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Physicalities of Playing (Guitar Lesson)

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Matt Brown

Physicalities of Playing

Matt provides information on carpal tunnel and how to avoid this dangerous injury. He discusses proper technique, typing, and video games.

Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 46:19Difficulty: 1.0 of 5
Chapter 1: (01:53) Lesson Introduction Recently, in previous months, many members have reported similar hand injuries related to guitar, typing, and playing video games. For this reason, Matt has taken a detour from his usual jazz curriculum to address stress related hand injuries. This is not a jazz specific lesson. This lesson is for guitarists of all styles.

Immediately make any necessary adjustments to your technique after watching this lesson. Whenever you alter your technique significantly, playing may seem quite awkward for a number of weeks. However, the sooner you make these adjustments, the better off you will be in the long run. It will only become more difficult to correct poor technique down the line. Also, more importantly, correcting poor technique may just save you from a career ending injury.
Chapter 2: (02:45) Carpal Tunnel Syndrome Carpal Tunnel Syndrome

The carpal tunnel is a tube shaped canal that extends through the wrist. Eight small bones, the transverse carpal ligament, and nine flexor tendons surround the carpal tunnel. The median nerve also passes through this area. This nerve carries the nerve signals pass sensation to each finger, with the exception of the pinky. Carpal tunnel syndrome occurs when the median nerve is compressed too tightly against the tendons and bones in this area.

When chronic irritation occurs around the median nerve, it becomes constricted and is continually pushed against the ligament above it. When the nerve is continually constricted, it can become compressed to the point that it begins to deteriorate. This results in a slowing of nerve impulses, which may cause a loss of feeling in the fingers and a loss of strength and coordination at the base of the thumb. If the condition is not treated, it could result in permanent deterioration of muscle tissue.

Carpal tunnel is not a very serious condition if it is caught and treated early. However, if this condition remains untreated and is aggravated over time, it can become chronic and quite painful. Treatment of sever carpal tunnel is possible. However, it may take the patient several years to make a full recovery.


Most people are aware that repetitive misuse of the arms, wrists, and hands can lead to carpal tunnel syndrome. However, most people aren't aware of what is classified as misuse. In reality, the majority of carpal tunnel cases can be attributed to posture issues involving the back and shoulders. The body is one single system. Problems with the shoulders can easily spread down to the rest of the arm. Simply follow the posture and technique guidelines provided in this lesson, and you will avoid injury causing movement and posture.

Carpal tunnel can also spring from another medical condition. Patients with the following conditions are at a higher risk for carpal tunnel syndrome:

-Fracture of the wrist bones

Conditions such as diabetes or other metabolic conditions as well as rheumatoid arthritis affect the nerves in the body directly. As a result, they are less resilient against compression.

Carpal tunnel stemming from playing guitar typically occurs in the picking hand. This results from arching the wrist while finger picking or gripping the pick too tightly.


Prevention of carpal tunnel syndrome includes taking proper care of the entire body. This includes proper diet, sleep habits, and stress reducing behavior. Also, any serious musician should make a regular habit of stretching and working out the back, neck, forearms, and wrists.


The most common symptoms are tingling, burning, and, weakness in the thumb and first three fingers. Most patients describe the sensation as similar to being poked in the palm with lots of small needles. Pain originating in the wrist can often spread to the rest of the arm or vice versa. Chronic carpal tunnel can result in the disability to grip objects.


There are two tests used to diagnose carpal tunnel syndrome. They are called the Tinel and Phalen maneuvers. The doctor taps on the palm with a small blunt object. If the patient experiences a tingling, pins and needles sensation, then he/she has tested positive on the Tinel test. If these symptoms result from flexing the wrist, then the patient has tested positive on the Phalen test. Then, an electromyogram is typically performed. An electromyogram measures the electrical activity in your nerves and muscles.


There are several ways to treat carpal tunnel syndrome:

1. Give It a Rest!

Decreasing the frequency of the motion that initially caused the injury is the first important step in effective treatment. The amount of rest time between periods of performing this motion must be increased.

2. Immobilization

Treatment may also include immobilization of the wrist. This is usually done with a splint or brace of some sort. These splints essentially keep the wrist in a fixed comfortable position. This provides damaged nerves with much needed rest.

3. Medication

Often, anti-inflammatory drugs or steroids are prescribed to treat painful swelling and tingling sensations.

4. Therapy

Physical therapy is often the most effective treatment of this syndrome. Therapists target key areas in the forearms and wrist. The patient is provided with exercises designed to correct postural problems in these important trigger areas. These exercises include stretching, strengthening, and icing the tendons.

4. Surgery

Surgery can be performed successfully as a last resort treatment of carpal tunnel syndrome. This surgery involves opening the carpal tunnel to relieve nerve pressure.
Chapter 3: (06:06) Legs, Arms, and Shoulders Playing the guitar properly begins with proper posture. Proper posture involves the entire body. Remember that the entire body is one system. Everything affects everything else.

The key to proper technique and playing effortlessly is relaxation. Any discomfort anywhere in the body needs to be addressed immediately.


The legs are the foundation of the body and proper posture. Any structure requires a solid foundation. Always follow the following guidelines regarding proper leg positioning.

1. Never cross your legs. It limits circulation. It's awkward. Most people do this just to raise the guitar higher. That's why you should always wear a strap instead!

2. Keep the feet about shoulder width apart. When playing sitting down, keep them parallel. If standing up, then you may find it more comfortable to keep one foot slightly in front of the other. Leading too much with one foot can cause back issues that affect the shoulders. This tension can spread to the hands and affect playing.

3. The groin area and feet should form an isosceles triangle (two equal sides). The ancient Egyptians understood that the triangle is the strongest geometric shape. Consequently, you must position the base of your body in this formation.


Keep the shoulders relaxed and loose at all times. Don't shrug them at all. Your arms should feel like they are hanging effortlessly from your body. Do not lift your right shoulder to bring your right hand closer to the strings.

Where's Your Strap?!?!?

Unless you are playing classical guitar, you always want to wear a strap regardless of whether you are sitting or standing. Without a strap, the guitar just sits in your lap. For almost all guitarists, the guitar is way too low in this position. A properly adjusted strap ensures maximum finger reach and comfortability. In the lesson video, Matt demonstrates a handy trick that will help you determine the appropriate strap height for you. Also, make a note of how other JamPlay instructors have their straps adjusted. Always follow their example.
Chapter 4: (20:59) Posture, Hands, and Holding Your Pick Finding the Right Guitar

Don't play a guitar that is too big, bulky, or heavy for you. Many players run into back and shoulder problems from playing heavy guitars such as Les Pauls night after night. Similar problems may result from playing a large hollwbody or acoustic guitar. Most likely, these problems will not manifest themselves immediately. It may take decades for the issue to come to a head. However, they could eventually knock you out of commission for a long time. Why would you do anything that could potentially lead to injury?

Holding the Pick

Note: The following information is taken from lesson 2 of Brad Henecke’s Phase 2 Speed and Technique series.

Choosing a Pick

When it comes to choosing a pick, there really is no right and wrong. Picks come in a wide variety of shapes, sizes, thicknesses, and textures.

Pick Size / Shape

Almost all picks are made in relatively the same shape. There is a broad end and a pointed end. However, there is a wide variety of choices within this stipulation. The majority of picks are taller than they are wide and measure roughly one inch in height. A common example of this pick type is the Dunlop Tortex. However, there are other options available. For example, Fender makes a pick that is just as wide as it is round. Fender also makes picks in the shape of isosceles and equilateral triangles. Most guitarists can't stand these picks. However, System of a Down guitarist Daron Malakian has been known to use these picks almost exclusively. Finally, most jazz players prefer a very small pick. This allows the picking hand to be as close to the strings as possible. This is not desirable for players who frequently palm mute.

Pick Texture

Ideally, you want to choose a pick that is easy to hold onto. Almost everyone is different in this category. The amount of oil your hands produce has a large impact on which pick is easier for you to grip. For example, many players find the Dunlop Tortex picks very easy to hang onto. However, players with very dry skin typically find them impossible to hold onto. These players usually prefer a pick with a smoother surface such as picks made by Fender.


Almost all JamPlay instructors recommend that you play with a medium or heavy pick. Thin picks produce an annoying clicking sound when they strike the string. They also tend produce a very weak tone. However, make sure that you do not choose a pick that is too thick. Picks that are too thick are clumsy and awkward to use. Using such a pick also puts you at a higher risk of string breakage.

Holding the Pick

In order to properly swing a golf club, you must first learn how to hold it. Similarly, in order to use your picking hand properly, you first have to learn how to hold the pick. There are three acceptable methods of holding a guitar pick. Spend significant time experimenting with all three options to determine which works best for you and the style(s) of music you play. They are listed here in order from most common to least common.

Method 1

Most guitarists prefer to hold the pick between the thumb and index finger. This grip seems to feel most natural to the vast majority of players. Within this method, you have two viable options pertaining to how the index finger grips the pick. Most players prefer to hold the pick between the fleshy pad of the thumb and the pad of the index finger. On the other hand, some guitarists choose to hold it between the pad of the thumb and the bony side of the index finger. JamPlay instructor Matt Brown prefers the latter method. He feels that he is much less likely to drop the pick when it is held in such a way. He is also able to play with a more aggressive tone.

Method 2

Some players, such as Metallica's James Hetfield and Krist Novoselic of Nirvana, Sweet 75, and Flipper prefer to hold the pick between the pads of the thumb and both the index and middle fingers. These players feel that this method provides them with the firmest, most stable grip on the pick. It also allows them to play with punishing heaviness.

Method 3

Eddie Van Halen has been known to grip the pick between the pad of his thumb and the pad of his middle finger. This method frees up his first finger for rapid tapping licks. This method is not recommended unless you play tapped licks very frequently.

Regardless of which method you eventually choose, slightly less than a fourth of an inch of the pick should extend outward from the fingers holding it. This is the only portion of the pick that should make contact with the strings. Almost all guitarists strike the strings with the pointed side of the pick. Watch Brad for a clear demonstration of how to hold the pick in this manner. However, some jazz players such as Scott Henderson advocate holding the pick upside down. Scott holds his pick this way in order to achieve a slightly softer, darker tone.

Pick Angle

The angle at which the pick strikes the strings has a huge impact on tone production. Holding the pick totally parallel to the string yields the brightest tone. JamPlay instructor Dennis Hodges prefers to hold his pick this way. However, the tone produced by this method may not be ideal for you. Other instructors prefer to slightly angle the pick into the strings. This produces a slightly darker tone similar to the effect of rolling down the tone control by 1 or two settings.

The pick angle also has a profound effect on rapid picking. Some players prefer to angle the pick slightly when tremolo picking so that the pick slices through the string. Other players find this technique undesirable and choose to keep the pick parallel to the string while tremolo picking.

Note: If you do not have a "hitchhiker" thumb, you will most likely not be able to hold the pick perfectly parallel to the string. If this is the case, do not try to force the thumb into a position that is uncomfortable. The thumb should remain as relaxed as possible at all times.

Picking Motion

Almost all guitarists generate the picking motion completely from the wrist muscles. The forearm only gives involved when two or more strings are strummed simultaneously. However, some players prefer to generate the picking motion between the thumb and index finger. The thumb pushes the index finger towards the middle finger to produce a downstroke. Allowing these fingers to return to their normal, relaxed position produces an upstroke. Dave Navarro is a strong advocate of this technique.

Fingers Not Holding the Pick

Almost all guitarists that are trained in the classical and jazz fields argue that it is never appropriate to anchor any of the fingers not holding the pick on the body of the guitar regardless of what genre you play. Rather, these fingers should be lightly tucked into the palm. They should remain relaxed as possible.


The rules change slightly for strumming. The fingers fan out while remaining relaxed, and the forearm gets involved. The strumming motion can be compared to turning a doorknob. Experience is paramount in developing good strumming technique. Repetition is key!

Strumming and picking should be practiced equally since they are equally important.
Chapter 5: (04:12) Left Hand Technique Follow these left-hand rules at all times!

1. Keep the thumb on the back of the neck at all times except when bending strings. The thumb is needed for extra leverage when bending. The same concept can loosely be applied to a wide vibrato.

2. Make sure that every single joint is arched.

3. Play on the very tips of your fingers.

4. Keep the nails very short.

5. Don't fret a note with the pad of the finger, but rather with the end of the finger where the pad meets the nail.

6. Keep the fingers as independent as possible and as close as possible to the fretboard. The pinky is the usual culprit in this department. It tends to have a mind of its own.

Chapter 6: (05:40) Typing In our modern society, many of us spend a significant amount of time tying on the computer. Unfortunately, typing is the activity that causes the most stress/overuse related hand injuries.

Always follow these basic typing guidelines!

1. Buy a comfortable wrist pad for the keyboard and the mouse.

2. Fingers remain on the home-row keys.

3. Use correct finger reaches at all times. For example, don’t reach for the "Y" button with the left hand. Also, make sure that you utilize both shift keys and not just one.

4. Use the pinky finger to strike the return key.

5. Eyes are focused on the screen.

6. Feet are resting flat on the floor shoulder width apart.

7. Sit up straight in a chair with a high, comfortable back..

8. Position the keyboard one hand length away from the body.

9. Keep your body directly in front of the keyboard at all times.

10. Do not bend wrists outward or inward excessively. The wrists must stay low, but not touching the keyboard. Simply rest them on your squishy pad.

11. Imagine that someone slid a tennis ball into the palm of your hand. This will keep the fingers properly arched at all times.

12. Keep your elbows relaxed at your sides. Do not rest them on the armrests of the chair while typing!
Chapter 7: (03:36) Video Games A recent study about hand related injuries and video games yielded some very interesting results. Basically, the study pointed out that people that play games such as role playing games (World of Warcraft, Final Fantasy, etc.) are less prone to hand injuries than those that play action or fighting games. This proves that there is a correlation between tendonitis, carpal tunnel, and games that require rapid, repetitious finger movements.

If you ever feel your hands getting sore as a result of playing video games, it is time to take a break. Also, be aware of how tightly you grip the controller and how violently you press the buttons.

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.

vuesnatvuesnat replied

Tommy Emmanuel uses his thumb all the time, and he said "God gave me a thumb so why not use it" :)

RubymaeRubymae replied

Thx, Matt. I am returning to guitar after 40 yrs. My 60 y.o. body is already flaring up in my wrists and shoulders after only 6 weeks of lessons. This lesson encourages me to not give it up. I plan to video myself practicing so i can pinpoint what i am doing wrong. Your lesson taught me what to actually look for.

mattbrownmattbrown replied

Hi! The wrists and shoulders are usually the most problematic muscle groups for guitarists. Make sure that your shoulders are relaxed as possible. Shoulder comfort is mainly determined by whether or not your strap is adjusted properly. Also, make sure you're not shrugging your shoulders at all. In terms of your wrists, make sure your picking wrist is as straight as possible. With the other wrist, overuse seems to be the problem. If you've been practicing for awhile and your fingers / hands feel excessively fatigued, take a break! Hope you enjoy the rest of the lessons!

thesnowdogthesnowdog replied

So I take it instructors don't carry a cane to prevent anchoring anymore? Perhaps that's just the grumpy old classical instructors. :)

dash rendardash rendar replied

That pinky stretch in bars 11-12 of Etude #1 is really hard! I think I need bigger hands.

mattbrownmattbrown replied

Yeah! That stretch is really tough! Keep working on left hand finger independence exercises and reach development, and you'll get it. Dennis has some really great exercises for this stuff in his Phase 2 Metal lessons.

liechtensteinguyliechtensteinguy replied

Thank you so much. I think I got very close to an injury and was looking for a lesson like this. My main problem was that I was putting all three fingers on the guitar instead of making the relaxing fist.

mattbrownmattbrown replied

Well, I'm glad that you avoided injury! The key with technique is really just to make sure that every part of your body feels as relaxed as it possibly can at all times. You may notice some amazing players that anchor those three fingers on the pickguard. Usually these players have bigger hands though, so the fingers aren't quite so rigid.

liechtensteinguyliechtensteinguy replied

Not really a fist... That would be bad, but just no stretched fingers. ;o)

jpfanboyjpfanboy replied

AAAAAWWWWSSSOMMMEEE LESSON. I have totally changed the way i hold my pick now. I noticed after like 5 min that my tecnique got better :)))) Thanks so much for the lesson.

mattbrownmattbrown replied

Thanks guys! Glad you found this helpful!

wickedvasewickedvase replied

excellent lesson.

TangletomsTangletoms replied

yikes! twin peaks scared the hell out of me!! Am enjoying learning the etude Matt, thanks for all the tips in this lesson, been very helpful.

levick11levick11 replied

I can't seem to get my guitar strap correct. I've got it cinched up against my chest and everything when seated, but the strap always slides on my shoulder and the head wants to dip to the floor. The only way to really steady it is to rest it on my thigh. Any help?

mattbrownmattbrown replied

Buy a strap that works properly.

levick11levick11 replied

Got any suggestions? My strap right now is a leather Fender strap.

mattbrownmattbrown replied

That's a pretty good strap. One trick is to make sure that one of the two sections separated by the adjuster thing is smaller than the other. This is the end that should attach to the strap peg by the neck. The other end goes down by the bridge. Hope that helps!

mbeurymbeury replied

"triangles are effing sweet!!"

mattbrownmattbrown replied

well they are...haha

mattbrownmattbrown replied

I like this red background. It reminds me of that Twin Peaks show.

Jazz Guitar with Matt

Found in our Beginner Lesson Sets

In this lesson set, Matt will teach you everything you need to know to fluently play jazz guitar.

Intro to JazzLesson 1

Intro to Jazz

Check out this lesson to learn some basic jazz theory & chord voicings.

Length: 31:36 Difficulty: 3.0 Members Only
Voicings & MelodiesLesson 2

Voicings & Melodies

Learn some more advanced chord voicings as well as the Charleston rhythm.

Length: 19:13 Difficulty: 3.0 FREE
Set II VoicingsLesson 3

Set II Voicings

Learn a handful of Set II voicings & round out your knowledge of the basic jazz chords.

Length: 27:08 Difficulty: 3.0 Members Only
Applying Chords / Solo IdeasLesson 4

Applying Chords / Solo Ideas

Apply the chords you've learned & experiment with some solo ideas.

Length: 32:47 Difficulty: 3.0 Members Only
Scales and Chords TogetherLesson 5

Scales and Chords Together

Learn which scales work with which jazz chord voicings.

Length: 43:00 Difficulty: 3.0 Members Only
Circle of FifthsLesson 6

Circle of Fifths

Matt sheds some light on the circle of fifths.

Length: 28:00 Difficulty: 3.0 Members Only
Proper PracticingLesson 7

Proper Practicing

Learn how to get the most out of your time when practicing.

Length: 31:00 Difficulty: 2.5 Members Only
Proper Practicing Part 2Lesson 8

Proper Practicing Part 2

Here's the second installment of Matt's proper practicing lesson.

Length: 32:00 Difficulty: 3.0 Members Only
Physicalities of PlayingLesson 9

Physicalities of Playing

Learn how to avoid carpal tunnel and other hand injuries by using proper technique.

Length: 46:19 Difficulty: 1.0 Members Only
All of MeLesson 10

All of Me

Matt Brown teaches the jazz standard "All of Me."

Length: 31:12 Difficulty: 2.0 Members Only
Lead and ScalesLesson 11

Lead and Scales

Matt Brown explains how to improvise over the changes to "All of Me."

Length: 7:54 Difficulty: 2.0 Members Only
Estudio No. 1.Lesson 12

Estudio No. 1.

Matt Brown begins talking about solo arrangements in this lesson. He teaches Carcassi's "Estudio No. 1" as an introduction to this concept.

Length: 18:10 Difficulty: 2.5 Members Only
Reviewing the ii V I ProgressionLesson 13

Reviewing the ii V I Progression

Matt Brown returns to his Jazz series with a review lesson. He applies the standard ii V I progression to the circle of fifths.

Length: 18:10 Difficulty: 2.0 Members Only
Turnback ProgressionLesson 14

Turnback Progression

In lesson 14, Matt discusses the turnback progression in the jazz style.

Length: 22:20 Difficulty: 1.5 Members Only
Set Three VoicingsLesson 15

Set Three Voicings

Matt brown discusses and demonstrates the set three voicings used in jazz guitar.

Length: 25:42 Difficulty: 2.0 Members Only
Jazz Solo ArrangementLesson 16

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In this lesson, Matt demonstrates how to practice jazz solo arrangements by taking a look at "Here's That Rainy Day."

Length: 35:10 Difficulty: 2.0 Members Only
Expanding on the 12 Bar BluesLesson 17

Expanding on the 12 Bar Blues

In lesson 17, Matt reviews and expands on the jazz version of the 12 bar blues form.

Length: 23:20 Difficulty: 2.0 Members Only
Adding VoicesLesson 18

Adding Voices

In this lesson, Matt adds to your voicing repertoire while playing the Charleston rhythm.

Length: 14:22 Difficulty: 2.0 Members Only
Key of B Flat MajorLesson 19

Key of B Flat Major

Matt Brown talks about lead options when playing a blues in B flat major.

Length: 23:35 Difficulty: 2.0 Members Only
Key of FLesson 20

Key of F

Matt Brown provides instruction and examples of playing jazz heads in the key of F. Once again, all examples follow the 12 bar blues form.

Length: 18:22 Difficulty: 2.0 Members Only
Jazz Heads in B FlatLesson 21

Jazz Heads in B Flat

Matt Brown takes another look at blues heads in the key of B flat. In this lesson, he covers a head by Thelonious Monk.

Length: 10:03 Difficulty: 2.0 Members Only
Tools for Solo ArrangementsLesson 22

Tools for Solo Arrangements

Matt Brown takes a look at a solo arrangement and provides thoughts and tools necessary to complete this type of guitar playing.

Length: 23:13 Difficulty: 2.0 Members Only
Introduction to Bossa NovaLesson 23

Introduction to Bossa Nova

Matt Brown starts breaking down the rhythmic tendencies and patterns to the Brazilian Bossa Nova style of playing.

Length: 17:56 Difficulty: 0.0 Members Only
Blue Bossa #1Lesson 24

Blue Bossa #1

In lesson 24 of his Jazz series, Matt takes a look at the melody to Blue Bossa.

Length: 9:12 Difficulty: 0.0 Members Only
Blue Bossa #2Lesson 25

Blue Bossa #2

Matt Brown takes a look at the available chord voicings for Blue Bossa.

Length: 10:39 Difficulty: 0.0 Members Only
Matt Brown

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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

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