Introduction to Celtic Guitar (Guitar Lesson)

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Steve Eulberg

Introduction to Celtic Guitar

Steve Eulberg introduces Celtic guitar in this lesson. He will talk about the history of the music and cover some basics such as rhythm and timing.

Taught by Steve Eulberg in Celtic Guitar seriesLength: 16:11Difficulty: 1.5 of 5
Chapter 1: (00:39) Introduction Music Welcome to lesson 1 of the Phase 2 Celtic Guitar Series with Steve Eulberg! Steve kicks off this lesson with a performance of "Air Fa La La Lo." This performance provides a brief glimpse into the guitar style that Steve will introduce in the scenes that follow.
Chapter 2: (04:31) Series Introduction Celtic Rhythms

All of the Celtic song forms originate from specific types of dances. The tempo of a song is dictated by how fast is comfortable for a specific style of dance. Playing at an appropriate dance tempo is an absolutely essential component of the Celtic style.

A. Reels and Jigs

Two of the most commonly used rhythms in Celtic music are the reel and the jig. The reel is a 4/4 time rhythm. Reels are typically played in an uptempo style. 4/4 is an example of a duple meter.

The jig is a lively dance played in either 6/8 or 12/8. There are two types of jigs: single jigs and double jigs. Steve covers both types in detail throughout this series.

Duple Meters, Triple Meters, and Irregular Meters

A duple meter is a time signature in which the number of beats per measure is divisible by two. This includes simple meters such as 2/4 and 4/4 as well as compound meters such as 6/8 and 12/8. Some common types of pieces played in duple meters are the polka and the march.

A triple meter is a time signature in which the number of beats per measure is divisible by three. Some common examples are 3/4 and 9/8 time.

Note: Refer to lesson 15 from Steve's Phase 1 Series for more information pertaining to time signatures.


The hornpipe is a rhythm played in 4/4 that implies a steady triplet rhythm. A hornpipe features a long-short type of eighth note feel. The first eighth note in each group of two is held slightly longer than the second eighth note. This type of eighth note pattern is similar to groups of swung eighth notes that occur in the blues and jazz genres. However, in a hornpipe, the first eighth note receives the value of a dotted eighth note instead of a quarter note triplet. The dotted eighth note is slightly longer in value.


The strathspey is a type of Scottish reel. It is played in duple meter at moderately slow tempos. Strathspeys are characterized by dotted rhythms. Pairs of eighth notes are played in a short-long pattern. Essentially, the strathspey reverses the eighth note pattern found in the hornpipe.


Celtic music often employs drop D tuning as well as a handful of open tunings. Steve will cover all of these alternate tunings in detail in upcoming lessons.
Chapter 3: (00:53) History of Celtic Guitar What Is Celtic Music?

"Celtic music" is a very loose term that can imply many different styles of music played in the modern world. When applying a more traditional definition of the phrase, it refers to the music of the Celtic countries - Ireland, Scotland, Wales, Cornwall, the Isle of Man, Cantabria, Brittany (in France), Galica (in Spain), Asturias (in Spain), and Northern Portugal. This term can also describe the music of areas that have come under the influence of these countries. Throughout the 19th and 20th centuries, many Irish, Scottish, and Welsh settlements were developed in the United States and the maritime provinces of Canada.


The term "Celtic" is a great source among musicians and historians alike. Many Irish and Scottish musicians that play in the traditional style avoid the term like the plague. There are many sources of this controversy. As a result of blending cultures over time, the "Celtic" race is no longer identifiable or definable. In addition, there are very strong differences between the music of the cultures listed above. After all, they evolved from several different countries at a time when there was no mail, internet, or widespread form of media or communication. "Celtic" is an extremely broad term that is often used to describe any sort of music coming from these countries. Most of the similarities that can be analyzed between these cultures are due primarily to modern influence and blending of the individual styles of these cultures. Even the terms "traditional Irish music" or "traditional Scottish music" are extremely vague. For example, the music of Donegal is quite lively in comparison to the laid back, flowing style of Clare and other regions.

The term "Celtic music" is used much more in Canada and the United States as a modern marketing tool. In these countries, the traditional Celtic styles are much more homogenized. In her book Celtic Music: A Complete Guide, June Skinner Sawyer writes "Celtic music is a marketing term that I am using, for the purposes of this book, as a matter of convenience, knowing full well the cultural baggage that comes with it." "Celtic" is mainly used by record companies and music stories to steer customers towards a certain product. Since there is not as much interest in the traditional music of the countries listed above compared to rock/pop or rap, all of the styles of music coming from these countries is often lumped into the category of "Celtic" music.

Celtic Guitar

It should be noted that the guitar is not a native instrument to the Celtic style. Traditional Celtic musicians might not welcome a guitarist in a session since the guitar is not a traditional instrument. Over the years, the guitar has found its way into the Celtic style primarily as a chordal accompaniment instrument. Today there are numerous guitarists that have learned to play in the Celtic style. In addition, classical guitarists and fingerstyle folk players have been known to arrange Celtic pieces for solo guitar.


There is often some debate over the way in which the word "Celtic" should be pronounced. Both "Seltic" and "Keltic" are acceptable pronunciations of the word. However, "Keltic" is more widely used today. "Seltic" is mainly used when referring to sports teams.

Divisions of Celtic Music

Typically, six Celtic nationalities are divided into two groups based upon language. At around 300 BC, the Celtic language split off into two subgroups. In an integral part of this change was that the sound of the letter "Q" changed to the sound of "P." The "Q Celtics" include the Irish, Scottish and Manx (people from the Isle of Man). The melodies of these groups feature an extended range of sometimes more than two octaves. Sometimes this group is referred to as the Gaelic group. This group frequently uses pentatonic scales in its melodies. The "P-Celtic" groups are the Cornish (of Cornwall), Bretons (from Brittany) and the Welsh. This group is often described as the Brythonic group. The melodies of these people typically feature a smaller range that is sometimes as small as half an octave.

Origin of Celtic Song Forms

Since Celtic music comes from so many regions, it is difficult to identify common traits between each of the individual styles. To further complicate matters, many of the forms that are now commonly thought of as "Celtic" were once quite common throughout most of Western Europe. For example, the jig is most likely a descendent of the gigue, which is Italian in origin. The Irish polka has its roots in the traditional music of the Czechs and the Polish. However, despite these Western European influences, there are musical genres specific to each Celtic country. This is mainly a result of song traditions being passed down through a specific region's language. For example, the strathspey is a style from Highland Scotland. The rhythm of this song form imitates Scottish Gaelic speech.

Influence on American Music

Celtic music has had a large impact on American folk music such as the Appalachian styles and bluegrass. Many of the immigrants that arrived in the United States in the nineteenth century were from Ireland and Scotland.

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Chapter 4: (03:46) Celtic Rhythms Note: Open Celtic Rhythms listed under the "Supplemental Content" tab. This document includes a list of the most common Celtic rhythms. The time signature and appropriate strumming pattern for each rhythm is listed beside it.


The reel is a dance for couples that originates from Scotland. The earliest documentation of this dance is from the 16th century. The dance steps are performed in place as well as from one point on the floor to another. The reel is played in a moderately fast duple meter.

Strumming Pattern

The reel consists of a steady eighth note strumming pattern in 4/4 time. Beats 1 and 3 receive an accent. It is typically played with a strict alternate picking pattern. It is absolutely essential that you master the alternating strumming pattern regardless of which style of music you play. This strumming pattern becomes even more important when playing Celtic music.

Steve typically plays with a thinner pick when playing Celtic rhythm guitar in comparison to bluegrass. A thinner pick creates a softer tone that is slightly more percussive. The snap of the pick becomes audible as it bends and leaves the string. Thinner picks are also easier to use for continuous strumming patterns, which are quite common in the Celtic style.

The Guitar's Role in Celtic Music

Much of Celtic music is melody based. The melody is typically played on a traditional instrument such as a fiddle or a pipe. The Highland pipe and Lowland border pipe are traditional Scottish instruments. The Ulian is an instrument from Ireland. These instruments are also used to create a continuo accompaniment line by holding a drone note.

The guitar fulfills a supporting role when playing in an ensemble with these instruments. The Celtic accompaniment style is very fluid. This playing style originates from the bouzouki, which was originally a Greek instrument similar to the guitar. The bouzouki features strings that are doubled in courses like a mandolin. There are four courses tuned either in octaves or unisons. The instrument features a chromatic fretboard. It's usually tuned in some sort of open tuning such as GDAD, often referred to as "G-Dad." Folk and country guitarists may be familiar with the tuning DADGAD. This folk tuning is rather similar. It allows for a lot of open, ringing strings. The sound of open, ringing strings is very important to the Celtic accompaniment style. Often, Celtic guitar voicings will combine movable shapes with open ringing strings. For more information on this topic, visit lesson from Brad Henecke's Phase 2 Classic Rock Series.

Reel Demonstration

Watch as Steve demonstrates the reel strumming pattern at 02:42 in the lesson video. He sings the melody to "Rakes of Mallow" while playing this pattern.
Chapter 5: (00:44) Reel Demonstration The accents in the reel strumming pattern can be shifted to 2 and 4 to give the rhythm a completely different feel. Compare both versions back to back. What difference does the accent shift have on the overall feel of the rhythm? The accent may be shifted during a repetition of the song form. Everyone in the group must be aware of the change, or else a train wreck will occur. Steve will demonstrate how to apply the reel rhythm to a Celtic song in a later lesson.

Note: Reel Exercises can be found under the Supplemental Content tab. Practice through these exercises to familiarize yourself with this rhythm. Pay careful attention to where the accents occur in the exercises.
Chapter 6: (03:52) Jig Rhythm A jig is a lively dance originating from the British Isles in the 16th century. The word jig is derived from the Italian "gigue" or the French "giguer" (to frolic, to leap). The term has since been used as a musical term as well. The jig has developed specific characteristics in various countries. The jig is distinctly different in the French and Italian styles. Most musicologists believe that the jig was brought over to Ireland directly from England. Most English composers wrote jigs that were influenced by either the French or Italian style.

Compound Meters

Compound meters are time signatures in which eighth notes are placed in groupings of three. Some common examples are 6/8, 12/8, and 9/8. The jig (often spelled gigue or giga) is played in 6/8 or 12/8. A slight accent is placed on the first eighth note in each group of three.

Since eighth notes are placed in groups of three in these types of meters, compound meters have a steady triplet feel.


In 6/8 time, there are six beats per measure. The eighth note is counted as the beat. Accents occur on the first and fourth beats of the measure. Without the accents, the distinct 6/8 time feel is lost. Steve demonstrates this idea at 01:34. He provides a perfect example of what NOT to do.

Strumming Pattern

The jig strumming pattern can be played two different ways. A strict alternate strumming pattern can be used. This forces you to play an accented upstrum on beat 4. This may seem awkward if you are new to it. Or, you can play a down-up-down pattern on beats 1-3. Then, the same pattern can be repeated on beats 4-6.

Single Jigs and Double Jigs

There are three types of jigs: single jigs, double jigs, and slip jigs. A double jig features notes played on each and every beat. "The Irish Washerwoman" is a very common example of this type of jig. Single jigs mix various rhythmic values such as quarter notes and eighth notes. The differences between each type will be discussed in more detail as the series progresses.
Chapter 7: (01:41) Slip Jig 9/8 and the Slip Jig

9/8 time shows up very frequently in Celtic music. Three distinct pulses occur in each measure. Each pulse consists of three eighth notes. The slip jig is one song form in 9/8 related to a particular kind of dance. The three eighth notes that occur at the end of a measure tend to pull you into the next measure. Since there is an odd number of beats, this signature has a lot of forward movement.

A steady alternate picking pattern is applied to the slip jig. Accents occur on beats 1, 4, and 7. Since there is an odd number of beats in each measure, every other measure will begin with an upstroke.


Practice the slip jig exercise provided under the "Supplemental Content" tab. Make sure that you play along with a metronome.

Preview of Next Lesson

Steve teaches you your first Celtic song in lesson 2. He explains how to play the guitar accompaniment and the melody to "The Rakes of Mallow." This song is a classic example of a reel.

Video Subtitles / Captions


Supplemental Learning Material



Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

js2018js2018 replied

For the record, the "Celts" was a name given by the Romans, and in Latin, the letter "C" always makes a "kuh" sound, in fact Roman names like "Cecelia" would have been pronounced "Kuh-Keel-E-uh" originally, and the word "Caesar" was pronounced similar to "Kaiser", the German word for king. Languages evolve over time though, and definitions and pronunciations change.

nate_thegreatnate_thegreat replied

I checked some of the other lessons and I didn't see anything in DADGAD, which kind of surprised me. Is celtic music different from pagan music in that respect? Because I know in Pagan music they use DADGAD and play a lot of drone notes and "modal" chords. And 3rds are often ommitted from chords and instead you have sus 2 sus4, and 7sus4, m11, etc. I really would like to know if there are any celtic songs in DADGAD tuning though. Hopefully someone sees this.

maxplumbermaxplumber replied

Looking forward to these lesson.

rodnervarodnerva replied

Great explanation of the rhythms.

matsutsuki86matsutsuki86 replied

Good introduction!

sheldon1983sheldon1983 replied

Celtic just won the league! Mon the Hoops. Great lessons too Steve lol. Historically, the Celts are very close to the Northern Spanish folk, the Galatians but that's taking you waaay off topic.

squishy1236squishy1236 replied

Celtic( sel-tik) is a football team in scotland. I think it's pronounced Celtic(kel-tik)

hapibday2mehapibday2me replied

Haha! This IS gonna be REEL fun!!! (get it? reel?)

jim fowlerjim fowler replied

For some great Celtic guitar playing check out Dick Gaughan's album "Coppers & Brass"

currannicurranni replied

haha can i suggest pronounciations steve??? my dad was a bodhran instructor he d die at your pronouciation haha.. basically the d is silent, so phenetically it would be bow ran.. and the ran.. the last few letters, think of ranchy, or words like naught so theres a drag in the ran.. bodhran haha.. does that help??? u teach me rhythms and i ll teach u pronouciations, and maybe some direct history.. and if u want good artists to go pick up i got plenty of those too haha..

currannicurranni replied

and u should get your self a nice bazouki for yourself

currannicurranni replied

oh.. planxty are great as are the bothy band, kevin burke is a fiddler i learnt all my best tunes from...he lives in portland.. and has a great cd called portland with a fantastic guitarist you should check them out ;)

evilhedgehogevilhedgehog replied

you guys always put out the best lessons! thank you so much for doing a celtic series!

VinnyBVinnyB replied

Great stuff as always Steve.

steveeulbergsteveeulberg replied

Thanks, Vinny!

dominoguydominoguy replied

steve im scottish, and celtic but the welsh are celts too

steveeulbergsteveeulberg replied

Hey dominoguy, sure you're right and I'm here overlooking them. My apologies!

dominoguydominoguy replied

its the corries steve. lol

steveeulbergsteveeulberg replied

thanks for filling in the gap in my memory!

currannicurranni replied

well im irish so when i saw this i thought it was a great idea, i ve been playing irish music and the fiddle since i was 9... as i started playing the guitar, i wondered how to do the rthyms for irish music. irish music is very different to scottish music. similar in some areass but different, like folk to country music. you ll need to show and teach things for polkas, hornpipes, airs, and so on..

steveeulbergsteveeulberg replied

You're right, currani, about the need for rhythms for different tune-types...and they're coming!

currannicurranni replied

we need a jig!!! a jig!!! :D ASAP!!! :P

steveeulbergsteveeulberg replied

jigs are coming, jigs are coming!

daniel68daniel68 replied

Thanks!I do need help on my timing,working on some of your licks as I type.Happy Traum published a book.Rakes Of Mallow is one of the tunes that caught my ear.Can not get it to go fast enough,I'm trying.(Oak Publications)

cheesebombcheesebomb replied

Cool, coming from a Celtic nation (Wales) I'll definitely be checking this out in the future

Celtic Guitar

Found in our Beginner Lesson Sets

Celtic music is a rich, diverse style filled with hundreds of years of culture and beauty. This style of guitar attempts to capture the rich cultural heritage of the music and transfer it into the world of guitar. From reels to jigs to horn pipes, Steve will get you well on your way.

Introduction to Celtic GuitarLesson 1

Introduction to Celtic Guitar

Steve Eulberg introduces Celtic guitar in this lesson. He will talk about the history of the music and cover some basics such as rhythm and timing.

Length: 16:11 Difficulty: 1.5 Members Only
The Rakes of MallowLesson 2

The Rakes of Mallow

Steve Eulberg talks more about the reel rhythm and teaches "The Rakes of Mallow" as a demonstration.

Length: 39:03 Difficulty: 2.0 Members Only
Irish WasherwomanLesson 3

Irish Washerwoman

In this lesson, Steve Eulberg ventures into the exciting world of the double jig. As a demonstration, he teaches a song entitled "Irish Washerwoman."

Length: 27:13 Difficulty: 2.5 Members Only
The Road to LisdoonvarnaLesson 4

The Road to Lisdoonvarna

In this lesson Steve Eulberg talks about the single jig style of playing and teaches the song "The Road to Lisdoonvarna" as an example.

Length: 29:23 Difficulty: 2.5 Members Only
Air Fa La La LoLesson 5

Air Fa La La Lo

In this lesson Steve Eulberg teaches a classic Celtic song entitled "Air Fa La La Lo." This song is heaps of fun to play and sing along with.

Length: 26:59 Difficulty: 2.5 Members Only
O Waly, WalyLesson 6

O Waly, Waly

Steve Eulberg teaches a hauntingly beautiful Celtic song called "O Waly, Waly" in this lesson.

Length: 19:01 Difficulty: 3.0 Members Only
Rickett's HornpipeLesson 7

Rickett's Hornpipe

Steve Eulberg teaches a classic Celtic piece entitled "Rickett's Hornpipe."

Length: 24:20 Difficulty: 2.0 Members Only
Another Jig Will DoLesson 8

Another Jig Will Do

Steve takes you into the world of slip jigs using the song "Another Jig Will Do" as an example.

Length: 36:43 Difficulty: 3.0 Members Only
The Lilting BansheeLesson 9

The Lilting Banshee

Steve explains and demonstrates the double jig. He uses "The Lilting Banshee" as an example.

Length: 34:26 Difficulty: 3.0 Members Only
Celtic Guitar ResourcesLesson 10

Celtic Guitar Resources

Steve talks about some great resources for learning Celtic songs and lyrics.

Length: 12:47 Difficulty: 0.5 Members Only
O'Keefe's SlideLesson 11

O'Keefe's Slide

In this lesson, Steve teaches the Celtic tune "O'Keefe's Slide."

Length: 27:47 Difficulty: 3.5 Members Only
Rocky Road to Dublin 1Lesson 12

Rocky Road to Dublin 1

Steve Eulberg teaches a classic Celtic tuned titled "Rock Road to Dublin 1."

Length: 32:58 Difficulty: 2.0 Members Only
The Rose Garden ReelLesson 13

The Rose Garden Reel

Steve teaches a great Celtic tune called "The Rose Garden Reel."

Length: 19:02 Difficulty: 3.0 FREE
O'Keefe's Slide Part 2Lesson 14

O'Keefe's Slide Part 2

Steve Eulberg presents his second installment of "O'Keefe's Slide." Here he demonstrates melodic embellishments known as ornaments. Steve explains two new ornaments that can be incorporated into the melody....

Length: 23:20 Difficulty: 3.5 Members Only
O'Keefe's Slide Part 3, The Final OrnamentsLesson 15

O'Keefe's Slide Part 3, The Final Ornaments

Steve completes "O'Keefe's Slide" by demonstrating the final ornaments. Studying this lesson will leave you with a better knowledge of how to add ornaments to a Celtic style song.

Length: 25:17 Difficulty: 3.5 Members Only
Kesh JigLesson 16

Kesh Jig

Steve Eulberg teaches a Celtic song entitled "Kesh Jig." Here Steve provides a demonstration of both the rhythm and melody parts. The song is presented in standard tuning as well as open G tuning.

Length: 20:03 Difficulty: 2.5 Members Only
Open G Tuning - Celtic ApplicationLesson 17

Open G Tuning - Celtic Application

Steve Eulberg breaks down open G tuning and demonstrates how it it can be used in Celtic music.

Length: 11:00 Difficulty: 2.0 Members Only
Kesh Jig in Open G TuningLesson 18

Kesh Jig in Open G Tuning

Steve revisits the Celtic tune "Kesh Jig" now that he has covered open G tuning. Working in conjunction with lessons 16 and 17, this lesson explains how the tune can be played by a multiple guitar ensemble....

Length: 21:56 Difficulty: 2.5 Members Only
Swallow Tail JigLesson 19

Swallow Tail Jig

Steve teaches an old Celtic song entitled "Swallow Tail Jig." Here you will learn the chord progressions that harmonize the A and B sections of the melody.

Length: 13:24 Difficulty: 2.0 Members Only
After the Battle of AughrimLesson 20

After the Battle of Aughrim

Steve presents a lesson on an old Irish song called "After the Battle of Aughrim." In this lesson you will learn the chord progression and three different ways to play the melody.

Length: 25:23 Difficulty: 4.0 Members Only
Scottish Strathspey - BrachanlomLesson 21

Scottish Strathspey - Brachanlom

How does a pocket full of nickels and dimes help teach you an old Scottish song? Find out how in this lesson on the strathspey "Brachanlom."

Length: 22:01 Difficulty: 3.5 Members Only
The Wind That Shakes the BarleyLesson 22

The Wind That Shakes the Barley

Steve presents another great Celtic guitar lesson. He covers "The Wind That Shakes the Barley." Enjoy!

Length: 23:53 Difficulty: 3.5 Members Only
Reluctant Bus BoyLesson 23

Reluctant Bus Boy

Welcome to this unique Celtic song lesson entitled "Reluctant Bus Boy!" This song was written by Steve Eulberg himself and was inspired by his son.

Length: 16:55 Difficulty: 2.5 Members Only
Steve Eulberg

About Steve Eulberg View Full Biography An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the “sweet music” of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

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Custom Chord Sheets

At JamPlay, not only can you reference our Chord Library, but you can also select any variety of chords you need to work on, and generate your own printable chord sheet.

Backing Tracks

Jam-along backing tracks give the guitarist a platform for improvising and soloing. Our backing tracks provide a wide variety of tracks from different genres of music, and serves as a great learning tool.

Interactive Games

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

Beginners Welcome.. and Up

Unlike a lot of guitar websites and DVDs, we start our Beginner Lessons at the VERY start of the learning process, as if you just picked up a guitar for the first time.Our teaching is structured for all players.

Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.

Price Per Lesson < $0.01 $4 - $5 $30 - $50 Free
Money Back Guarantee Sometimes n/a
Number of Instructors 127 1 – 3 1 Zillions
Interaction with Instructors Daily Webcam Sessions Weekly
Professional Instructors Luck of the Draw Luck of the Draw
New Lessons Daily Weekly Minutely
Structured Lessons
Learn Any Style Sorta
Track Progress
HD Video - Sometimes
Multiple Camera Angles Sometimes - Sometimes
Accurate Tabs Maybe Maybe
Scale/Chord Libraries
Custom JamTracks
Interactive Games
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00
Get Started

Mike H.

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

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

Greg J.

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

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


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

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

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