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Jazz Solo Arrangement (Guitar Lesson)

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Matt Brown

Jazz Solo Arrangement

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

Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 35:10Difficulty: 2.0 of 5
Chapter 1: (01:23) Performance Sit back and enjoy a performance of "Here's That Rainy Day." In the scenes that follow, Matt explains how to play this solo guitar arrangement. He also provides some general practice tips that can be applied to any solo guitar piece.
Chapter 2: (08:50) Introduction Steps to Learning a Solo Arrangement

1. Essential Listening

Listen to several different recordings of the tune. Listen to a variety of different ensemble settings - big band, small combo, guitar duet, a solo guitar performance, and a vocal performance. Try to track down the original recording as well. Listen primarily to the way in which the melody is interpreted. Compare each individual performance of the melody to what is actually notated on the lead sheet for the tune. What differences do you notice?

Here are some great performances to check out:

Barney Kessel - Solo Guitar Arrangement

Frank Sinatra - Vocal Performance

Wes Montgomery - Small Combo (played as a samba)

2. Follow the Preliminary Steps Listed Under Scene 3.

3. Learn how to play the head (melody) from the lead sheet.

You must be able to play the melody musically and in time before the chords are incorporated into the arrangement.

Unless the tune was written by a guitarist, it is usually a good idea to play the melody an octave higher than written. There are some exceptions to this guideline that will be discussed later in the series. Guitar music sounds one octave lower than written. When playing music written for other instruments such as trumpet, saxophone, piano, vibraphone etc., the melody must be transposed up an octave when played on guitar.

Due to the nature of the guitar, the melody can be played in several different locations on the fretboard. The timbre of a D note played on the third string is different from the same pitch on the fourth string. Determine the way to play the melody that sounds the best. Matt chooses to play most of the melody in tenth position. This position sounds great and the melody is easy to finger in this position.

Remember that you do not want to play the melody exactly as written on the lead sheet. The lead sheet is simply a guideline as to how the melody goes. This is where listening to a variety of performances and interpretations becomes really important. Borrow the interpretation ideas that you like from the recordings that you have checked out.

Listen as Matt plays the melody exactly as written at 04:50. Listen again as he loosely interprets the melody at 06:15. What differences do you notice between these version and the version demonstrated at 04:40?
Chapter 3: ( 09:13) Here's That Rainy Day Solo Arrangement Before you even touch the guitar, survey the piece for all of its essential characteristics.

-Note the official title. The title is "Here's That Rainy Day."

-Note the composer and lyricist. The music was written by Jimmy Van Heusen. Johnny Burke wrote the lyrics.

-Pay attention to the style indicated on the lead sheet. It says "medium ballad," which indicates a moderately slow tempo. However, this song is often performed as a medium swing tune or with a bossa nova / samba feel as demonstrated by Wes Montgomery.

-Make a note of the key signature. This tune is played in G major. However, like most jazz standards, it modulates through a number of different key centers.

-Make a note of the form. The form consists of 32 bars. The chord progression features an A, B, A, C form in which each section consists of 8 measures. The tune can also be analyzed as just two large 16 bar sections labeled A and B.

-Learn the lyrics. This is extremely helpful in determining how the melody should be phrased. Your interpretation of the melody must make sense with the way in which the lyrics flow.

Rubato Feel

This arrangement should be played with a rubato feel. "Rubato" literally means "robbed time." In this time feel, a specific segment is typically sped up. When this occurs, the rhythm of another segment must slow down slightly. The rhythm accelerates and slows like the ebbing ocean tide. Rubato is not the same as free time!

Listen as Matt plays through the arrangement in totally strict time at 02:28. Sounds pretty lame, huh? Then, listen again as he plays the arrangement with a rubato feel. When the rhythm is more active, Matt likes to push the tempo. He slows the tempo back towards the end of each phrase to compensate. What effect does the rubato feel have on the overall sound of the arrangement?

Working Through the Arrangement

A. Chord Voicings

Many of the voicings used in the arrangement are ones that you have already learned. However, many of them are new. Thus far, Matt has only covered jazz chord voicings that work well with comping. There are still thousands of voicings he has not covered voicings that can be used in solo arrangements. Pay careful attention to any new voicings that you encounter. Make a careful note of their structure. For example is the chord inverted? Is the root or fifth omitted? What emotional quality does the voicing evoke?

B. Locating the Melody

In this arrangement, the melody is always played as the highest note in the chord. This is the most common way to arrange a melody for solo guitar. In future lessons, the melody may be played in the bass or one of the inner voices. This is much less common since our ears naturally hears the highest note in each chord as the most important. The bass line is typically what our ears pick out next.
Chapter 4: (05:22) Here's That Rainy Day Phrase Two Throughout this scene, Matt discusses the chord voicings that are used to harmonize the melody. In order to determine which chord is being used, you must have a thorough understanding of how chords are spelled. A review of this information is provided below.

To spell any chord, follow these basic steps:

1. Start with the Major scale corresponding to the letter name of the chord. For example, if you want to figure out the notes in C7, start by writing out the C major scale. Even if you are spelling a minor chord, you must start with the major scale of the chord name.

2. Determine the "triad type" of the chord. A triad is a chord containing three notes. It is also the base structure of any chord that contains more than three notes. There are four types of triads: Major, Minor, Augmented, and Diminished. Each of these triads is spelled using a different formula.

Note: The symbols that are frequently used to abbreviate these triad types are: ∆,-,+,o respectively. Thus, a CMA7 chord may be abbreviated as C∆7. Here are the formulas for these triads:

Major triad: scale degrees 1,3,5.

Minor triad: scale degrees 1,b3,5.

Augmented triad: scale degrees 1,3,#5

Diminished triad: scale degrees 1,b3,b5

Remember to start with the MAJOR SCALE regardless of whether the chord is major!

3. If the chord contains more than three notes, consult the formulas below.

MA7: 1,3,5,7
MA6: 1,3,5,6
MA6/9: 1,3,56,9
MA9: 1,3,5,7,9
MA13: 1,3,5,7,9*,13 - The 9th is frequently omitted from MA13 voicings.
MI7: 1,b3,5,b7
MI6: 1,b3,5,6
MI6/9: 1, b3, 5, 6, 9
MI(MA7): 1, b3, 5, 7
MI9: 1,b3,5,b7,9
Dominant 7: 1,3,5,b7
Dominant 9: 1, 3, 5, b7, 9
Dominant 9 suspended fourth: 1, 4, 5, b7, 9
Dominant 13: 1, 3, 5, b7, 9*, 13 - The 9th is frequently omitted from dominant 13 voicings.
MI7(b5): 1,b3,b5,b7
o7: 1,b3,b5,bb7

Altered Dominant Chords

The following altered extensions are frequently added to dominant chord types: (#5 or b13), (b9), (#9), (#11)*

*The (#11) extension is frequently added to major chord types as well.
Chapter 5: (05:44) Here's That Rainy Day Phrase Four The Tritone Substitution

The tritone substitution demonstrates that two chords that are dominant in quality can be interchanged within most jazz progressions. Remember that the tritone is the interval of an augmented fourth or diminished fifth. It contains three whole steps, hence the name tri-tone.

A tritone substitution occurs in measures 22-23 of the arrangement. D7 functions as the V7 dominant chord in relation to a tonic G major chord. In this instance, the dominant chord located a tritone away (Ab) is played instead of D7. An Ab13 chord is played in place of a standard dominant seventh chord to add more color to the harmony.

Why does the tritone substitution work? The 3rd, 7th, and 9th of a dominant chord are identical to the 7th, 3rd, and b13th of the dominant chord located a tritone away. Compare the spelling of the dominant chords listed below:

D7: D, F# (Gb), A, C

Ab7(b13): Ab, C, Eb, Gb, D

As you can see, these chords share many of the same notes.

Common Applications of the Tritone Substitution

Typically, the dominant chord located a tritone away is substituted for the regular V7 dominant. A bII7 - I progression can be substituted for the familiar V7 - I turnaround progression.
Chapter 6: (04:34) Troubleshooting Your Practice Review of Proper Posture

The following information is taken from lesson 9 of this series.


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 comfort.

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 hollowbody 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?

Melody, Melody, Melody!!!!!

When practicing the arrangement, determine where all of the phrases end and begin. Make sure each phrase is played in a legato flowing fashion. It must be played as though you would sing it. Do not allow poorly performed chord changes disrupt the flowing sound of the melody. Remember that the melody is sacred and must be played as such.

Review of Proper Left Hand Technique

The following information is taken from Lesson 4 of Danny Voris' Phase 2 Classical Guitar series.

Left Hand Guidelines

A. Preparing the Left Arm

1. In order for the left hand to be positioned correctly, the entire body (especially the shoulders) must be positioned correctly. Remember to keep the spine straight and the shoulders relaxed!

2. Keep the left hand in a natural, relaxed position at all times. Do not squeeze the neck!

3. Let the left arm hang limp at your side. Your left shoulder and arm should feel completely relaxed. Then, slowly bring the left hand up to the fretboard at seventh position. Seventh position is a perfect location to work on technique since the left hand is directly in the line of vision. Also, the frets are not far apart like they are in the lower positions on the fretboard.

B. Thumb Placement

1. Keep the thumb perpendicular to the neck. Do not curl the thumb or bring it up over the top of the neck. Also, Do not turn the thumb so that it runs parallel to the back of the neck. This greatly limits the range of motion of each finger.

2. The thumb should rest on the neck directly behind fingers one and two.

3. The thumb may move up and down slightly in order to accommodate various left hand positions.

C. Palm Placement

1. Keep the left hand palm parallel to the bottom of the neck. Do not allow the palm to make contact with the bottom of the neck. This technique will allow each of the fingers to access all six strings without moving the entire hand. Economy of movement is one of the most important components of proper technique. Wasted movement limits speed, endurance, and accuracy.

D. Finger Placement

When fretting any note, always follow the guidelines listed below.

1. Fret the strings with the very tips of the fingers. Arching the wrist outwards will help accomplish this goal. Utilizing this technique will prevent you from bumping any of the adjacent strings. Making contact with adjacent strings will prevent them from ringing clearly.

2. Position the finger as close to the fretwire as possible without being directly over top of it. The least amount of pressure is required to push the string down in this position.

3. Keep all left hand joints slightly bent. Do not flatten any of the knuckles.

4. Keep the left hand fingernails as short as possible.

5. Keep the wrist slightly bent.

6. Keep the fingers as close to the fretboard as possible at all times. This will ensure that each finger is prepared to play when called upon.

7. 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.

Left Hand Fingerings

Pay very careful attention to the left hand fingerings that Matt uses. Do not deviate from them. They will enable you to play the melody in a smooth, legato fashion.

Left Hand Difficulties

Drill all difficult chord changes very slowly until they become automatic. Playing with strict classical left hand technique will definitely help in this department.

Some of the voicings such as the Cmaj7 chord that begins the final section require the left hand to make large stretches. If you experience difficulties with any of the voicings, work through the reach development exercises provided in Dennis Hodges' Metal Series as well as the exercises in Danny Voris' Classical Series.

Review of Proper Right Hand Technique

Holding the Pick

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. Matt 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.

There are other ways to hold the pick. However, the method described above is the ideal way to grip the pick when performing a jazz solo arrangement.

Pick to String Contact

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.

Final Performance Example

Matt concludes the lesson with another performance of "Here's That Rainy Day."

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.

mattbrownmattbrown replied

Thanks a lot for the kind words! I definitely think that the reading music and rhythm lessons are a pre-requisite to taking on these jazz lessons. Best of luck!

demon_monkdemon_monk replied

beautiful! you are a great player Matt. I need to learn to read music before I do any jazz stuff apparently, but if i can even play half that good when I'm done, that would be awesome.

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

Jazz Solo Arrangement

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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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
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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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