Planxton's Farewell Part 1 (Guitar Lesson)

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Steve Eulberg

Planxton's Farewell Part 1

"Planxton's Farewell" is an original piece of music by Steve Eulberg. In this lesson he teaches you how to play the first half of this wonderful tune.

Taught by Steve Eulberg in Fingerstyle Guitar seriesLength: 34:00Difficulty: 3.5 of 5
Chapter 1: (00:53) Intro Music Welcome back to the Phase 2 Fingerstyle Guitar series with Steve Eulberg! Steve begins lesson 5 with a performance of an original piece entitled "Planxton's Farewell." In the scenes that follow, Steve will explain the techniques essential to this piece.
Chapter 2: (05:36) Start Planxton's Farewell Techniques Involved in the Piece

-Unlike "Freight Train," an alternating bass pattern is not used to accompany the melody. The accompaniment consists of an arpeggio figure that is applied to each chord in the progression. Chords are occasionally strummed with the thumb to add variety.

-Similar to pieces discussed in previous fingerstyle lessons, the melody line is played by the middle and ring fingers on the second and first strings.

-Some rather advanced chords that may be new to you occur throughout the progression. Challenging chords such as diminished chords and minor seventh chords are used. Steve will break down the appropriate left hand fingering of these difficult chords. In addition, chord diagrams with proper left hand fingerings are included under the "Supplemental Content" tab.

Chord Progression

"Planxton's Farewell" is played in the key of D major. As expected, the song begins with a tonic D major chord. The tried and true "open" voicing is used for the tonic chord throughout the piece.

For the most part, "Planxton's Farewell" uses chords that are diatonic to the key of D major. Common diatonic chords are the I, IV, V, ii, and vi chords. Respectively, these chords are D, G, A, Em, and Bm in the key of D major. However, non-diatonic chords are occasionally used to add extra color to the progression. For example, the second chord in the progression is A fully diminished seventh (Ao7). This chord is not diatonic to the key of D major. It contains an Eb note, which is not within the key signature.

Diminished Chord Voicings

Steve plays the diminished chords in this piece with a common movable voicing. This voicing is played on the upper four strings.

Typically, this diminished voicing is fingered as follows:

6th String: omitted
5th String: omitted
4th String: 1st finger, 4th fret
3rd String: 3rd finger, 5th fret
2nd String: 2nd finger, 4th fret
1st String: 4th finger, 5th fret

Use this fingering when playing the diminished chords in "Planxton's Farewell." It is most conducive to playing the melody in a smooth, legato fashion.

Note: For more information about diminished chord voicings, refer to lesson 47 of Brad Henecke's Phase 2 Classic Rock series.

Function of Diminished Chords

Diminished chords either function as dominant chords or as embellishing chords. When a diminished chord tonicizes the chord that follows, it carries out a dominant function. When a half step movement occurs between the root note of a diminished chord and the chord that follows, it carries out a dominant function. In this scenario, the diminished chord is said to "tonicize" the chord that follows. In other words, the diminished chord makes the following chord tonic, or home base. For example, in the progression Bo7 - C major, Bo7 carries out a dominant function. A half step occurs between the root notes of these chords. Bo7 tonicizes C major.

A diminished chord is embellishing in function when it share ones or more common tones with the chord that it follows. In the case of the first measure, Ao7 embellishes the first chord, D major. Both D major and Ao7 contain the notes F# and A.

Symmetrical Nature of Diminished Seventh Chords

A fully diminished seventh chord is formed by stacking minor third intervals above the root. This gives the chord a symmetrical structure. Due to the symmetrical nature of diminished chords, there are only three possible diminished chords available. When a specific diminished chord is shifted up or down three frets, the chord is simply inverted. The Ao7 chord that is used in the first measure is later shifted down the neck three frets to first position. When the chord is played in this position, it still contains the same notes. The notes are simply stacked in a different order. Diminished chords built on the roots C, Eb, F# and A are identical. Since these chords are identical, any note within the chord can be referred to as the root note.

Compare the spellings of the following diminished chords below.

Co7: C, Eb, Gb, Bbb(A)
Ebo7: Eb, Gb, A, Dbb(C)
F#o7: F#(Gb), A, C, Eb
Ao7: A, C, Eb, Gb

As you can see, these chords contain the same notes.

Practicing the D to Ao7 Change

During the first measure, Steve arpeggiates the D major chord with his right hand. Remember the right hand rules that have been discussed in past fingerstyle lessons when performing all arpeggios. The thumb plucks all notes located on the three bass strings. The index finger plays all notes on the third string. Second string notes are played by the middle finger. Finally, the third finger plays all notes on the first string.

After the arpeggiation of the D chord on beat 1, the chord is strummed with the thumb on beat 2. Steve uses the fleshy pad of his thumb to produce a soft timbre. This chord can also be plucked with all of the right hand fingers. Compare the sound of these two techniques to determine which sounds best to you.

A similar arpeggio pattern is also applied to the Ao7 chord. This right hand pattern occurs frequently throughout the A section of "Planxton's Farewell." Subsequently, significant practice time should be devoted to mastering it. Steve breaks down this arpeggio figure in detail at 04:25 in the lesson video. Practice the D to Ao7 chord change along with Steve to ensure that your rhythm remains accurate. Also, make sure that your right hand remains accurate.
Chapter 3: (06:42) More of Planxton's Farewell Em7 Chord

The next chord that occurs in the progression is Em7. This chord can be fingered two different ways. Each fingering possesses its own advantages. The fingering used by Steve is least awkward to play at first. However, once the second fingering is mastered, it is slightly easier to use within the context of a chord progression since fewer fingers are needed. This simplifies things when switching from chord to chord. Also, the second fingering option leaves the pinkie finger free to fret melody notes. You may need to use this technique in the context of a future solo arrangement. Since each fingering has its own advantages, spend time experimenting with both versions.

Fingering 1

6th String: Omitted
5th String: Omitted
4th String: 1st finger, 2nd fret
3rd String: 4th finger, 4th fret
2nd string: 2nd finger, 3rd fret
1st String: 3rd finger, 3rd fret

Fingering 2

6th String: Omitted
5th String: Omitted
4th String: 1st finger, 2nd fret
3rd String: 3rd finger, 4th fret
2nd string: 2nd Finger, 3rd fret
1st String: 2nd finger, 3rd fret

Within this fingering, the second finger must barre the first and second strings. This requires a high level of finger independence as well as a large reach between the first and third fingers.

Practicing Chord Changes

Due to its awkward fingering, the Em7 chord poses difficulties when used in a progression. Switching to and from this chord is not an easy task. Consequently, you should spend a significant time practicing the chord changes that occur in the first two measures. Practice switching back and forth between Ao7 and Em7. Also, practice switching from Em7 to the E half diminished seventh chord that follows it. At first, simplify the right hand component as much as possible. Strum the chords evenly in quarter notes. Then, add in the right hand arpeggio pattern that is indicated in tablature.

Half Diminished Seventh Chords

An E half diminished seventh chord occurs in the second half of measure 2 . Similar to the fully diminished seventh chord, the half diminished seventh is written with a degree symbol followed by the number 7. A slash is written through the degree symbol to indicate a half diminished chord.

Half diminished chords sound slightly less dissonant than their fully diminished counterparts. This difference in sound is due to the seventh degree of each chord. The half diminished seventh chord features a flatted seventh (b7), where as the fully diminished seventh chord features a double flatted seventh (bb7).

Compare the formulas for these two chord types.

Half Diminished Seventh: 1, b3, b5, b7
Fully Diminished Seventh: 1, b3, b5, bb7

Listen at 01:58 in the lesson video as Steve compares the sound of a E half diminished seventh and E fully diminished seventh.

Practicing the First Two Measures

Once you have mastered the basic right and left hand components that are involved in these measures, begin to practice them as they are written under the "Supplemental Content" tab. Work through these measures along with Steve at 04:05 in the lesson video.
Chapter 4: (07:08) Next Portion of the Song Measure 3

The third measure of the piece is very similar to the first measure. Both measures are comprised of a tonic D major voicing and an Ao7 chord. This time around, the Ao7 chord is played in first position instead of fourth position. As discussed earlier, diminished chords can be slid up and down the neck by three frets. When this happens, the chord is simply played in a different inversion. Both of these voicings for Ao7 contain the same notes. However, they sound slightly different since the notes are stacked in a different order.

Measure 4

A. ii V I Progression

In measure four, an arpeggiation of the ii and V chords occurs. Respectively, these chords are E minor and A major. As expected, the V chord resolves to tonic in the following measure. This results in a ii V I progression. The ii V I progression is one of the most commonly used progressions in music. Along with the IV V I, the ii V I progression is frequently used to bring a musical section to a strong cadence point.


A parallel walk-up occurs on beat 4 of the fourth measure. This walk up is quite similar to the walk-up Steve demonstrated in the first lesson pertaining to "Porch Swingin'." Double stops consisting of major third intervals plus an additional octave are played in an ascending, parallel fashion. Overall, the walk-up lick implies the sound of an A major chord with some additional passing notes thrown in. Watch at 01:23 as Steve breaks down the basic mechanics of the lick. Pay careful attention to the left hand fingering that he uses.

Practice Time

Pause the lesson video and practice measures 3 and 4 on your own. If you need additional help, watch at 02:23 as Steve slowly works through these measures. Later, at 05:36, he loops the first four measures of "Planxton's Farewell." Practice along with him to match his rhythm and interpretation.

Rubato Feel

"Planxton's Farewell" is played with a flowing, rubato rhythm. "Rubato" literally means "robbed time." In this time feel, a certain segment is typically sped up. When this occurs, the rhythm of another segment must slow down slightly. This gives the rhythm a flowing, pushing and pulling feel.

Always keep in mind that rubato is not the same as free time. In "free time" the rhythm is literally free to be interpreted at will. In a rubato feel, the rhythm ebbs and flows, yet still maintains a definite sense of time.
Chapter 5: (05:22) Finishing up the First Half Measure 5

Measure 5 features the same chord changes as measure 1. However, the melody is slightly different at the end of these measures. In measure 5, the melody continues to descend instead of descending back down.

Measure 6

The IV chord, G, appears for the first time in this measure. This chord is played using the visual shape of the "open" D chord in seventh position. Simply shift the fingering for a D chord into seventh position. Leave the D note on the open fourth string ringing. This produces a G/D chord.

In the second half of measure 6, the G major chord is converted into a minor chord voicing. The major IV chord is frequently converted into a minor chord in the context of major key progressions.

Watch closely as Steve breaks down measures 5-6 at 01:33 in the lesson video.
Chapter 6: (08:37) Putting it Together Measure 7

This measure begins in a similar fashion as measures 1, 3, and 5. However, Steve throws in a curve ball in the second half of measure 7 to signal the end of the section. Instead of Ao7, the vi chord is played. Steve elects to play this chord as a Bm7 barre chord. The visual shape of this chord is based on the "open" Am7 voicing. Pay careful attention to how Steve fingers the melody line within this chord shape.

Measure 8

-A final ii V I progression closes out the first section of "Planxton's Farewell." Both the I IV V progression and the ii V I progression are effective ways to draw a piece of music to a close.

-A double hammer-on is applied to the tonic D chord at the end of this measure. Both the first and second fingers perform a hammer-on simultaneously within the context of an open D major voicing. This technique can be quite tricky if you are new to it. To produce the clearest hammer-on possible, bring the fingers down simultaneously in a deliberate motion. Both notes must sound at the same time with equal volume.

Practice / Play Along

Steve works through the final phrase (measures 7-8) at 02:07. Practice along with him to ensure that you are playing this phrase correctly.

Right Hand Improvisation

When performing this piece, Steve takes some liberties with the right hand. Unlike a classical piece, it's not always necessary to play exactly what is written on the page. The chords can be arpeggiated differently from one performance to the next. This will keep the piece interesting for the audience as well as the performer. Experiment with various arpeggio patterns as you learn this section of "Planxton's Farewell."

Performing the Entire A Section

Steve plays through the entire A section at 04:40. Once you have mastered the individual phrases, begin to string them together. Practice the first eight measures on your own with a metronome. When you feel ready, return to the lesson video and play this section along with Steve.

Preview of Lesson 6

Steve teaches the remainder of "Planxton's Farewell" in the following lesson. The second half of the piece remains in the key of D major. The B section is mainly comprised of the I, IV, and V chords in this key. Within the B section, the chord changes occur at a much quicker pace. Practice up on your chord changes to prepare for the new challenges that await in lesson 7.

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.

WalmerbWalmerb replied

I just love this, it has a real jazzy, summers day feel to it. I still am finding some of the chord changes difficult at this stage, but even whilst I am trying to practise, it makes me totally chill out. Best played with a glass of wine by your side, an evening sun streaming through the window and (if I still smoked) a lit cigarette in my mouth.

vindibona1vindibona1 replied

Where is a recording of Planxton's Farewell where I can hear it start to finish uninterrupted?

noisystemsnoisystems replied

Anyone, let me know the meaning of "Planxton". I am not English speaker. Is it a famous family name?

rclakandularclakandula replied

how do you practice this with a metronome?? I have no idea where the beat should

predbrookpredbrook replied

I think this is meant to be played freely. Listen to Steve play it a few times to get the feel for it and get the phrasing down.

joeswcsjoeswcs replied

Hi Steve. I'm really enjoying this lesson so far. And thanks for explaining the theory that goes along with the song. It is so important for increasing our understanding of the instrument.

ajamesajames replied

It is hard to get the view of what notes your fingers are strumming and plucking.

joeswcsjoeswcs replied

Hi Steve. I'm really enjoying this lesson so far. And thanks for explaining the theory that goes along with the song. It is so important for increasing our understanding of the instrument.

coribillcoribill replied

Exellent teaching style. The repetition of two bar patterns is something I rarely do on my own, but it sure works well. Nice song. Makes me feel like I can play. I love dim 7ths.

steveeulbergsteveeulberg replied

Glad it gives you confidence...that's what most of us need--the most!

jcasejcase replied

Beautiful song.

steveeulbergsteveeulberg replied

Thanks, jcase!

randydrandyd replied

I agree, a very beautiful song and the lesson is much easier than Freight Train, although I'm getting that one...slowly. Thanks, Steve!

steveeulbergsteveeulberg replied

Excellent on both counts!

horstwetjenhorstwetjen replied

Excellent lesson and a fabulous piece of music. I'm looking forward to part 2.

jd1050jd1050 replied

This is lovely tune. It is possible, though, the tune the 4th string down a 1/2 tone to make some of the chord shapes easier to finger?

ezedimezedim replied

This a very mellow song Steve, keep up the good work.

dagchristiandagchristian replied

Excelent lesson steve :) Its great when you take it this slow.

skaterstuskaterstu replied

Great song Steve, and another joy to learn... though slightly less frustrating than Freight Train was ... so far. Thanks again... please make more fingerstyle lessons in the near future as I am really throwing myself into these. Such a beautiful style to play.

kabrchkabrch replied

I have a question regarding the song.. According to the tab and if I remember correctly you told to do so as well, on the first Em7 you play thumb 1 2 3 3 2 1 thumb, however I noticed you(Steve) playing thumb 1 2 3 strum 2 thumb and then on with the rest. Is the tab incorrect or is it just a way for you to spice it up even more? Because I believe it to both sound better and it's not really harder to play.. Am I correct in my assumption? And what would you recommend we play to make it sound best?

kabrchkabrch replied

Just an added note to my question, I just discovered that when you play it in the end, you go thumb 1 2 3 3 2 1 thumb. But still, my question remains? :)

nessanessa replied

I have forwarded your question to Steve, but I can't give an exact date when he will be available to answer. He is a very busy man!

acemanhacemanh replied

I second that!!

greenogreeno replied

This is a great lesson and a great tune. The chords are a little tough for me, especialy the Em7. I'm learning it on a classical and the stretch is a bit much. Practice, practice, practice I guess.

hjthhjth replied

I really wish there were more fingerstyle songs here..

Fingerstyle Guitar

Found in our Beginner Lesson Sets

Fingerstyle guitar is the classic art of playing the guitar solely with the fingers. Fingerstyle playing opens up a whole new realm of possibilities on the guitar.

Starting FingerstyleLesson 1

Starting Fingerstyle

Steve introduces you to the world of fingerstyle guitar by teaching a few exercises and an orignal tune called "Porch Swingin'."

Length: 38:00 Difficulty: 3.0 Members Only
Matteo CarcassiLesson 2

Matteo Carcassi

Steve Eulberg teaches you to play Op. 60 (No. 1) composed by Matteo Carcassi.

Length: 42:00 Difficulty: 3.0 Members Only
House of the Rising SunLesson 3

House of the Rising Sun

Steve teaches a fingerstyle arrangement of "House of the Rising Sun" by Animals.

Length: 29:00 Difficulty: 3.0 Members Only
Freight TrainLesson 4

Freight Train

Steve covers some of the fingerstyle techniques created by Elizabeth, or "Libbis" Cotten.

Length: 24:00 Difficulty: 3.5 FREE
Planxton's Farewell Part 1Lesson 5

Planxton's Farewell Part 1

Steve Eulberg teaches you how to play his original piece "Planxton's Farewell." This is part 1 of a 2 part lesson.

Length: 34:00 Difficulty: 3.5 Members Only
Planxton's Farewell Part 2Lesson 6

Planxton's Farewell Part 2

This is part 2 of the fingerstyle song "Planxton's Farewell." In this lesson Steve teaches you the second half of this beautiful tune.

Length: 22:00 Difficulty: 3.5 Members Only
Drop D TuningLesson 7

Drop D Tuning

Steve discusses drop D tuning and how it is used. He also teaches an original song in this tuning called "Neither Lion Nor Lamb."

Length: 30:00 Difficulty: 3.0 Members Only
Porch Swingin' Part 2Lesson 8

Porch Swingin' Part 2

Steve Eulberg teaches the second half of his beautiful fingerstyle piece, "Porch Swingin'."

Length: 30:21 Difficulty: 2.5 Members Only
Five Foot Two (fingerstyle)Lesson 9

Five Foot Two (fingerstyle)

Steve teaches a fingerstyle version of the classic song "Five Foot Two."

Length: 29:54 Difficulty: 2.5 Members Only
Operator IntroductionLesson 10

Operator Introduction

In this lesson Steve shows how to play the introduction of the classic Jim Croce song, "Operator," in a fingerstyle fashion.

Length: 22:21 Difficulty: 3.0 Members Only
Operator VerseLesson 11

Operator Verse

Steve returns to the beautiful Jim Croce song, "Operator," in this fingerstyle guitar lesson. This time around he demonstrates the verse.

Length: 12:58 Difficulty: 2.5 Members Only
Operator ChorusLesson 12

Operator Chorus

Steve finishes up the Jim Croche song, "Operator." He covers the chorus and brings the entire song together.

Length: 9:55 Difficulty: 2.5 Members Only
Alternating BassLesson 13

Alternating Bass

Steve uses the classic childrens song, "Paw Paw Patch" to demonstrate how an alternating bass line can be played within a fingerstyle arrangement.

Length: 15:42 Difficulty: 2.0 Members Only
We Wanted a KingLesson 14

We Wanted a King

Steve Eulberg teaches a beautiful fingerstyle arrangement of his original song, "We Wanted a King."

Length: 36:31 Difficulty: 2.5 Members Only
Building the ThumbLesson 15

Building the Thumb

Steve Eulberg guides you through a series of exercises meant to improve the dexterity and independence of the thumb.

Length: 12:52 Difficulty: 2.5 Members Only
Mixing Up the FingersLesson 16

Mixing Up the Fingers

Steve Eulberg mixes up the fingers to create a dynamic fingerstyle exercise.

Length: 12:48 Difficulty: 2.0 Members Only
ChopsticksLesson 17


Steve Eulberg explains how to play the classic song "Chopsticks" using fingerstyle technique.

Length: 12:18 Difficulty: 2.0 Members Only
Advanced ChopsticksLesson 18

Advanced Chopsticks

In this lesson, Steve Eulberg teaches an advanced version of "Chopsticks."

Length: 8:11 Difficulty: 2.5 Members Only
Ode To Joy Part 1Lesson 19

Ode To Joy Part 1

Welcome to the first lesson in a 3 part series on the song "Ode To Joy". Steve has arranged a very unique fingerstyle lesson that starts from square one. This 3 part series can really help any beginner...

Length: 10:32 Difficulty: 1.5 Members Only
Ode To Joy Part 2Lesson 20

Ode To Joy Part 2

In the midst of this three part lesson series, Steve continues his "Ode To Joy" song lesson by introducing a parallel movement. This will demonstrate a "skip a string" technique with the picking hand and...

Length: 7:25 Difficulty: 2.5 Members Only
Ode To Joy Part 3Lesson 21

Ode To Joy Part 3

In his final lesson in the three part series of the song "Ode To Joy", Steve adds a few more additional fingerstyle techniques to the mix. By adding a harmony and a D string drone note, this will complete...

Length: 10:43 Difficulty: 3.5 Members Only
Thumb Builder #1Lesson 22

Thumb Builder #1

In direct response to a common issue seen in his live Q&A, Steve crafted the following group of 9 lessons devoted to "thumb building". Learn all 6 variations of the exercise Steve teaches and practice...

Length: 16:38 Difficulty: 2.0 Members Only
Thumb Builder #2Lesson 23

Thumb Builder #2

The second installment of Steve's Thumb Builder lessons continues to build your finger and thumb coordination with multiple pattern variations.

Length: 8:40 Difficulty: 2.0 Members Only
Thumb Builder #3Lesson 24

Thumb Builder #3

Join Steve for the third installment in his Thumb Builder lessons. Keep pressing on and you should be finding that the mechanical movements are becoming more and more natural.

Length: 10:33 Difficulty: 2.0 Members Only
Thumb Builder #4Lesson 25

Thumb Builder #4

It's time to challenge yourself by adding more fingers to the mix! Instead of just responding to the thumb with one finger, you'll be using different fingers on different strings.

Length: 8:42 Difficulty: 2.0 Members Only
Thumb Builder #5Lesson 26

Thumb Builder #5

Things are getting a little more complicated and a little more challenging as Steve marches through some more thumb building exercises. Keep up the hard work and practice!

Length: 6:42 Difficulty: 2.5 Members Only
Thumb Builder #6Lesson 27

Thumb Builder #6

Steve continues to build up muscle memory and coordination. In these exercises, the thumb is gonna start jumping around along with the fingers.

Length: 9:16 Difficulty: 2.5 Members Only
Thumb Builder #7Lesson 28

Thumb Builder #7

Part 7 of Thumb Building Bootcamp! Good job for making it this far! Things keep getting more challenging, but you should definitely be noticing a marked improvement in your finger-thumb coordination...

Length: 8:03 Difficulty: 2.5 Members Only
Thumb Builder #8Lesson 29

Thumb Builder #8

Steve introduces a handful of new patterns to keep on building up that thumb.

Length: 7:53 Difficulty: 2.0 Members Only
Thumb Builder #9Lesson 30

Thumb Builder #9

Good work! You've made it to the final installment of thumb builder exercises. Learn some of the patterns that Steve commonly uses in his own playing.

Length: 6:48 Difficulty: 2.0 Members Only
Walkin' Down the TrailLesson 31

Walkin' Down the Trail

Sometimes we hear the word exercise and it just sounds like work... That probably won't be the case when you listen to the exercise Steve teaches in this lesson. It will take some work, but you'll walk...

Length: 19:30 Difficulty: 2.5 Members Only
Frere Jacque FugueLesson 32

Frere Jacque Fugue

In this lesson, Steve takes the familiar Frere Jacque and teaches how to play it in a round on the guitar.

Length: 6:28 Difficulty: 2.5 Members Only
Michael, Row Your Boat AshoreLesson 33

Michael, Row Your Boat Ashore

Turn this classic folk tune into a beautiful fingerstyle arrangement.

Length: 13:24 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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Rex Brown Rex Brown

Dive into the playing of Rex Brown. As the bass player for Pantera, Down, and Kill Devil Hill, Brown's real world experience...

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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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David Ellefson David Ellefson

David Ellefson, co-founding member of Megadeth, explains his overall approach to teaching and learning bass in this introductory...

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Michael Mennell Michael Mennell

Mike introduces himself and his series.

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Unlimited Lesson Viewing

A JamPlay membership gives you access to every lesson, from every teacher on our staff. Additionally, there is no restriction on how many times you watch a lesson. Watch as many times as you need.

Live Lessons

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Chord Library

Each chord in our library contains a full chart, related tablature, and a photograph of how the chord is played. A comprehensive learning resource for any guitarist.

Scale Library

Our software allows you to document your progress for any lesson, including notes and percent of the lesson completed. This gives you the ability to document what you need to work on, and where you left off.

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 126 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
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Mike H.

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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


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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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