Chord Fiesta (Guitar Lesson)


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Jim Deeming

Chord Fiesta

Jim Deeming invites you to a veritable chord fiesta. He demonstrates common dominant and minor chord shapes.

Taught by Jim Deeming in Basic Guitar with Jim seriesLength: 43:00Difficulty: 2.5 of 5
Chapter 1: (08:05) Intro to Dominant 7th Chords Before you dive into this lesson, it is important that you fully understand all of the music theory and terminology discussed in lesson 13. Jim references this information quite often in the current lesson.

Up to this point, Jim has taught you the basic major chords. You learned how to apply these chords to a I IV V progression in a variety of key centers. Now, it is time to expand your knowledge of chords and harmony. In this lesson you will learn some basic dominant seventh chord shapes as well as some minor chords. If you've been following along with Jim's Phase 1 lessons, you already know one dominant seventh shape. The B7 chord was taught in a previous lesson.

Like any other chord, a dominant seventh chord must be written a specific way. For example, a C dominant seventh chord must be written as C7. Keep this in mind when reading music or composing your own music.

Forming a Dominant Seventh Chord

Every chord in the musical language is spelled using a specific formula. For example, a major triad is comprised of the 1, 3, and 5 notes from the major scale of the same name. Let's look at the key of C for an example. The C major scale is spelled as follows: C, D, E, F, G, A, B, C. To form a C chord, take the first, third, and fifth notes from this scale. Thus, a C chord is spelled C, E, G.

A dominant seventh chord is spelled by taking the basic major triad and adding the b7 scale degree. The seventh scale degree or seventh note in the C major scale is B. If this note is flatted, it becomes a Bb. Thus, a C7 chord is spelled C, E, G, Bb. Don't worry if this music theory concept is flying over your head. Chances are that it will at first. You will understand it as you progress and learn more about music and the theory that applies to it.

Function of Dominant Chords

Listen to the basic chord progression Jim plays at about 4:00. He begins with a C chord. Then, he switches to C7. Note the difference in sound between these two chords. A dominant seventh chord produces some tension in the listener's ears. This tension must be resolved by transitioning to another chord. Notice how Jim resolves the tension of a C7 chord to an F chord.

C7

To play a C7 chord, simply add your pinky finger to the third fret of the G string. This is your Bb note.

Note: Open the "Supplemental Content" tab for diagrams of all the chords taught in this lesson.

A7

There are a few different options available for an A7 chord. It is important that you learn all of these options. Keep in mind that one or more of the options may be more difficult for you than the others. If so, devote more time to practicing the fingerings that you find difficult.
Chapter 2: (09:21) More 7th Chords G7

Similar to A7, there are a few different ways to play an open G7 chord. Pay careful attention to the basic G major chord shapes that Jim uses as a visual starting point to teach these chords. The first option is used much more often than the second.

E7

Make sure you learn both options for the E7 chord. They both occur very frequently in almost every genre.

D7

There is only one practical way to play an open D7 chord. Unlike the other dominant chords, switching from D to D7 requires that you adjust your left hand fingering quite a bit. Practice switching from D to D7 until you are comfortable with this chord change.

F7

Jim demonstrates three different fingerings of the F7 chord. Two of these fingerings involve a full barre across all six strings. These chord shapes will most likely take you a week or two to master. The other option is relatively easy if you have already mastered the basic F chord.
Chapter 3: (04:58) Using 7th Chords in Progressions Typically, a dominant 7th chord is used as a substitution for the basic V chord in a I IV V progression. Examine the I IV V progression in the key of C. This progression consists of the chords C, F, and G. G7 is frequently substituted for G in this progression to create harmonic tension and to set up a stronger resolution to the tonic chord, C.

Jim shows how this concept can be applied to a I IV V in the key of A. The V chord, E, can be replaced with E7.

Secondary Dominant Chords

In a I IV V progression, the I chord can be changed to a dominant chord to create a stronger resolution to the IV chord. When this happens, the progression must begin with the tonic triad. In the key of C, this results in the following progression: C C7 F G7 C. The C7 chord "tonicizes" the IV chord, F. In the context of this progression, C7 is referred to as a "secondary dominant" chord.

Now that you have learned all of the basic dominant 7th chords, incorporate these chords into all the I IV V progressions that you already know. Make sure to apply the alternating bass pattern to these progressions.
Chapter 4: (07:13) Minor Chords In relation to their major counterparts, a minor chord is formed by flatting the third of a major chord. Jim first demonstrates this concept with the A major and A minor chords. Start by fretting an A major chord. The note played on the 2nd fret of the B string is the third of the chord. This note is C#. If this note is flatted, it becomes C natural, and an Am chord is formed. When playing an Am chord, the C is fretted by the first finger at the 1st fret.

Dm

Jim repeats the same process with Dm. He flats the third of the D major chord to create Dm.

Em

Em is definitely one of the easiest chords to play in the entire guitar vocabulary. Begin by fretting an E major chord. Then, lift up your first finger so that the G string is ringing open. This forms an Em chord.

i iv V (v) Progressions in Minor Keys

Similar to major keys, a i iv v progression can be played in a minor key. (Lower case Roman Numerals indicate a chord that is minor or diminished in quality.) Jim demonstrates a i iv v progression in the key of Am. The i chord is Am. The iv chord is Dm. The v chord is Em. An alternating bass pattern can also be applied to this progression.

Although the v chord in a minor progression can be played as a minor chord, it is usually played as a major or dominant seventh chord. This creates a stronger resolution to the tonic chord. The sound of these chords tends to push the sound of the progression towards home base.
Chapter 5: (06:47) Even More Minor Chords! Using the Em Shape to Form Other Chords

In the previous scene, you learned the Am, Dm, and Em chords. The remaining minor chords must be played as barre chords. The first barre chord that Jim demonstrates is the Gm chord. The shape of this chord is based on the shape used for the Em chord. Like the Em chord, the low root of this Gm shape is found on the sixth string. Some fingering adjustments must be made to the Em shape in order to play Gm. For example, the notes on the fifth and fourth strings must be fretted by the third and fourth fingers respectively. Then, the first finger must perform the job of the nut by playing a barre across the 3rd fret. This particular shape can also be used to play an Fm barre chord at the 1st fret.

Using the Am Shape

The Am shape can also be converted into a moveable barre chord. Once again, the fingering of the open chord shape changes to accommodate the barre. This barre chord shape can be moved anywhere across the fretboard. As a result, this shape is an excellent choice for the Bm and Cm chords.

Chapter 6: (07:00) Barre Chords and the Relative Minor Jim continues to discuss open chord shapes and how they can be converted into barre chords. The A7 chord is a prime example. This shape can be converted into a moveable barre chord with the root note located on the fifth string.

Relative Minor Chords

For every major chord, there is a corresponding relative minor chord. You must learn some basic music theory concepts to understand how the relative minor chord relates back to its relative major. Let's take another look at the C major scale. Here's its spelling: C, D, E, F, G, A, B, C. The relative minor is built from the sixth scale degree of the major scale. The sixth scale degree is A. Consequently, the relative minor chord to C is Am.

One very common progression using the relative minor chord is the I vi IV V. In the key of C, these chords are C, Am, F, and G.

Lesson Wrap-up

Jim closes this lesson with some final thoughts on practicing barre chords. Playing barre chords properly has everything to do with applying leverage in the right locations. If you are experiencing any difficulties, experiment with making some adjustments to your wrist and thumb position. Watch Jim for a demonstration of these adjustments. Finally, remember that it is much better to practice frequently in short sessions rather than doing a marathon session every couple of days. Over the course of a long session, your focus gradually diminishes.

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.


jcauofajcauofa replied on October 19th, 2016

What is the criteria for identifying the alternate bass note? I understand that the first bass note is the root but not sure how to select the alternate bass note. I noticed different instructors use slightly different alternate notes.

Jason.MounceJason.Mounce replied on October 19th, 2016

I see you posted this also in the Ask A Teacher section. You can review the reply there. For future reference, you don't need to post this both in comments and ask a teacher. When you post in Ask a Teacher the reply will be available on that specific lesson, usually with 24-72 hours depending on when the question was asked.

rogerfunkrogerfunk replied on March 9th, 2016

heyJim just saying that excellent teaching .My wife brought me a epiphone guitar and amp for Christmas been trying to learn how to play by reading books and u tube nothing was working learn chords and stuff but just couldn't put them together to make a tune just about gave up than found you wife says I have improved 100% so thank you looking forward to the rest of your teaching the went went out yesterday and got me a lap steel guitar so if you know anything about them I could use the knowlegde

ciarreciarre replied on February 9th, 2014

I practiced the I iv V chords in Minor Keys with a metronome and found that if I played the chords as written (two beats per chord unless I'm mistaken), even at 60bpm it soundly kicked my buttocks. However, if I pretended that each chord got one beat twice (Am Am Dm Dm ...etc) my playing was a lot more accurate, though far from perfect. Not sure why that was, but just going to keep on practicing. Good lesson for sure.

tscotttscott replied on December 31st, 2013

Enjoying your teachings, Jim. Music is bringing more joy to our family. Thank you.

bullshooterbullshooter replied on April 14th, 2013

This lesson is a bit like drinking from a fire hose. I find it a bit overwhelming to be left to figure out how to digest so much information. Jim's instruction is very good, but I wish his lesson plan was a bit more segmented with better instruction for how to practice and demonstration of corresponding practice drills. Also, I would find it helpful to have some guidance as to what degree of mastery should be developed before moving on. I can't imagine having an in-person 40 min. lesson where I was taught more than a dozen new chords/variations, including difficult-to-finger barre chords, and how they're typically used, with little to no mention of how to practice. It's left to the student to figure out how to utilize the supplemental material. I'm not looking to be spoon fed, but this lesson is a bit of a barrage. Now to figure out which part of the elephant to bite first.

highlife41484highlife41484 replied on January 29th, 2013

Its so cool when you can actually comprehend all this information, your mind is blown.

rednefrednef replied on December 3rd, 2012

Great lesson, Jim. Thank you!

technorattechnorat replied on November 18th, 2012

This is the key lesson for me, if you'll excuse the pun.

jtp3jtp3 replied on August 23rd, 2012

I didn't realize how inflexible my pinky finger was until I tried doing the A chord like Jim did. It seems my pinky finger has a mind of its own. What exercises can I do to improve that finger?

stewbacastewbaca replied on February 15th, 2012

Jim, are you using an upstroke for any of your bass notes? OR just downstrokes for bass notes?

jaydebruynejaydebruyne replied on January 3rd, 2012

Hey Jim.. Thanks for the great tutorials! Quick quesiton if I may.. You say with A/E/D you replace the last fretted note with the 3rd note from the scale, does this only work with A/E/D?? if so, how does it work with B/C/F/G??? Cheers, Justin (United Kingdom)

melody lafountainmelody lafountain replied on January 2nd, 2012

My hands are small, so I am having trouble stretching my pinky in the F7 chord. Is this chord impossible for small handed players?

pencepence replied on November 26th, 2011

Outstanding lesson! I learned a lot in this lesson.

franz01franz01 replied on October 24th, 2011

One question! In theory He said, Key of C major and apparently it is in C Scale ( is that right?) indeed all the three chords include all the notes in this key. would the same apply for other chords for example if we say this song is in key of A, would that mean it is also in scale of A,? but it looks like it is not . Chord D which is in the three chord progression of A chord, includes note C which is not supposed to be in A scale; could someone clarify this for me? thanks

abaglasgowabaglasgow replied on October 10th, 2011

Enjoying your lessons Jim,thanks-one question-you say in the lesson that the C chord is spelled C,E,G. Yet the fingering for the C Chord is C, E, C that is C (5th string, 3rd fret), E (4th string 2nd fret) and C (2nd string, 1st Fret). Why is this ???

tonyrosanatonyrosana replied on October 15th, 2011

The C triad is CEG, meaning these are the notes that build the chord. So the "root" note C on the 3rd fret - 5 string, E on the 2nd fret 4 string, G open third, and C 1st fret-2 string. Strictly speaking you could play the CEG and not play the 2nd or 1st string. But since it is relatively easy to add the octave on the second, and the open E is part of the triad, you can give the chord a "fuller" sound by playing these notes.

garothgaroth replied on September 13th, 2011

Having the same problem, I think, as a few others. I have fairly large hands, but have trouble with the F7 and e-based bars. #4 curls toward the hand when it stretches - any ideas - just stretches or what?

hilaryhilary replied on April 23rd, 2011

The first time I watched this lesson, I was really intimidated because there's so much info here. After shying away for a time, I came back and watched it again, and now I feel totally different. It's very exciting to be learning all of this. Thanks Jim!

gdmcelroygdmcelroy replied on February 17th, 2010

Basic question Jim. As we begin with AM and then bar it up the neck it and move from one bar to another, you go from B,C,D,E,F,G,A, B, What happened to the Chromatic scale C, C#, D, D#, E, etc.?

danfox29danfox29 replied on April 16th, 2012

Enter your comment here.

mac738mac738 replied on July 13th, 2010

Is there any excercise to spread the little finger to play a four finger E7 chord

joseefjoseef replied on May 6th, 2010

I think my fingers need yoga lessons now...lol.

joseefjoseef replied on May 6th, 2010

Incredible lesson, makes everything about the guitar and music seem so clear now....A lot of practice to do now, but loving every minute of it except having a lot of problems with barre chords...going to lighter strings now and will get my action checked on my guitar too...pinky exercises too.

stephenheath30stephenheath30 replied on June 26th, 2008

Thanks for the lessons Jim!!! I'm really coming on under your guidance. I have a little question: You mention in lesson 14 ( i think) about getting the pinky working and making it more flexiable. At the moment my pinky seems to have a mind of its own, normally just sticking itself really high in the air, so, i was wondering do you know of any tricks or finger exercises that can help me to get the pinky to act like the other fingers on my hand? It just seems like my brain and my pinky are not talking to each other at the moment. Many thanks Steve Heath

jamcatjamcat replied on October 15th, 2009

I have the same problem, with an overall lack of agility in my pinky finger. How do you it to make more flexable?

fuzzy32086fuzzy32086 replied on October 21st, 2009

there is an exercise called the spider climb or something like that i saw justin sandercoe do it works well for increasing pinky flexibility as well as your other fingers

ZachsterZachster replied on October 17th, 2009

Great material and presentation; lots of 'digestion time' expected here, especially in (a)learning names of notes needed for forming chord variations and (b) in gaining barre chord & pinky comfort.

efr450efr450 replied on July 20th, 2009

Amazing lesson!

tdieudonnetdieudonne replied on June 6th, 2009

Jim, thank you so much for these lessons. I taught myself a few chords about thirty years ago and gave up playing about 10 years ago because I wasn't making any progress. Now my fingers and my ears are actually understanding these new things.

tadpole17tadpole17 replied on February 5th, 2009

In the supplemental items "I IV V7 progressions in major keys" bar 11 -is that E bass note supposed to be on the low E string or 2nd fret 4th string? (wouldn't that change it back to A major?)

joffajoffa replied on April 22nd, 2008

Well I understand it all, but do you think I can do it? Man those barre chords are impossible, but I can see how being able to play them will give me a lot more options.

skaterstuskaterstu replied on December 30th, 2008

barre's aint impossible... everyone thinks this, but when you get there you will wonder what all the fuss was about. dont give up

jboothjbooth replied on April 22nd, 2008

I know you can do it. It just takes time and practice! Remember, your hands will get stronger and this will become easier. If barre chords are just too hard / impossible for you to do I would check into having your guitar setup as your action may be super high.

joffajoffa replied on April 29th, 2008

You were right, the action is way too high. I went to my local store and tried some electric guitars and realised that I might be able to play barre chords after all, I just need the right equipment! Thanks for your help.

skaterstuskaterstu replied on December 30th, 2008

wow... just incorporating 7ths into my fingerstyle tunes makes my songs have much more depth... thanks Jim. Cannot wait to start your fingerstyle lessons!!!

bernarddudebernarddude replied on May 4th, 2008

can you demo your strumming slowly to ????to jim

tommekentommeken replied on March 29th, 2008

FIIIIIIINALY i understand it clearly!!!!!!!!!!!!!!!

tommekentommeken replied on March 29th, 2008

FIIIIIIINALY i understand it clearly!!!!!!!!!!!!!!!

chrisjohnschrisjohns replied on February 14th, 2008

Whoa... Big lesson !! Nice !!

greenogreeno replied on February 14th, 2008

WOW! Lots of info here, Jim. Good lesson.

nessanessa replied on February 13th, 2008

It's a Fiesta!!! Sweet lesson, Jim. :)

Basic Guitar with Jim

Found in our Beginner Lesson Sets

Fingerstyle master Jim Deeming teaches you the basics of guitar playing. With over 30 years of experience teaching and playing, Jim will definitely start you in the right direction. This is a great series for beginners and guitarists looking to refresh their knowledge.



Lesson 1

Introduction Lesson

In this short lesson, Jim Deeming will introduce himself and talk about his upcoming lessons.

Length: 6:12 Difficulty: 0.5 Members Only
Lesson 2

Choosing a Guitar

Jim gives his thoughts on purchasing your first guitar.

Length: 7:09 Difficulty: 0.5 Members Only
Lesson 3

Goal Setting

Jim discusses the importance of setting goals. He provides some tips that will help steer your practicing in the right direction.

Length: 11:00 Difficulty: 0.5 FREE
Lesson 4

Changing the Strings

Jim Deeming walks you through the process of changing your strings. He gives some excellent tips on this important process.

Length: 41:09 Difficulty: 0.5 Members Only
Lesson 5

Meet Your New Guitar

Jim introduces proper playing technique. Then, he explains how to play your first chord.

Length: 52:24 Difficulty: 0.5 Members Only
Lesson 6

Learning More Chords

Jim teaches you the 3 primary chords in G major. He also explains how chords relate to specific keys. A great lesson!

Length: 39:15 Difficulty: 1.0 Members Only
Lesson 7

Right Hand Revisited

Jim discusses a plethora of right hand techniques that are essential to guitar playing.

Length: 35:19 Difficulty: 1.0 Members Only
Lesson 8

New Chords and Keys

This lesson provides additional information about chords and keys.

Length: 19:08 Difficulty: 1.5 Members Only
Lesson 9

Let's Play

This lesson is all about playing. Jim will start you off playing a song. You will have the opportunity to play along with him.

Length: 20:10 Difficulty: 1.5 Members Only
Lesson 10

Alternating Bass and Chords

Jim teaches you a few more commonly used chords. Then, he discusses a technique known as the alternating bass line.

Length: 40:54 Difficulty: 2.0 Members Only
Lesson 11

A Shape Chords

Jim covers all possible fingering options pertaining to the basic open A chord shape.

Length: 17:42 Difficulty: 2.5 Members Only
Lesson 12

Basic Guitar Checkup

Jim talks about the future of his Phase 1 guitar series and where to go from here.

Length: 4:18 Difficulty: 0.5 Members Only
Lesson 13

Notes, Scales and Theory

Jim delves into basic music theory. He starts from square one in this lesson.

Length: 29:00 Difficulty: 2.0 Members Only
Lesson 14

Chord Fiesta

Jim Deeming invites you to a veritable chord fiesta. He demonstrates common dominant and minor chord shapes.

Length: 43:00 Difficulty: 2.5 Members Only
Lesson 15

Movable Chords

This lesson is all about movable chords. Learn the importance of barre chords and other movable shapes.

Length: 40:00 Difficulty: 2.5 Members Only
Lesson 16

Proper Practicing

Jim Deeming explains how to create a productive practice routine. Make sure you aren't wasting needless time!

Length: 30:00 Difficulty: 1.5 Members Only
Lesson 17

The Pinky Anchor

Many guitarists use their pinky as an anchor. Jim explains the pros and cons of this technique.

Length: 9:00 Difficulty: 1.5 Members Only
Lesson 18

Palm Muting

Jim discusses an important technique--palm muting. He explains how palm muting is used by flatpickers and fingerstyle players.

Length: 7:00 Difficulty: 2.5 Members Only
Lesson 19

Reading Tablature

Jim Deeming covers the basics of reading guitar tablature. Knowledge of tablature will help with JamPlay lessons as well as learning your favorite songs.

Length: 21:12 Difficulty: 1.0 Members Only
Lesson 20

Tuning Extravaganza

Jim explains various tuning methods. He provides useful tips and tricks that will ensure that your guitar is sounding its best.

Length: 31:45 Difficulty: 1.0 Members Only
Lesson 21

Let's Play: "Red River Valley"

Jim is back with another "let's play" style lesson. He teaches the classic song "Red River Valley" and encourages you to play along.

Length: 52:38 Difficulty: 2.5 Members Only
Lesson 22

Drop D Tuning

Jim Deeming introduces drop D tuning. Drop D is a popular alternate tuning used in many styles of music including rock, fingerstyle and blues.

Length: 25:25 Difficulty: 2.0 Members Only
Lesson 23

Let's Play: "Wayfaring Stranger"

Jim Deeming breaks down the song sections to the classic tune "Wayfaring Stranger".

Length: 29:20 Difficulty: 2.0 Members Only
Lesson 24

More On Drop D

Jim Deeming takes another, more focused look at drop D tuning.

Length: 6:27 Difficulty: 1.5 Members Only
Lesson 25

Your Friend, the Metronome

Jim Deeming discusses how to use a metronome for practice, skill building, and speed building.

Length: 24:02 Difficulty: 1.0 Members Only

About Jim Deeming View Full Biography Jim Deeming got his first guitar when he was only six years old. His Dad was taking fingerpicking lessons, and Jim wanted to be just like him. The Mel Bay books didn't last very long before he strapped on a thumb pick and added the Chet part to Red River Valley so it sounded better.

Most of Jim's early learning was by ear. With unlimited access to his Dad's collection of Chet Atkins albums, he spent countless hours decoding his favorite songs. They were never "right" until they sounded just like Chet. Around the age of 12, Jim heard Jerry Reed for the first time and just knew he had to be able to make that "Alabama Wild Man" sound. The styles of Chet & Jerry always have been a big influence on his playing.

More recently he has pursued arrangements by Tommy Emmanuel and Doyle Dykes, in addition to creating some of his own and writing originals.

Jim has performed in front of a variety of audiences, including concerts, competitions, weddings and the like, but playing at church has always been a mainstay. Whether playing in worship bands or guitar solos, gospel music is deep in his roots and is also the driving theme behind his debut CD release, titled "First Fruits".

Jim has been playing for about 38 years. He also has taught private lessons in the past but believes JamPlay.com is an exciting and better venue with many advantages over the traditional method of weekly 30 minute sessions.

Jim lives in Berthoud, Colorado with his wife, Linda, and their four children. Although he still has a "day job", he is actively performing and is already back in the studio working on the next CD. If you wonder how he finds time, look no further than the back seat of his truck where he keeps a "travel guitar" to take advantage of any practice or song-writing opportunities he can get.

The opening song you hear in Jim's introductory JamPlay video is called, "A Pick In My Pocket". It's an original tune, written in memory of Jim's father who told him early on he should always keep a pick in his pocket in case he ever met Chet Atkins and got the chance to play for him. That song is slated to be the title track for his next CD, which will feature several more originals plus some of his favorite covers of Chet and Jerry arrangements.

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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 83 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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