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Chords in C major - Part 2 (Guitar Lesson)

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Mark Brennan

Chords in C major - Part 2

Mark expands on chords in C major by showing full forms of the chords you learned in Part 1. He also teaches you the chord progression to a familiar tune.

Taught by Mark Brennan in Basic Electric Guitar seriesLength: 25:00Difficulty: 1.5 of 5
Chapter 1: (01:22) Lesson Intro Welcome to lesson 9 of Mark Brennan's Phase 1 Beginner Guitar series! Mark begins this lesson by playing through a chord progression in the key of C major. This progression features some of the new chord shapes that will be discussed in the following scenes.

Lesson Objectives

-Learn the "full" versions of the C, G, C7, and G7 chords.

-Expand the four-string F chord to a voicing that involves five strings.

-Apply these chords to various progressions in the key of C major.

-Accompany the melody line to "Somewhere Over The Rainbow" using chords from this lesson.
Chapter 2: (08:01) Full Forms of the C, G7, G, and F Chord Note: Make sure that you have perfected the C, G7, G, and F chords from the previous lesson before attempting the "full" versions that Mark demonstrates in this lesson.

Full C Chord

This particular chord voicing adds a low root note to the C chord discussed in the previous lesson. This C note is fretted by the third finger at the 3rd fret of the fifth string. Adding this note requires a large left hand stretch that may be difficult for beginners, especially those with small hands. This difficult stretch can be mastered with patience and focused practice. After you have formed the chord, pick each of the strings individually to ensure that they are ringing clearly. The low sixth string is still omitted from the chord.

Full G7 Chord

When first forming the G7 chord, place the third and second fingers on the fretboard first. Then, ensure that the open, fourth, third, and second strings are ringing clearly. Next, fret the note F at the 1st fret of the first string. Finally, re-check the open strings to make sure that they are still ringing with a clear tone.

The fingering for the full G7 voicing is quite similar to the fingering of full C major chord. The third, second, and first fingers are used to play the fretted notes. When switching between these two chords, remember to use Mark's "lock and shift" method.

Full G Chord

The full G Chord is very similar to the full G7 chord. These two chords differ by only one note. Instead of fretting the note F on the first string, fret the note G with the pinkie finger at the 3rd fret. Once again, you may experience some difficulties producing clean open notes. Arch the wrist outwards to ensure that the open fourth string rings clearly.

Alternate Full G Chord

An alternate fingering can be used to play the full G major chord. Begin with the fingering for the "easy G" chord discussed in the last lesson. Then, fret the notes on the sixth and fifth strings with the second and first fingers respectively. The fingering option used for the full G chord is usually dependent upon the other chords used in the progression. For example, the first fingering that Mark demonstrated is much more practical within the context of a progression that includes the full C and G7 chords.

Five String F Chord

When converting the four string F chord into a five string voicing, the pinkie finger must fret the root note of the chord located at the 3rd fret of the fourth string. The third finger is now used to play the note C at the 3rd fret of the fifth string. This voicing for F major is an excellent stepping stone towards playing a full F major barre chord that utilizes all six strings.
Chapter 3: (03:27) Chord Pairing Exercises Note: Open "Chords in C Major Part 2." This document is listed under the "Supplemental Content" tab. The chord pairing exercises begin in measure 5.

Exercise Instructions

Perform all chord pairing exercises along with a metronome set to a relatively slow tempo such as 70 beats per minute. It is perfectly acceptable to begin the exercises at a slower tempo if necessary.

Each exercise consists of a repeating four measure phrase. Strum the chords in whole notes during the first repetition. Then, strum each chord in a steady half note rhythm. Each chord is still held for the duration of a measure. During the final repetition, strum the chords in a steady quarter note rhythm.

Chord Pairing Exercise 1 (C to G7)

The first exercise features one of the most common chord progressions used in music. To perform this chord change, utilize Mark's "lock and shift" technique.

Chord Pairing Exercise 2 (C to G)

This exercise features similar left hand movements to the previous exercise. Once again, use the "lock and shift" technique with fingers two and three. Hover the pinkie finger above the first string so that it is prepared to fret the note G when necessary.

Chord Pairing Exercise 2 (C to F)

Two pivot fingers are used throughout this exercise. The ring finger remains on the note C at the 3rd fret of the fifth string. The first finger remains planted on the C note located at the 1st fret of the second string.
Chapter 4: (04:11) Chord Progressions Note: Open "Chords in C Major Part 2." This document is listed under the "Supplemental Content" tab. The chord progression exercises begin in measure 26.

The exercises presented in this scene involve more than two chords. Consequently, they require a higher level of coordination between the left hand fingers. For this reason, it is a wise idea to perfect all of the chord pairing exercises before advancing to these difficult chord progressions.

Exercise Instructions

Perform all chord progression exercises along with a metronome set to a relatively slow tempo such as 70 beats per minute. It is perfectly acceptable to begin the exercises at a slower tempo if necessary.

Each exercise consists of a repeating four measure phrase. Strum the chords in whole notes during the first repetition. Then, strum each chord in a steady half note rhythm. Each chord is still held for the duration of a measure. During the final repetition, strum the chords in a steady quarter note rhythm.

Chord Progression 1

This exercise includes the following chords: C, Am, F, and G7. When changing from one chord to the next pay close attention to any pivot fingers that can be used. For example, the the second and first fingers can be used as pivot points when switching from C to Am. Also, use the "lock and shift" technique whenever possible. The first and third fingers lock and shift when changing from F major to G7.

Chord Progression 2

This exercise includes the following chords: C, Am, Dm, and G. The chord changes are significantly more difficult in this exercise due to an increased level of movement with the left hand fingers. Fewer pivot points occur within the progression. However, the lock and shift technique can be used when changing from Am to Dm.

Remember to move all fingers simultaneously when performing any chord change. This rule of thumb will help you perform chord changes smoothly and in time.
Chapter 5: (03:42) A Few More Progressions Chord Progression 3

This exercise includes the following chords: Am, Em, C, and G. Due to the available pivot fingers and the ability to use the lock and shift method, this is one of the easiest exercises in the lesson. Practice this exercise as a confidence builder if you find yourself struggling with the more challenging, previous exercise.

Chord Progression 4

This exercise includes the following chords: C, Em, Dm, and G7. You will most likely experience the greatest difficulty changing from Em to Dm. If this is the case, drill this chord change until it becomes automatic.

Chord Progression 5

Exercise 5 features an extended chord progression that combines many of the skills utilized in previous exercises. If necessary, it is perfectly acceptable to break this exercise into smaller chunks. Long exercises are often easier to master when they are broken up into smaller, more manageable chunks.

Chapter 6: (03:35) An Exercise with a Familiar Tune Note: Open "Chords in C Major - Part 2 (pg. 2)." The chord progression to "Somewhere Over the Rainbow" is listed on this document.

C7 Chord

A new chord must be learned in order to play the chord progression to "Somewhere Over The Rainbow." This new chord, C7, occurs in the second measure. C7 is formed by adding the pinkie finger to the "full" version of the C major chord that Mark demonstrated earlier in the lesson. This finger frets the note Bb at the 3rd fret of the third string. The inclusion of this note creates a C dominant seventh (C7) chord. Be careful that you do not accidentally mute the second string with the pinkie finger.

Practicing the Progression

At first, watch and listen closely as Mark performs the progression at 01:16 in the lesson video. Then, practice the progression on your own along with a metronome. Once you have mastered the progression, return to the lesson video and play it along with Mark. Learning to play along with other musicians is an extremely important component of your musical development.
Chapter 7: (00:39) Lesson Wrap-up and What's Next Preview of Next Lesson

Mark will introduce "power" chords in the following lesson. These simple, two-note voicings are used in countless rock sounds to create a chunky, aggressive sound.

With the next several lessons, Mark will begin to introduce topics that are specific to rock guitar playing. These topics include the 12 bar blues progression and the minor pentatonic scale. In the meantime, continue to practice the exercises presented in the first 9 lessons. Also, feel free to explore the Phase 1 lesson sets taught by other teachers.

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.

cavitee3cavitee3 replied

Finding it difficult to find the supplement exercise that he is working on. On 4 chord progression'a say to go to 1st page 3rd line and what I find doesn't match what he's playing. Kim

Mrskent1Mrskent1 replied

After 1 full month, I still don't have the F chord under my fingers.

tnowickitnowicki replied

That F chord is an F'in chord.

ymerejgymerejg replied

My brain seems to like to think that I'll never be able to move my fingers fast enough to switch chords like that... but I do find myself being able to play them better and faster day by day. I'm not sure whether this is the best way to do it -- it might have disadvantages that I don't know of, but for me, slowly the metronome to 40 beats per minute and switching chords on each beat helped me improve. It's technically the same as playing every half note at 80 beats per minute, but it was easier for me. Then, I could play every 8th note at 40 beats per minute, which is the same as every quarter note at 80. For the tricker transitions, I find that it helps to play each chord pair and forth for several minutes until it improves.

LSCalgaryLSCalgary replied

That was a beautiful rendition of "Somewhere Over the Rainbow" :) I just loved that!! Thank you Mark!

jet690jet690 replied

I've always played Dm chord with 3rd finger on c note - but pinky more comfortable actually and I see the reasoning - ready for the next chord. Also same with G7 - always played the low G & B notes with my 1st and second fingers and top G with my 3rd. Playing it with 2nd and 3rd with pinky on top G is much better.

rogerfunkrogerfunk replied

I`ve been using the index middle and ring finger my g chord l like the pinky gives you more choose with the index but its so much harder to use then the i m r fingers its going to take alot of practice to get use to it

tippyboattippyboat replied

hard to do correctly with any speed

eric yueric yu replied

Mark : Very good, now I understand why those chords are in c major,from u show c major scales notes before

DW420DW420 replied

I've been practicing the 4 string f chord for the better part of 6 months and still seems I am not making any progress on getting the clean sound...I just can't do it at all my I can't get both strings with my index without my other two fingers moving and messing up the chord...I really am starting to think that it is impossible for me to do it...6 months every f-ing day and still can't do it at all. arghhh

dinomaster606dinomaster606 replied

Something that really helped for me, is realising that you don't need to limit your index finger to the first 2 strings. Since your fretting down on the 2nd fret of your 3rd string, you can just put you index finger over the first 3 strings, allowing you to use more force. Hope this helps!

eric yueric yu replied

I ve been practicing guitar two years, I start with chords and make me so upset , so I go for some other thing like scales,improvisation with backing tracks, licks with bending,slide, pull of, then come back for chords, I found I can control my finger better , just share, hope it help

eric yueric yu replied

Very good, now I understand why those chords are in c major,from u show c major scales notes before

terry45terry45 replied

I know the feeling..I'm trying to get the 5 chord F with the barre chord on the 1st and second string. Chord progressions are killing me and I've been working on them for 6 plus months!

namuhnamuh replied

Once again I'd like to lobby for including the chords shown on the musical staff in addition to diagram and tablature. No changes to the videos would be necessary so it would be an easy addition.

speedracer12speedracer12 replied

Mark... I was going through the chord progressions and I can't seem to get the barre down in the F chord. Do you know anything that I can do to get that just right?

virkatorvirkator replied

Great lesson! I've been playing for about ten years and strumming was always an issue. Always played Dm, Am and C muting 6-th string with the thumb. Never was able to strum only 5 or 4 strings. A week of practicing exercises from this lesson and the one about pick control helped to solve the problem almost completly. Thanks, Mark!!!

rustyh1rustyh1 replied

Another great lesson!

firedog4firedog4 replied

Mark, just changed your name to David. Booga booga.

firedog4firedog4 replied

Happy Halloween David. Enjoying your guitar course. Have studied learn and master guitar for awhile. Yeah man.

solomynsolomyn replied

Wow, the fact that the instructor hasn't commented in about 15 months, and the pathetic layout of this lesson set pretty much has me convinced that Jamplay is pretty much a waste of money. This lesson set goes from a tune of "somewhere over the rainbow" to the F chord. That is perhaps the most non-intuitive progression I can think of. Time for me to cancel this membership.

oklatexoklatex replied

Great, now we have heard a negative opinion, how about a more positive one. I have enjoyed all the instruction that I have seen from Jamplay...Mark, in particular. He has a good "communication" manner...if he were a doctor, I would say good "bedside manner". At 64, I might be less inclined to post a negative comment.......there is enough of that to go around........but, when someone, like Mark, goes to the trouble to pass of obvious skills to someone like me, I have to "thank him" and say that "if you don't like the program, find another one and try not to spoil the day for the rest of us! If you want hard rock, country or jazz, there are teachers for that; but, for me, Mark does an exellent job. Also, finding anyone that does a better job is going to be difficult, online, that is. I tried 4 others, before finding jamplay, and none of them seemed to "reach" me as well as jamplay. So, express your opinion, you are intitled; but, you can do it without demeaning the good work of another artist or the efforts of a small business man. You've got plenty of choices out there and I hope you find them; but, as for me, "Great Job, Mark!!

MarkBrennanMarkBrennan replied

Thanks for the nice comments, Jim. I felt bad for being out of touch a bit when Solomyn made that comment, and he had a point. But that was a while ago, and since then I have filmed new lessons and staying on top of the comments and questions. He felt bad for making that post, too

JoeyNuckollsJoeyNuckolls replied

mark barranden is asom

rocknrolldreamrocknrolldream replied

Hi guys. I see it's been a while since mark has posted a comment on there some place else to ask questions that I'm not aware of....

oceanestarsoceanestars replied

hi i really can't play F chord it's hard can you help?

MarkBrennanMarkBrennan replied

Sorry for the late reply....try fretting the chord without the barre first...(index 1st fret B string, middle on 2nd fret G string, ring on 3rd fret D string) and play the top E have a F Major 7th chord. This is not a regular F chord, but a very cool chord anyway. As your fingers get stronger, try adding the barre (pressing down 2 strings with the index on the first fret on the E1 and B strings). Or try the barre with your index first. Get the two notes sounding cleanly, then add each additional finger one at a time.....hope this helps...Mark

steven2296steven2296 replied

Mark, I really want to be able to play the G chord with my pinky but I can't bend my pinky without the ring finger. Even if I hold my ring finger straight with my other hand I can not bend my pinky at any knuckle, just the base. I can bend my pinky independently on my right hand but not the left. Is there anyway to train independence in my pinky? Right now I have to place the pinky on the high e then reach up with my ring finger on the low E string. This takes way to long. Thanks for the awesome lessons.

nagimysorenagimysore replied

Mark, In the lesson 6 you do somewhere over the rainbow with a bunch of melody and go all over the fret board. Can you please add the exact fingering on that in Supplemental notes?

lmf998lmf998 replied

hi mark, i know most of the chords in this lesson, the c7 and f chord give me a little problem. i play bar chords and feel more comfortable with f bar chord. is it ok to play the full f bar chord? also, Should i go to the next lesson or stay with this lesson until feel more comfortable with the chord progressions. thank you

MarkBrennanMarkBrennan replied

I would focus on a particular lesson, but always feel free to move around to other lessons....Mark

MarkBrennanMarkBrennan replied

Playing the full barre F is fine...but I would suggest you continue to work on the 4 and 5 string fingerings. You will encounter situations where you won't need all 6 notes of the chord, and making more work for the left hand. This will also help in making smoother chord transitions. With the C7, get the C chord comfotable, then drop the picky in on the third string, third fret.....good luck, Mark

sargeysargey replied

i bought a guitar about 5 years ago and had lesson with a guy who was more interested in showing me what he could play rather than show me how to play.. resulting in a loss of interest because i wasnt picking things up very fast.. Just recently discovered jamplay which encouraged me to dig my guitar out once more.. i have learnt more from your videos over the last few days.. than i ever did from my previous guitar instructor.. so just wanted to say thanks mark..enjoying all of your lessons.. very well constructed.

MarkBrennanMarkBrennan replied

Thanks Nick...welcome back!

badgermilk215badgermilk215 replied

why is it called G7?

MarkBrennanMarkBrennan replied

Sorry about the late reply....a 7 chord has an interval of a 7th from the root in it.....with the G7 which is a dominant 7th chord, the interval is a minor a dominant 7th chord has the root, a major 3rd, a perfect 5th, and a minor 7th built off the root. Hope this explains it, some music theory knowledge is obviously needed.....Mark B.

badgermilk215badgermilk215 replied

also what makes a chord a minor?

timalewistimalewis replied

Awesome stuff, I had these same questions. Thanks!

MarkBrennanMarkBrennan replied

a minor chord has an interval of a minor third built off the root. So a minor chord has the root, with the minor 3rd, and the perfect 5th built off of it...Mark B.

jamhamjamham replied

Mark, at the into to this lesson you are playing "a bad moon on the rise" do you have the tab for this? I know this is getting a head of the lesson but i am trying to challenge myself a bit and i love that song. thanks.

MarkBrennanMarkBrennan replied

Some CCR would be cool....I'll investigate if we can do their catalog for song lessons.

MarkBrennanMarkBrennan replied

Bad Moon Rising is approved for a lesson....I'll be filming it in the near future.

jamhamjamham replied

Is it not CCR at the beginning of lesson 9? if not, what is it? and can i gety the tab for the intro tune?

scottyzscottyz replied

Just a quick question about practicing habits. Is it a bad thing to jump from the electric guitar to your acoustic when practicing . I find myself picking up my acoustic and playing around with chords or the exercises you give us to do with each lesson while setting around watching the boob tube. Thanx and keep up the good work!

MarkBrennanMarkBrennan replied is certainly a good thing. You practice a lot of the material on acoustic guitar, especially the lessons on chords. This series is really geared for rock, but a lot of it is basic general guitar stuff that can be done on both.

bazzabazza replied

Mark - now that I am attempting the C,G cords etc I find that the spaces between the strings at the top of the neck of my guitar are somewhat limited. The width of the neck on your guitar appears to be a lot wider than mine at the nut (mine measures 35mm top to bottom string) or is this just an optical illusion.

dumakdumak replied

My fingers are kind of wide at the tips, too (workers hands, I guess). I find that my finger tips fit better after I have developed calluses on them.

MarkBrennanMarkBrennan replied

Hey Barry....I don't know off hand what the width of my nuts is. Probably not that wider than yours....the key is getting up on your tips, and working with the placement of the tip as to not bump an adjacent string....hope this helps...Mark B.

JackstrawJackstraw replied

Hi Mark, Thanks so much for being my guitar teacher and being available at all hours like this. My question is more about knowing when to move on to the next lesson. I could spend weeks just working on chord progressions and not progress in other areas offered. What is your general thoughts on pace of learning for students especially as it might apply to Jamplay where you have sooo many lessons you can watch or listen to.

MarkBrennanMarkBrennan replied

Hi Thomas....I've always felt it's a good idea to work on a variety of things to keep the interest and not get into a rut focusing on one thing, expecially technique. Try working on a lesson on technique (i.e. scales, chord progessions), and work on a song lesson, even if it's a few riffs, and try to take in a lesson on theory. This gives you variety, and widens the scope of your instruction. Of course, you want to try to master a lesson the best you can, but look around for other things that would interest you. With Jamplay, you have a lot of choices, and a lot of great teachers with different perspectives....pick two or three lessons to work on at the same time. Try the songs that you think you can handle with the technique you've acquired. Hope this helps. Good luck, talk to ya soon..Mark B.

closetothebrinkclosetothebrink replied

Hi Mark. Really enjoying the lessons. However I'm struggling with the 5 string version of the F chord and find the 4 string version easier with chord changes. I've also noticed that the other beginners' instructors on Jamplay all seem to teach the 4 string option. Do you see any disadvantage in using the 4 string option to start with? Thanks

MarkBrennanMarkBrennan replied

Hey John....definitely start with the four string version of the F chord. Once you're comfortable with it and the barre is not a problem, try the 5 string version. The 5 string version just gives you a bit fuller sound, and it gets you set up for the full barre form, which I'll cover in a future to ya soon, Mark B.

closetothebrinkclosetothebrink replied

Thanks for the answer Mark - all clear now. Looking forward to your new lessons - keep up the great work!

gregboygregboy replied

Hi Mark, Can you please let me have the tab for the melody of S O T R. I would really like to practice this. Look forward to hearing from you. Many thanks. Greg.

mistafreezemistafreeze replied

Thanks Mark, I'm glad you're doing this series, and I appreciate really indepth training like these. I cant wait for 10 and 11 and look forward to 12-100!

daveclampdaveclamp replied

Mark, I've just finished the 9th lesson and I'd like to add my thanks to those of Roberts which I've just read...also I was going to ask about more lessons but I see you've answered that..looking forward to them! Cheers, Dave

robertvoltarobertvolta replied

Mark...I just wrapped up the ninth leason and I am a lot more comfortable playing single notes and chords. This was great stuff and I enjoyed your approach to teaching...very effective. I practice daily at this point and was wondering if you are posting any more leasons. Thanks again man!! Hope to see more of your stuff soon.

MarkBrennanMarkBrennan replied

Hey Robert....glad the lessons are working for you. Lessons 10 and 11 are filmed and being edited, so watch for those. And I'll be filming more in the's open ended. Much more to stay tuned, and keep practicing...Mark B.

MarkBrennanMarkBrennan replied

Hey Cedric....I don't see any problem with that fingering. It would put your ring fingering hovering over the fretboard in position for the next chord change, and that's good. If that feels comfortable and you can make a smooth change to the next chord, your to ya soon..Mark B.

cedom505cedom505 replied

Mark, for some reasons I learned to play the G chird using my second finger on the third fret of the E string, my first on the second fret of the A string and then my pinkie on the 3rd fret of the e string. Should I learn your fingering or can I stay with mine? Does it matter?

Basic Electric Guitar

Found in our Beginner Lesson Sets

Mark's Phase 1 series will take you through the basics of playing electric guitar.

Series Intro - Guitar Parts and TuningLesson 1

Series Intro - Guitar Parts and Tuning

Mark introduces his Phase 1 series and covers some fundamental electric guitar basics.

Length: 30:12 Difficulty: 1.0 Members Only
AmplificationLesson 2


Mark provides a detailed overview of amplification. This lesson has some great info for any electric player.

Length: 33:55 Difficulty: 1.0 Members Only
Using Tablature and Learning the FretboardLesson 3

Using Tablature and Learning the Fretboard

Before we start rocking, Mark goes over some tools and training necessary to every beginning guitarist.

Length: 12:52 Difficulty: 1.0 Members Only
Right Hand TechniqueLesson 4

Right Hand Technique

It's time to get some sound out of your guitar. Mark begins with picking hand technique.

Length: 31:34 Difficulty: 1.5 Members Only
Left Hand TechniqueLesson 5

Left Hand Technique

Mark explains proper left hand technique from the ground up.

Length: 10:36 Difficulty: 1.0 Members Only
Natural Notes in the 1st PositionLesson 6

Natural Notes in the 1st Position

Mark teaches you all of the natural notes played in first position. He uses two classic melodies to supplement this information.

Length: 25:42 Difficulty: 1.5 Members Only
The C Major Scale - 1st PositionLesson 7

The C Major Scale - 1st Position

It's time to learn your first scale - the C major scale in first position. Mark also explains how the major scale is constructed.

Length: 21:31 Difficulty: 1.5 Members Only
Chords in C major - Part 1Lesson 8

Chords in C major - Part 1

Mark covers 7 basic chords in the key of C major.

Length: 35:14 Difficulty: 1.0 Members Only
Chords in C major - Part 2Lesson 9

Chords in C major - Part 2

Mark expands on chords in C major by showing full forms of the chords you learned in Part 1. He also teaches you the chord progression to a familiar tune.

Length: 25:00 Difficulty: 1.5 Members Only
Power Chord PrimerLesson 10

Power Chord Primer

It's time to start making some noise by using power chords and palm muting. Mark gives you the framework to start rocking with the 12 bar blues progression.

Length: 36:43 Difficulty: 0.5 Members Only
Open Position Minor PentatonicLesson 11

Open Position Minor Pentatonic

Take your knowledge of the notes in the first position and start jamming on a simple pentatonic riff.

Length: 14:34 Difficulty: 1.0 FREE
Blues Scale Basics with Hammer-ons, Pull-offs, and VibratoLesson 12

Blues Scale Basics with Hammer-ons, Pull-offs, and Vibrato

Let's build on lesson 11 with an extended discussion of the pentatonic scale. For lesson 12, we'll simply add one note to the minor pentatonic scale to give us the famous minor blues scale. We'll also...

Length: 36:27 Difficulty: 1.5 Members Only
Movable Power ChordsLesson 13

Movable Power Chords

Mark explains how to finger power chords and how they can be moved anywhere on the fretboard. He also shows an exercise that will help you remember the name of each power chord.

Length: 16:28 Difficulty: 1.5 Members Only
Rhythmic Notation Part 1Lesson 14

Rhythmic Notation Part 1

Mark Brennan explains rhythmic notation, tempos, time signatures, note values, and more in this lesson.

Length: 32:14 Difficulty: 2.0 Members Only
The Key of G MajorLesson 15

The Key of G Major

Mark explores the key of G major in this lesson. He covers the first position pattern of the scale and explains how it can be harmonized in thirds.

Length: 33:22 Difficulty: 1.5 Members Only
Chords of G MajorLesson 16

Chords of G Major

Mark teaches the basic chords of G major as well as some other exercises to get you acquainted with this key.

Length: 34:28 Difficulty: 1.5 Members Only
The Key of D MajorLesson 17

The Key of D Major

Mark explains the basics of D major.

Length: 25:00 Difficulty: 1.0 Members Only
Chords in D MajorLesson 18

Chords in D Major

Mark takes you through the chords of D major and explains some new ones that you haven't encountered yet.

Length: 35:00 Difficulty: 1.0 Members Only
More Movable Power Chords & the Circle of FifthsLesson 19

More Movable Power Chords & the Circle of Fifths

Mark continues his discussion of power chords. This time around, he explains the circle of 5ths and demonstrates some power chord progressions that illustrate this concept.

Length: 33:18 Difficulty: 1.5 Members Only
The Movable Minor Pentatonic ScaleLesson 20

The Movable Minor Pentatonic Scale

Mark teaches the 1st box of the minor pentatonic scale.

Length: 32:31 Difficulty: 1.0 Members Only
The Minor Blues Scale Transposed to ALesson 21

The Minor Blues Scale Transposed to A

Mark explains how you can transpose the pentatonic pattern covered in lesson 20 to the key of A minor. He also shows the "lower extension box" and "home plate box."

Length: 26:09 Difficulty: 1.0 Members Only
Blues Boogie ShuffleLesson 22

Blues Boogie Shuffle

Mark teaches the difference between straight eighth notes and the shuffle feel.

Length: 42:33 Difficulty: 1.0 Members Only
Amplification Part TwoLesson 23

Amplification Part Two

In response to member requests, Mark added another amplification lesson to his growing phase 1 series. In this lesson, he compares 3 classes of amps from entry level models all the way to a Mesa Mark V.

Length: 40:45 Difficulty: 0.5 Members Only
Introduction To ImprovisationLesson 24

Introduction To Improvisation

In this lesson, Mark teaches some blues licks that can be used when improvising over a 12 bar blues progression.

Length: 24:01 Difficulty: 2.0 Members Only
The Key of A MinorLesson 25

The Key of A Minor

Mark covers the key of A minor.

Length: 29:36 Difficulty: 2.0 Members Only
Two Movable Major Chord FormsLesson 26

Two Movable Major Chord Forms

Mark teaches two movable major chord forms and gives many examples of how to practice playing them.

Length: 26:10 Difficulty: 1.0 Members Only
I-IV-V Progression RevisitedLesson 27

I-IV-V Progression Revisited

Mark Brennan shows you how to apply the chord forms learned in lesson 26 to a I-IV-V progression.

Length: 21:52 Difficulty: 1.0 Members Only
Movable Dominant 7th Chord FormsLesson 28

Movable Dominant 7th Chord Forms

Mark Brennan continues his teachings on movable chord forms. In this lesson he shows the dominant 7th chords and how to use them in a 12 bar blues progression.

Length: 19:49 Difficulty: 1.0 Members Only
Movable Minor and Minor 7th Chord FormsLesson 29

Movable Minor and Minor 7th Chord Forms

Mark Brennan teaches these minor chord forms and how they are movable up and down the fretboard. He also shows how to use these chords in common progressions.

Length: 21:29 Difficulty: 1.0 Members Only
Mark Brennan

About Mark Brennan View Full Biography Mark Brennan, born August 12th, 1954 in Cleveland, Ohio, began playing guitar at the age of 10. His first influences were from the Ventures and the British Invasion, especially the Beatles and Rolling Stones. Shortly afterwards he was playing in rock bands with his brother on drums, developing his ear by learning songs straight from records. Playing in a band became a passion.

In high school, he grew to love acoustic and classical guitar. He spent time playing acoustic music, influenced by The Eagles, CSN, Dan Folgelberg, James Taylor, Joni Mitchell, etc. In the 70's, he headed a very popular Cleveland band, The Brennan-Cosma Band, which played a variety of acoustic and rock music, along with originals. He also took up classicalguitar, and began developing his fingerstyle technique.

Mark is a graduate of Cleveland State University (1980), with a Bachelor of Music in Classical guitar performance. He also studied Music Composition, and took many Music Education classes. After graduation, he began his private teaching career, teaching electric, acoustic, and classical guitar, along with music theory. He taught in various studios and guitar shops throughout his career, and currently has a private practice at his home in Fairview Park, Ohio.

In the 80's Mark took an affection to Progressive rock. With his band Polyphony, he was influenced by the music of Yes, Genesis, Kansas, ELP, Styx, along with a set of prog rock originals.

Currently, Mark is in the regionally successful Pink Floyd tribute band Wish You Were Here. The band performs faithful renderings of the Floyd classics spanning their entire catalog, along with a strong visual stage show. Here, Mark displays his command of the David Gilmour style.

Mark is excited to be part of's fine roster of teachers. He's looking forward to extending his 35 years of performing and teaching experience to the JamPlay members. His philosophy is about developing a passion for guitar and being the best musician you can be; being true to yourself and developing a personal style, and truly expressing your heart through your music.

Lesson Information

Acoustic Guitar Lessons

Acoustic Guitar

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

Hawkeye Herman Hawkeye Herman

Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.

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Danny Voris Danny Voris

Lesson 7 is all about arpeggios. Danny provides discussion and exercises designed to build your right hand skills.

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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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Peter Einhorn Peter Einhorn

JamPlay is proud to introduce jazz guitarist Peter Einhorn. In this lesson series, Peter will discuss and demonstrate a way...

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Don Ross Don Ross

New fingerstyle instructor Don Ross introduces himself, his background, and what you should expect in this series.

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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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Erik Mongrain Erik Mongrain

Erik expounds on the many possibilities of open tunings and the new harmonics that you can use in them. He explains what...

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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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Steve Eulberg Steve Eulberg

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

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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.

Andy Wood Andy Wood

So how does Andy Wood pick so quickly and with such precision? Level up your speed and accuracy with Andy's near-flawless...

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David Davidson David Davidson

JamPlay interviews Revocation's Dave Davidson.

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Brent Mason Brent Mason

Learn Nashville style country guitar from one of the most recorded guitarists in history. Check out rhythm grooves, solos,...

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Braun Khan Braun Khan

In this lesson, Braun teaches the chord types that are commonly used in jazz harmony. Learn how to build the chords and their...

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Allen Van Wert Allen Van Wert

Allen shows you the 24 rudiments crucial to developing finger dexterity. This is a short lesson but the exercises here can...

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John March John March

Take a new look at the fretboard and learn where to find a voicing that works. There are techniques that simplify the fretboard...

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Dave Weiner Dave Weiner

Dave "David J" Weiner returns with a lesson on how to play with style and attitude. He covers all the basic techniques you'll...

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Monte Pittman Monte Pittman

The hungarian minor scale can be viewed as a modification of the harmonic minor scale. It has a very exotic sound, and is...

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Aaron Marshall Aaron Marshall

JamPlay welcomes instrumental guitarist Aaron Marshall for a comprehensive master course. In this first lesson Aaron discusses...

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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.

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