A Shape Barre Chords (Guitar Lesson)

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Mark Lincoln

A Shape Barre Chords

Mark covers the A Shape / Type 2 barre chords in greater depth.

Taught by Mark Lincoln in Basic Guitar with Mark Lincoln seriesLength: 17:12Difficulty: 2.0 of 5
Chapter 1: (13:08) Review and A Shape Warm-Up Time
Before moving on with this lesson, be sure to review and warm-up with the following:
- Warm-up the hands.
- Stretch the wrists.
- Play the major and minor open chords.
- Warm up your strumming muscles by relaxing the wrists and letting the pick flow over the strings. Play the E major chord in the "new" way outlined in the new lesson and play the type 1 barre chords.
Warmed up and ready to go? Good!

As you might recall from our last lesson, the type 1 barre chords use the open E major chord as their central configuration. Keep in mind that the first finger must remain free to to barre all six strings or simply hold down the B and high E strings. Refer back to last week's lesson plan if you need to refresh your memory.

Type 2 Barre Chords
The type 2 barre chords use the A major chord as their central configuration.
Here is the A chord that you are familiar with:


Just as we did with the type 1 barre chords, I want you to play the A chord in a new way.

Leaving your first finger free, put your middle finger on the D-string second fret, your third finger on the G-string second fret, and your pinky on the B-string second fret. This is the exact same chord that you’ve been playing. Now however, the first finger is free to perform other tasks. Play the A chord with this fingering and this strum: down down down down or simply down down down down. Remember to relax your wrist and allow the pick to flow over the strings.

If you have viewed my last couple of lessons, then you have heard me talk about the sloping A-chord, which is just another way of playing the above A chord, but with just the third or ring finger. This method takes some finger strength and some practice but is inevitably the best way to play the A configuration when playing the type 2 barre chord. It would look like this:

A major

In the sloping A-chord, rather than using the second, third and fourth fingers to play this configuration, use only the third or ring finger to play all three fretted notes. Watch my lesson carefully to see how I do this.

When you first try this, your ring finger may have the tendency to just lay flat, touching the high E-string (which you must try to avoid even though it may be difficult right now). Or, it may not be able to hold down the strings properly, creating a buzz or muted string sound. These are natural side effects of attempting this method and can be remedied by repetitious practice and increased flexibility. Also, as I will demonstrate in the video lessons again and again, pushing your chord hand forward and keeping your fingers perpendicular to the fret board should help you to push your ring finger into the sloping position and help to improve contact with the appropriate strings.

Now, play the sloping A chord in the last rhythm that I showed you. (downdowndowndown) For this next part, remember where the half and whole steps occur in the musical alphabet. Here is a B chord in the type 2 barre formation:

B Major

Notice the A configuration at the fourth fret of this chord. Play this B chord using the sloping A-chord over the strings on the fourth fret. Then, either place your first finger over the A-D-G-B-E strings at the second fret or just simply cover the high E-string at the second fret. Notice the A chord pattern within the B chord and how it is a whole step or two frets above where the A-chord is played. Play this chord using the "down down down" rhythm that we've been using today. Here is a type 2 C chord:

C Major

Again, notice the A configuration at the fifth fret. Remember when you look at the B chord I just showed you, and when you look at this chord, that there is only a half step between B and C. Hence, I only moved up one fret. Play this chord using the sloping A configuration or if you need to, using the three-finger technique that we started with. Play this chord with the down down down down rhythm and continue to work on your sloping A technique. After that, play the type 2 D chord by simply moving the C chord up two frets or a whole step. Then, play the E chord by moving up a whole step. Finally, play the F-chord by moving up a half step. Hopefully you now why you need to know where the half and whole steps go. Once you have mastered this system, you can figure out where chords are all over the fretboard!
Chapter 2: (04:20) Exercises Exercise 1
Play the E major chord using the “new” fingering. Then, play all of the type 1 barre chords as far up the neck as you can using this strum: down up down up or "down up down up." Concentrate on listening to the sound that you're producing and try to keep your hand perpendicular to the neck of the guitar. Play each chord four times and then move up the neck, naming the chords aloud as you play. If you need to refer back to where the half and whole steps are, do so now.

Exercise 2
Play the A major chord with the "new" fingering, and then play all of the type 2 barre chords as far up the neck as you can with this strum: down up down up or "down up down up." Play each chord four times and then move up the neck. Once again name the chords to yourself as you play. Work hard on playing the sloping A, as this is an integral part of the type 2 barre chord and will facilitate your ability to play this type of chord.

Exercise 3
Play the E and then the sloping A without using your first finger). Also, play the other open chords in the context of a progression with these other chords. Try to play some barre chords mixed in with the open chords, and listen to the similarities between barre and open chords of the same name. For example, play a type 2 C chord, and then play an open C. How would you describe the overall difference in sound?

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.

mirrorrosemirrorrose replied

I didn't buy a tuner... I use the tuner on the iPhone. So I don't know how to tune down a half tone. Suggestions? Also, how does your strum pattern (the new one in lesson 10) fit into 4-beat measures? the 4 beats on the metronome? Can't do the slanting A except with great effort! I hope it gets better! and thank you for the great lessons.

beyercorpuzbeyercorpuz replied

I was wrong about B barre chord. I can bar across 2nd fret with index finger and bar d-g--b with ring finger. I was thinking I had to use first and second fingers for E and A on 2nd fret. Hence I could not stretch. But reviewing the lesson I see as said to barre 2nd fret or just play high E on 2nd fret. Please contact me anybody if this is incorrect. Thanks Chris

beyercorpuzbeyercorpuz replied

Having trouble with B and C major barre chords using ring finger. No problem with pinky. What is best for now. I could even barre both though. Sometimes I can do it with ring finger. I don't want to get bad habits.

nole27nole27 replied

I can only play the sloping A finger after the barred C chord when I'm standing up.

mottlemottle replied

Mark...starting to get somewhere finally on sloping A, but wanted your advice on thumb position. My thumb is more vertical up the neck - would it help if thumb was more parallel across the neck? Had a look again at the lesson & I think your thumb is more vertical but wasnt sure

beenawhilebeenawhile replied

It's really annoying in a beginners lesson set that your guitar is so often tuned down a half tone.

hotrodemthotrodemt replied

Hi mark, been dooing slope A barr all along and did not know that was a tecqune. But not on the money with my electronic tuner, on 2nd and 3rd frets. plays a whole step off. Right on the money barring A string fret7, 8, 9 frets. tuning is good. playing a new tayler 210

cumbusdcumbusd replied

Hi Mark, thanks for the lessons. So far it's been a great learning experience. One question, I have much difficulty so far with the sloping A. But I've found that I can nail the chords if I use my pinky finger as the sloping A. Is it okay to proceed to use my pinky finger for this or do I really need to continue practicing to get it down with my ring finger?

lewisc_77lewisc_77 replied

hi mark, how long on average does it take to perfect the sloping A? loving the lessons by the way :)

pipespipes replied

feel much more confident playing the a major chord with all 3 fingers when barring down the neck only got small stubby fingers and find this very painful and i dont seem to get the right results is this acceptable or will it cause problems further into the course. pipes

Mark.LincolnMark.Lincoln replied

Hey Pipes good to hear from you and welcome to the site! Concerning playing the A chord, yes it's ok for now to play the A the "traditional way" but....you should most definitely continue to practice the slanting A technique as you will eventually get a handle on it and it will help you to evolve in other ways as well:) Good luck and dont give up...ever! M

the chupacabrathe chupacabra replied

Hey Mark, I was sitting here eating potato chips watching Andy Griffith and was wondering... So on the A shape barre chords, am I eventually supposed to play the A and the high E strings both with my first finger when I play the B chord, or only one or the other?

Mark.LincolnMark.Lincoln replied

Hey Chupa whattsup? Most people actually mute the high E string when they play the B or other "Type 2" barre chords especially since there often shouldn't be an E note in many of the chords you will be playing. Does that help? Mark

the chupacabrathe chupacabra replied

Yes it does! Thanks

joe_culljoe_cull replied

Hey Mark, with the B chord do you bar the whole 2nd fret of just the A and E string?

Mark.LincolnMark.Lincoln replied

Hey Joe what's up? The B chord on the second fret should not touch the low E string but...you can overlap your first finger onto the E string if your touch is light, so you actually aren't fretting that string but rather muting it...does that help? Mark

benjy99benjy99 replied

Hey, did anybody noticed that this guy is playing in Eb tuning? So this A chord is actually Ab. Or am I wrong?

benjy99benjy99 replied

Ok, I see this was discussed in a previous lesson but still it'll be good to say thins in the beginning of the video. Or just tune in standard E tuning and avoid confusion and letting people retune just to be able to play along with the video.

lettterbomblettterbomb replied

Lucky me! I'm genially engineered for the sloping A! lol

Mark.LincolnMark.Lincoln replied

Hey either word works lol! Mark

lettterbomblettterbomb replied

genetically* hmm i think jamplay needs a edit button :D

roligmueroligmue replied

Mark, Thinking you've seen this before with students. I'm working to cover the 3 strings with my 3rd finger as you have shown for the sloping A. I have really minimal reverse movement in my 2nd knuckle(nearest the finger tip). I'm sure others have similar issues with their hands. It's not a strength issue, it's the mobility of the finger joint to bend, backwards, in the direction needed to cover the 3 strings while not hitting the E string.

Mark.LincolnMark.Lincoln replied

Yes, Rolig I have seen a lot of this. Try to do the slanting A again this timenot worrying if youmute the hgh E string. Many people mute that string anyway so give it a try. I wouldalso do some stretching between the fingers i.e. putting your right hand in between the fingers of the left hand and gently stretching them apart. That can also help a little...good luck though and don't give up! Mark

kc_aikenkc_aiken replied

I've been finding it easier to use my pinky to bar the sloping A chord depending on where I am on the fret board. Is this okay?

Mark.LincolnMark.Lincoln replied

You can definitely use your pinky for now but...keep in mind that by using your pinky you are, in effect, rendering your second and third fingers ineffective. So if you want to use your pinky for now I would still continue to practice with your third or ring finger as well to keep it getting stronger and stronger. Mark

keith121keith121 replied

I'm finding to do the A slope i have to to get my finger so its kind of diagonal is this bad technique and should i have my finger parallel with the fret? I also use the harder side of my finger a little when i do barre chords. Great lesson by the way

Mark.LincolnMark.Lincoln replied

Hi Keith how are you? I know a lot of people who turn their fingers slightly although most guitar purists (i.e. classical players) will tell you to definitely try and keep your fingers as straight up and down to the fingerboard as possible. I think people have different hand shapes though and sometimes it's tough so....keep trying to do it and make clean contact and I think you're moving down the right pathway. Good to hear from you! Mark

Michael RamseyMichael Ramsey replied

Great lesson Mark. excellent info

Mark.LincolnMark.Lincoln replied

Thanx Michael...and concerning bar chords: you can definitely utile the easier "min" bars until your hands get stronger but make sure you continue to try the more difficult bars so that you are strengthening your hands. Just keep at it and you'll get it! Take care, Mark

musikkikiesmusikkikies replied

Thank you for spending more time on the sloping A - not easy for the rookies.

Mark.LincolnMark.Lincoln replied

Hey Musik thanks for writing in! Yes, the sloping 'A' can really be challenging but bear in mind that over time your hands will get stronger and stronger. Just keep at it and you'll get it! Mark

surtrsurtr replied

Mark, your "all jokes aside" comment cracked me up. Subtle man!

stopherlstopherl replied

Lucky Guy. I need to work on it.

bheaphybheaphy replied

No prob with the sloping a. I must be a natural.

Basic Guitar with Mark Lincoln

Found in our Beginner Lesson Sets

Learning the basics of the guitar, the building blocks if you will, is an extremely important step in learning and mastering the guitar. This series is all about the basics.

Guitar BasicsLesson 1

Guitar Basics

This lesson is all about the basics. Mark explains guitar parts, holding the guitar, and more.

Length: 13:12 Difficulty: 0.5 Members Only
Tuning, Gear, and ChordsLesson 2

Tuning, Gear, and Chords

Mark begins by discussing equipment every guitarist should own. Then, he introduces chords and proper tuning methods.

Length: 17:28 Difficulty: 0.5 Members Only
Chords and StrummingLesson 3

Chords and Strumming

Mark finishes his discussion of the "open" chords. He applies these chords to basic rhythm and strumming concepts.

Length: 17:33 Difficulty: 1.0 Members Only
Minor Chords and MoreLesson 4

Minor Chords and More

Mark reviews the major chords and introduces the minor chords. He also covers strumming techniques in greater depth.

Length: 25:48 Difficulty: 1.0 Members Only
Expanding ChordsLesson 5

Expanding Chords

Mark introduces a few more minor chords. He also provides a monster chord exercise.

Length: 16:36 Difficulty: 1.5 Members Only
Strumming ExercisesLesson 6

Strumming Exercises

Mark Lincoln continues his discussion of chords and strumming. He introduces several new exercises in this lesson.

Length: 19:30 Difficulty: 1.5 Members Only
Music Theory and Barre ChordsLesson 7

Music Theory and Barre Chords

Mark covers several topics in this lesson. He explains scales and barre chords. He also demonstrates how to find notes on the fretboard.

Length: 21:45 Difficulty: 1.5 Members Only
E Shape Barre ChordsLesson 8

E Shape Barre Chords

Mark Lincoln covers E shaped barre chords in greater depth. Mark refers to these chords as "Type 1" barre chords.

Length: 15:12 Difficulty: 2.0 Members Only
A Shape Barre ChordsLesson 9

A Shape Barre Chords

Mark covers the A Shape / Type 2 barre chords in greater depth.

Length: 17:12 Difficulty: 2.0 Members Only
Minor Barre ChordsLesson 10

Minor Barre Chords

Mark introduces minor barre chords that utilize the shape of the "open" Em chord.

Length: 13:10 Difficulty: 2.0 Members Only
A Minor Shape Barre ChordsLesson 11

A Minor Shape Barre Chords

Mark introduces minor barre chords based on the shape of the "open" Am chord. He refers to these chords as "Type 2 Minor" barre chords.

Length: 12:36 Difficulty: 2.0 Members Only
Mini Barre ChordLesson 12

Mini Barre Chord

Mark demonstrates abbreviated versions of the "Type 1" and "Type 2" barre chords. He calls these "mini barre" chords.

Length: 17:43 Difficulty: 2.0 Members Only
A Shape Mini BarreLesson 13

A Shape Mini Barre

Mark teaches the "mini barre" version of the A major shaped barre chord. He also explains dissonance.

Length: 20:29 Difficulty: 2.0 Members Only
Minor Mini Barre ChordsLesson 14

Minor Mini Barre Chords

Mark Lincoln applies mini-barre chord concepts to minor chords.

Length: 12:28 Difficulty: 2.0 Members Only
Guitar TechniqueLesson 15

Guitar Technique

Mark Lincoln explains essential components of guitar technique.

Length: 15:59 Difficulty: 2.0 Members Only
Guitar DynamicsLesson 16

Guitar Dynamics

Mark Lincoln explains how dynamics can enhance your playing. He covers topics such as volume, tempo, rests, and more.

Length: 27:48 Difficulty: 0.5 Members Only
Transistion StrumsLesson 17

Transistion Strums

Mark Lincoln explains more about guitar technique. This time around he introduces "transition strums" and continues his discussion of liquid chords.

Length: 26:12 Difficulty: 2.0 Members Only
Harmonic TechniqueLesson 18

Harmonic Technique

Mark Lincoln explains what harmonics are and how they are played.

Length: 15:31 Difficulty: 2.5 Members Only
Expanding Liquid ChordsLesson 19

Expanding Liquid Chords

Mark Lincoln expands on the concept of liquid chords. He explains new chord variations and how they can be changed in mid-strum.

Length: 16:21 Difficulty: 2.0 Members Only
Spicing up ChordsLesson 20

Spicing up Chords

Mark demonstrates how chord progressions can be spiced up by adding hammer-ons and pull-offs.

Length: 12:21 Difficulty: 2.5 Members Only
Chord FingeringLesson 21

Chord Fingering

Mark explains how chord fingerings must be altered when applying "liquid chord" concepts. He also provides a few new "liquid chord" exercises.

Length: 11:10 Difficulty: 2.0 Members Only
Precision StrummingLesson 22

Precision Strumming

Mark returns to the land of chords. This time around, he provides an exercise that contains four variations on the A chord.

Length: 14:28 Difficulty: 2.5 Members Only
D to D in Six StepsLesson 23

D to D in Six Steps

Mark provides a chord progression that shifts from one D chord to another in six steps.

Length: 15:20 Difficulty: 2.0 Members Only
Chord Voicings and ConstructionLesson 24

Chord Voicings and Construction

Mark delves deeper into chord construction and alternate chord voicings.

Length: 13:36 Difficulty: 2.0 Members Only
Quantitative and Qualitative ChangesLesson 25

Quantitative and Qualitative Changes

Mark tests your guitar knowledge with a pop quiz. Then, he discusses quantitative and qualitative changes.

Length: 22:54 Difficulty: 2.5 Members Only
Quantitative and Qualitative ReviewLesson 26

Quantitative and Qualitative Review

In the 26th installment of his basic guitar series, Mark reviews the quantitative and qualitative changes he presented in lesson 25.

Length: 17:34 Difficulty: 2.5 Members Only
Rhythm and GuitarLesson 27

Rhythm and Guitar

Mark provides exercises designed to make you a better rhythm player.

Length: 0:00 Difficulty: 2.0 Members Only
Expanded Rhythm ExerciseLesson 28

Expanded Rhythm Exercise

Mark Lincoln expands on the rhythm exercise from lesson 27. This time around he incorporates several C based chords.

Length: 14:31 Difficulty: 2.5 Members Only
Hand StructureLesson 29

Hand Structure

Mark discusses proper playing technique. He provides a few exercises that facilitate right hand mechanics.

Length: 17:02 Difficulty: 2.5 Members Only
Cadd9 and Dsus2Lesson 30

Cadd9 and Dsus2

Mark provides an exercise that features two new chords - Cadd9 and Dsus2.

Length: 0:00 Difficulty: 2.0 Members Only
Finger Glue and Flexibility Lesson 31

Finger Glue and Flexibility

In the 31st lesson, Mark discusses his "finger glue" technique. This technique improves speed and accuracy.

Length: 21:31 Difficulty: 2.0 Members Only
Reviewing Chord ChangesLesson 32

Reviewing Chord Changes

Mark takes a step back in lesson 32 to explain how to make quick and accurate chord changes.

Length: 22:14 Difficulty: 1.5 Members Only
SlidingLesson 33


Mark explains how to use the slide technique between chords.

Length: 19:24 Difficulty: 2.0 Members Only
Keeping Time While PlayingLesson 34

Keeping Time While Playing

Mark reviews qualitative and quantitative changes. He explains how to keep time while performing these changes.

Length: 21:17 Difficulty: 2.0 Members Only
A Minor ProgressionLesson 35

A Minor Progression

Mark discusses qualitative and quantitative changes within an A minor progression.

Length: 19:56 Difficulty: 0.5 Members Only
Chord TransistionsLesson 36

Chord Transistions

Mark Lincoln discusses several techniques that can be used when transitioning between chords.

Length: 21:43 Difficulty: 2.0 Members Only
Chord Transistions RevisitedLesson 37

Chord Transistions Revisited

In this lesson, Mark once again covers the subject of chord transitions. This time around, he focuses on barre chords and includes several helpful exercises.

Length: 23:25 Difficulty: 2.5 Members Only
Playing Individual NotesLesson 38

Playing Individual Notes

In lesson 38, Mark discusses how playing single notes rather than chords can spice up your playing.

Length: 22:56 Difficulty: 2.0 Members Only
Rocking OutLesson 39

Rocking Out

Lesson 39 is all about rocking out. Mark discusses some tips to take your playing to the next level.

Length: 18:08 Difficulty: 2.0 Members Only
Slash ChordsLesson 40

Slash Chords

Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.

Length: 14:42 Difficulty: 2.0 FREE
Strumming from the WristLesson 41

Strumming from the Wrist

In lesson 41, Mark reviews the warm-up section and provides new tips on playing adequately from the wrist.

Length: 22:09 Difficulty: 2.0 Members Only
Raising the BarreLesson 42

Raising the Barre

Mark builds further on barre chord techniques and liquid chords.

Length: 17:24 Difficulty: 2.5 Members Only
Building on Your Chord KnowledgeLesson 43

Building on Your Chord Knowledge

In lesson 43, Mark discusses additional skills related to learning and playing chords, specifically "liquification" of chords.

Length: 20:42 Difficulty: 2.0 Members Only
Experiment With PlayingLesson 44

Experiment With Playing

Lesson 44 is all about trying new things. Mark discusses experimenting with your playing in order to take it to the next level.

Length: 17:20 Difficulty: 2.0 Members Only
DiversifyingLesson 45


In this lesson, Mark once again talks about changing up chord derivatives to create a more unique sound.

Length: 20:56 Difficulty: 1.5 Members Only
Shaping the HandsLesson 46

Shaping the Hands

In lesson 46, Mark explains how to maximize your options by maintaining chord shapes while playing.

Length: 21:44 Difficulty: 1.5 Members Only
Precision StrummingLesson 47

Precision Strumming

Today, Mark takes in depth look at strumming.

Length: 23:57 Difficulty: 1.0 Members Only
Shine Like the SunLesson 48

Shine Like the Sun

Mark Lincoln teaches an original song entitled "Shine Like the Sun."

Length: 18:59 Difficulty: 2.0 Members Only
Changing Chords : Accuracy and SpeedLesson 49

Changing Chords : Accuracy and Speed

Mark teaches some useful information on how to mix postures, "finger glue," and techniques to make your chord changes speedy and more effective.

Length: 30:56 Difficulty: 2.5 Members Only
Play Along with Mulitple Chord Voicings Lesson 50

Play Along with Mulitple Chord Voicings

In this lesson, Mark guides you through the world of alternate chord voicings. He teaches several shapes and shows how they can be used to enhance your playing.

Length: 23:06 Difficulty: 2.0 Members Only
Understanding Liquified ChordsLesson 51

Understanding Liquified Chords

Mark brings us a very appealing aspect to better understand the guitar. With his explanation of "liquified" chords, mark will explain how to move up and down the guitar to create different chord voicing.

Length: 25:32 Difficulty: 2.0 Members Only
Mark Lincoln

About Mark Lincoln View Full Biography Mark Lincoln was born in S. California but was raised near Portland Oregon in a town called Beaverton. When he was twelve years old, he began his journey into the realm of the creative by composing poetry and was later published in a journal called "In Dappled Sunlight." He wrote for four years until his older sister blessed him with his first guitar, an old beat-up nylon stringed classical guitar. Mark played that guitar for five years, continuing to compose his own lyrics and starting the process of matching his own words with chords that he was learning on the guitar. He learned to play chords from his friends and from music books that he both bought and borrowed. Mark cited his four biggest influences, at that point at least, as The Who, Led Zeppelin, Jethro Tull, The Rolling Stones.

Mark cites his most current influences as Radiohead, U2, older music by REM, and Peter Gabriel amongst others. He performs with two acoustic guitars, one being a six-string M-36 Martin with a three-pieced back for increased bass response, and a Guild Twelve-string which is his most recent acquisition. Mark is fond of saying that the twelve-string guitar is better because you get two guitars for the price of one, but he still plays his Martin equally as much and with the same passion.

Mark ended up in Fort Collins Colorado where he currently lives, works as a Marriage and Family Therapist, and continues to write, teach and perform music. He currently performs with a group called "Black Nelson" as well as with a number of other seasoned professional musicians including his cousin David, a virtuoso lead-guitar player. Mark has performed in many of the smaller venues in Denver and Boulder, as well as some of the larger ones including the Fox Theatre, The Boulder Theatre, Herman's Hideaway, and also at The Soiled Dove where he opened for Jefferson Starship as a soloist. Some of Mark's originals are also available for your listening pleasure on MySpace.

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We have teachers covering beginner lessons, rock, classic rock, jazz, bluegrass, fingerstyle, slack key and more. Learn how to play the guitar from experienced players, in a casual environment.

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 128 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
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00
Get Started

Mike H.

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

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

Greg J.

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

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


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

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

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