something? Because I have a feeling I'm not doing it right.

Basic Electric Guitar

Found in our Beginner Lesson Sets

In his Phase 1 series, David MacKenzie will walk you through the basics of rock guitar.



Lesson 1

About the Guitar

David discusses the parts of the guitar. He also gives you some basic techniques to get you started.

Length: 31:00 Difficulty: 0.5 Members Only
Lesson 2

Power Chords

In this lesson, David introduces basic power chords. Great fun for beginners!

Length: 10:12 Difficulty: 1.0 Members Only
Lesson 3

Basic Chord Progressions

David introduces some basic chords and chord progressions.

Length: 14:15 Difficulty: 1.0 Members Only
Lesson 4

Notes, Chords and Arpeggios

David provides a brief explanation of what notes, chords, power chords, and arpeggios are.

Length: 8:12 Difficulty: 0.5 Members Only
Lesson 5

Speed and Coordination

This lesson is all about increasing your speed and coordination. David demonstrates basic picking exercises.

Length: 14:12 Difficulty: 1.0 Members Only
Lesson 6

Chord Exercises

David MacKenzie presents a mysterious sounding chord exercise. This exerices is designed to improve right hand technique.

Length: 9:12 Difficulty: 1.0 Members Only
Lesson 7

Practice and Discipline

In this short lesson David talks about practice, discipline, and how you should apply yourself when learning and mastering the guitar.

Length: 6:00 Difficulty: 0.5 Members Only
Lesson 8

Double Stops

Double stops can bring new life to your rhythm and lead playing. David provides a short tutorial on what double stops are and how they can be used.

Length: 7:12 Difficulty: 1.5 Members Only
Lesson 9

The Major Chords

David covers the basic major chord shapes. Every guitarist must learn these basic chords.

Length: 18:29 Difficulty: 1.5 Members Only
Lesson 10

The Minor Chords

David MacKenzie walks you through the basic minor chords. Expand your knowledge of chords with this fun-filled lesson.

Length: 8:15 Difficulty: 1.5 Members Only
Lesson 11

Major Scales

Major scales are an essential component of all styles of music. They can also be used as a great way to orient yourself with the fretboard.

Length: 32:12 Difficulty: 1.5 Members Only
Lesson 12

Major Scale Jam

David MacKenzie explains how to practice the major scales along with a fun backing track.

Length: 11:10 Difficulty: 2.0 Members Only
Lesson 13

The Minor Scales

David MacKenzie proceeds to an in-depth discussion of the minor scales.

Length: 15:36 Difficulty: 1.5 Members Only
Lesson 14

Minor Scale Jam

David MacKenzie shows you how to play the natural minor scale over a rockin' JamTrack.

Length: 6:12 Difficulty: 2.0 Members Only
Lesson 15

One String Exercise

David demonstrates an excellent one-string exercise in this lesson. This exercise will improve your dexterity and knowledge of the fretboard.

Length: 16:48 Difficulty: 1.5 Members Only
Lesson 16

Hammer-Ons and Pull-Offs

Hammer-ons and pull-offs are techniques that enable you to play with a smooth, legato feel.

Length: 8:27 Difficulty: 1.5 Members Only
Lesson 17

Basic Bends

David MacKenzie gives a crash course on bending in this lesson. Bends can add a lot of soul to your playing.

Length: 16:12 Difficulty: 1.5 Members Only
Lesson 18

Cool Rock Licks

David MacKenzie teaches two rock licks inspired by Yngwie Malmsteen and Kirk Hammett of Metallica.

Length: 12:12 Difficulty: 2.0 Members Only
Lesson 19

Hammer-On Exercise

David returns to the world of hammer-ons with a fun new exercise. This lesson includes a JamTrack.

Length: 13:56 Difficulty: 1.5 Members Only
Lesson 20

Return to Pull-Offs

David returns to the world of pull-offs with a new exercise. This lesson includes a backing track.

Length: 12:50 Difficulty: 1.5 Members Only
Lesson 21

Practicing Bends

David MacKenzie returns to bending technique in this lesson. This lesson features a backing track that is designed for bending practice.

Length: 12:18 Difficulty: 1.5 Members Only
Lesson 22

Basic Vibrato

Integrating vibrato into your guitar playing is a great way to add emotion and soul. David MacKenzie explains the basics of vibrato in this lesson.

Length: 9:12 Difficulty: 1.5 Members Only
Lesson 23

Pentatonic Scale

David MacKenzie introduces the pentatonic scale.

Length: 5:48 Difficulty: 1.5 Members Only
Lesson 24

Minor Pentatonic Scale

David MacKenzie introduces the minor pentatonic scale in this lesson.

Length: 4:38 Difficulty: 1.5 Members Only
Lesson 25

Full Major Scale

David MacKenzie explains a two octave pattern of the major scale.

Length: 11:31 Difficulty: 2.0 Members Only
Lesson 26

Full Minor Scale

David MacKenzie introduces a two octave natural minor scale pattern.

Length: 12:20 Difficulty: 2.0 Members Only
Lesson 27

Full Major Pentatonic Scale

David teaches a two octave pattern of the major pentatonic scale.

Length: 6:30 Difficulty: 1.5 Members Only
Lesson 28

Full Minor Pentatonic Scale

David MacKenzie teaches a two octave version of the minor pentatonic scale.

Length: 9:20 Difficulty: 1.5 Members Only
Lesson 29

Cool Lick

David MacKenzie teaches several licks based on common arpeggio patterns. This lesson also includes a backing track to jam with.

Length: 20:40 Difficulty: 2.0 Members Only
Lesson 30

Rhythm Basics

David MacKenzie introduces some important rhythm basics in this lesson. This lesson also includes a backing track exercise.

Length: 14:55 Difficulty: 1.5 Members Only
Lesson 31

Power Chord Variations

David MacKenzie explains various power chord voicings. By simply moving a finger or two, new power chords can be formed.

Length: 18:43 Difficulty: 1.5 Members Only
Lesson 32

Cool Lick Exercise

David MacKenzie introduces some new amazing licks.

Length: 29:12 Difficulty: 2.0 Members Only
Lesson 33

Tapping Exercise

David MacKenzie introduces the tapping technique and teaches a fun exercise. This lesson includes a backing track.

Length: 22:44 Difficulty: 2.5 Members Only
Lesson 34

Tapping Exercise #2

David MacKenzie teaches another amazing tapping exercise.

Length: 13:07 Difficulty: 2.5 Members Only
Lesson 35

Tapping #3: Adding Open Strings

The third tapping lesson elaborates on the previous lesson by adding open strings.

Length: 12:59 Difficulty: 2.0 Members Only
Lesson 36

Tapping #4: Diminished Lick

The fourth lesson in Dave's tapping series deals with a monster diminished lick.

Length: 11:02 Difficulty: 2.5 Members Only
Lesson 37

Tapping #5

In lesson five of his tapping mini-series, DMac provides backing tracks that you can tap over.

Length: 8:04 Difficulty: 1.5 Members Only
Lesson 38

Tremolo Technique

In lesson 38, DMac demonstrates some tremolo techniques to add to your repertoire.

Length: 13:54 Difficulty: 2.0 Members Only
Lesson 39

Tapping #6

DMac returns to his tapping instruction with more advanced techniques.

Length: 19:54 Difficulty: 2.5 Members Only
Lesson 40

Chord Structures

In lesson 40, DMac teaches you how to play various D chords all the way up the neck.

Length: 9:20 Difficulty: 1.5 Members Only
Lesson 41

Octaves

In lesson 41, David discusses the octave and its uses while playing.

Length: 17:09 Difficulty: 1.5 Members Only

About David MacKenzie View Full Biography Dave MacKenzie has been playing guitar for 30 of his 45 years on this earth. Starting back when he was 14 years old, Dave picked up the guitar and started to learn from his oldest brother, who had played some guitar as well. Dave was hooked, and couldn't learn fast enough! Everything from the Beatles, Chicago, Ted Nugent, The Eagles, you name it, Dave was trying to play it.

Then as with a lot of players out there, Eddie Van Halen came along and changed the way guitar was played! Dave has been influenced by anyone he has heard play guitar, literally! Always keeping an open mind and a humbleness about him has helped him to keep learning new things on, and about the guitar.

Dave has mostly played in top 40 rock, country, and pop bands. He is most recently playing guitar and keyboards in a 80's metal band called Open Fire. They have opened for Warrant, Firehouse, Winger, and LA Guns within the 3 and a half years they have been together, and are now jumping into original music.

Dave believes you should have internal motivation, and passion to play guitar, and most definitely, it should be fun!

As with his playing, Dave will find new ways to show you how to get the most out of your time learning guitar!

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Beginners Welcome.. and Up

Unlike a lot of guitar websites and DVDs, we start our Beginner Lessons at the VERY start of the learning process, as if you just picked up a guitar for the first time.Our teaching is structured for all players.

Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.

Price Per Lesson < $0.01 $4 - $5 $30 - $50 Free
Money Back Guarantee Sometimes n/a
Number of Instructors 87 1 – 3 1 Zillions
Interaction with Instructors Daily Webcam Sessions Weekly
Professional Instructors Luck of the Draw Luck of the Draw
New Lessons Daily Weekly Minutely
Structured Lessons
Learn Any Style Sorta
Track Progress
HD Video - Sometimes
Multiple Camera Angles Sometimes - Sometimes
Accurate Tabs Maybe Maybe
Scale/Chord Libraries
Custom JamTracks
Interactive Games
Community
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00

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


Bill

"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 JamPlay.com. Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.



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