Legato Playing Exercises (Guitar Lesson)


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Matt Brown

Legato Playing Exercises

Matt Brown teaches a number of exercises aimed at improving your legato playing technique.

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 37:16Difficulty: 1.5 of 5
Lesson Objectives

-Develop left hand control, speed, flexibility and endurance by practicing a few simple exercises.

-The exercises presented in this lesson will help you perform legato licks that feature fast hammer-ons and pull-offs. In later lessons, Matt will demonstrate some practical licks that utilize these playing techniques.

Suggested Listening (Masters of Fast Legato Playing)

Joe Satriani
Jerry Cantrell
Randy Rhoads
Kim Thayil
Prince
Allen Holdsworth
Dimebag Darrell
Slash

Developing a Practice Schedule

At this point in the series, Matt has taught numerous technical exercises. Due to time constraints, it will be impossible for most of you to fit all of these exercises into a single daily warm-up routine. Instead, establish a weekly practice routine in which a few exercises are delegated to each day of the week. A sample schedule of daily warm-up exercises is provided below. Feel free to add other technical exercises that you know to the schedule. The sample schedule below is limited to the technical exercises that Matt has taught in this series.

Monday

-Major Scales in 2 Octaves - (All 5 fretboard patterns and all 12 keys must be practiced.)
-Kirk Hammett Hammer-on Exercise

Tuesday

-Tremolo Picking - (Some tremolo exercises were taught in lesson 1.)
-Synchronization Exercises - ("The Most Important Exercise Ever" from lesson 1, John Petrucci Exercise #1)

Wednesday

-Minor Pentatonic Scales in 2 Octaves - (All 5 fretboard patterns and all 12 keys must be practiced.)
-String Skipping
-Matt Brown Legato Exercise #1

Thursday

-Scales in Diatonic Intervals
-Matt Brown Legato Exercise #2
-Kirk Hammett Reach Development Exercise

Friday

-Natural Minor Scales in 2 Octaves (All 5 fretboard patterns and all 12 keys must be practiced.)
-Sweep Picking
-Bending

Saturday

-Harmonic Minor Scales in 2 Octaves (All 5 fretboard patterns and all 12 keys must be practiced.)
-Arpeggios
-John Petrucci Exercise #2 (Legato Scale Segments)

Sunday

-Hammer-ons
-Pull-offs (Hammer-on and pull-off exercises were presented in lesson 1 of this series. )

How Is a Legato Style Accomplished?

A. Slurs


The techniques listed below are all specific types of slurs that can be performed on the guitar.

-Hammer-ons
-Pull-offs
-Slides
-Bends
-Whammy bar bends
-tapping with the right hand fingers

-When a fast, legato style is called for, slides, hammer-ons, and pull-offs are frequently used. Basically, the idea is that you are able to play faster when fewer notes must be picked with the right hand. Hammer-ons and pull-offs can be used together in order to create fast ideas within a single fretboard position. Slides are used access notes in higher or lower positions on the same string.

B. Horizontal Vs. Vertical Playing

A horizontal rather than a vertical approach is usually taken when playing fast, legato licks. Changing from one string to the next decreases speed. String crossings should be kept to a minimum when playing at rapid speeds. As mentioned earlier, slides can be used to access higher or lower notes on a single string. Sliding up and down a string is a more efficient movement compared to switching to another string.

Review of Proper Hammer-on Technique

Before you begin practicing the new exercises presented in this lesson, review the rules regarding proper hammer-on and pull-off technique.

1. In order to play a hammer-on, the hammering finger must begin at a distance that is higher than how you normally want to play. Roughly half an inch is necessary to create the snapping movement of the hammer-on. The hammer-on motion is quite similar to Bruce Lee's famous "one inch punch." Bruce Lee could smash through a board with his fist from only one inch away. A hammer-on must be performed in the same way.

2. Performing a hammer-on requires a forceful movement with a left-hand finger. The tone of a hammer-on is much clearer and louder when the hammering finger comes down fast and forcefully. If you bring your finger down too slowly, the hammer-on will be weak or inaudible.

3. All rules regarding proper left-hand finger placement in relation to the frets become even more crucial when playing hammer-ons. Hammer the finger down right behind the fret. Hammering on top of a fret or too far from it will result in a poor tone.

4. Use the hard calluses on the tips of the fingers when making contact with the strings. This will help generate a louder tone.

5. Pay VERY close attention to the rhythm in which a hammer on is to be played. Many inexperienced guitarists cut the first note (the plucked note) way too short. Consequently, the hammer-on note is held for too long. For starters, practice all hammer-ons and pull-offs in an even eighth note rhythm.

Review of Proper Pull-off Technique

1. The plucked note and the subsequent pull-off must be equal in volume.

2. Pull the finger straight down towards the floor when playing a pull-off. This will create the best tone.

3. Be careful that you do not pull your finger down too far. This may cause one of the adjacent strings to vibrate. Stop the finger performing the pull-off on the string below. This may not be practical when performing rapid pull-offs. However, the pull-off technique should be exaggerated to help you in the early learning stages.

4. Just like with the hammer-on, many beginner guitarists do not play pull-offs evenly. If the notes under the curved line are written with the same rhythmic value, they must be held for the EXACT same duration.

Kirk Hammett Hammer-on Exercise

A. Exercise Overview (Scene 2)

Note:
Tablature and standard notation to all of the exercises presented in the lesson can be found under the "Supplemental Content" tab.

This exercise is designed to improve your guitar skills in two areas. It develops your ability to play multiple hammer-ons evenly on a single string. Practicing the exercise will also improve the overall reach of your left hand fingers.

Exercise Demonstration

A repeating sequence occurs in the exercise. Watch Matt in the lesson video or refer to the "Supplemental Content" section to learn the sequential pattern. He breaks down the sequence at 02:35 in Scene 2.

Exercise Guidelines

1. Do not practice this exercise before you are sufficiently warmed up! Otherwise, you run the risk of injuring your hands. This exercise is extremely demanding on the left hand.

The most common forms of guitar related injuries are tendonitis and carpal tunnel. Refer to lesson 9 of Matt's Phase 2 Jazz series to learn how these injuries can be avoided. When playing guitar or performing any task that uses small muscle groups, pain does not equal gain. If you experience any pain or overexertion in your hands and fingers, immediately take a break from playing. Do not return to your practice session until all pain and discomfort have subsided.

2. Always practice this exercise with a metronome. Tapping your foot along with the beat is not sufficient!

Setting the metronome to the slowest tempo that you can stand is the best way to monitor the evenness of your slurs. Matt demonstrates this practice technique at 05:05. He plays the exercise at 40 beats per minute. However, you may want to play at a faster tempo such as 50 beats per minute so that you have any easier time playing in a consistent rhythm. Record yourself playing the exercise to ensure that all slurs are played in a perfectly even rhythm.

3. A consistent triplet rhythm is maintained throughout. The first note on each string is picked. Then, two hammer-ons are performed.

4. Only fingers 1, 2, and 4 are used to play the exercise. Do not deviate from the fingerings Matt demonstrates in the lesson video! This is the easiest way to play the exercise at a rapid tempo. It requires the least amount of left hand flexibility and endurance.

5. Begin the exercise with the first finger playing at the 1st fret. Continue the exercise up the fretboard until the first finger is playing at the 12th fret.

Matt's Exercise #1 (Scene 3)

A. Exercise Overview


Matt's first exercise features a repeating sequence that can be played within any vertical diatonic scale pattern. At this point, Matt has discussed three diatonic scales: the major scale, natural minor scale (Aeolian mode), and the harmonic minor scale.

The sequence ascends in a stepwise motion. It begins with the first note of the scale and then ascends stepwise through the next three notes. The first note on each string is picked. All subsequent notes on the same string are sounded with hammer-on's. Then, the sequence begins with the second note of the scale. Next, the pattern ascends through the three notes in the scale above the second note. The sequence continues to ascend until the highest note in the scale pattern is reached. Finally, the sequence is reversed and applied to the descending form of the scale.

B. Exercise Demonstration

Watch the beginning of Scene 3 for a demonstration of the scale sequence.

C. Exercise Guidelines

1. Follow all off the hammer-on and pull-off guidelines provided above.

2. Practice this exercise in eighth notes and sixteenth notes along with a metronome. Make sure that all of the notes receive the EXACT same value. Play the exercise without hammer-ons at first (picking all of the notes) to get a clear idea of what the rhythm should sound like. Then, imitate this rhythm when the hammer-ons are added back in.

-Practice this exercise each day with a different tonality. Make sure to practice all five available patterns in each tonality. Play through all 12 keys by using the circle of fifths as a guide. Switch up the patten used for each scale.

Matt's Exercise #2 (Scene 4)

A. Exercise Overview


Similar to the previous exercise, any diatonic vertical scale pattern can be used within Matt's second exercise. Basically, the exercise follows a straightforward ascending and descending form of the scale. No sequential pattern is used this time around. When playing the ascending pattern of the scale, use hammer-ons whenever possible. The first note played on each string must be picked. Sound all subsequent notes on each string by playing hammer-ons. When descending, use pull-offs whenever possible. Once again, the first note played on each string must be picked during the descending portion of the scale pattern.

B. Exercise Demonstration (00:10 - Scene 4)

Watch carefully as Matt demonstrates the exercise in Scene 4 with a seventh position B natural minor scale. If you are still unsure of how the exercise should be performed, refer to the notation provided in "Supplemental Content."

C. Exercise Guidelines

1. Practice the exercise in eighth notes as well as sixteenth notes. Play with a metronome set to a comfortable tempo.

2. Play the exercise around the circle of fifths. Make sure that you address all of tonalities that you know in all 12 keys at some point during the week. Also, make sure that you are practicing all five of the vertical patterns within each tonality. Matt gets you started with the natural minor tonality at 01:20 in Scene 4.

3. Certain scale patterns such as the B minor pattern can be fingered two different ways. Always use the left hand fingering that allows you to play the exercise with the minimum amount of effort. The most practical fingering may be different for the ascending and descending portions of the exercise.

Kirk Hammett Reach Development / Slur Exercise (Scene 5)

A. Exercise Overview


Similar to the first Kirk Hammett exercise taught in the lesson, this exercise develops reach and flexibility as well as the ability to perform multiple slurs sequentially.

B. Exercise Demonstration - (00:10 - Scene 5)

Watch as Matt demonstrates the exercise at the beginning of Scene 5 to learn its sequential pattern.

C. Exercise Guidelines

1. Just like the first Kirk Hammett exercise presented in this lesson, this exercise is extremely taxing on the left hand. Do not attempt to practice this exercise until you are completely warmed up. Otherwise, you may injure your left hand.

2. Kirk Hammett plays this exercise beginning at the 3rd fret. Matt has transposed the exercise so that it begins at the 7th fret for the purposes of this lesson. For some players, beginning the exercise in seventh position may still be too difficult. If this is the case, slide the exercise up to a higher region of the fretboard until you find a position that feels comfortable for you. Keep in mind that you should not experience any pain when practicing this exercise. Some mild discomfort is expected since the fingers must perform wide stretches. However, notable pain is not normal. Immediately stop if you experience pain, or unusual soreness.

3. As you continue to get more comfortable with the exercise, gradually move the exercise into lower positions on the fretboard. The flexibility of your hand and fingers will continue to improve as the exercise is moved closer to the nut. Keep in mind that players with small hands will not be able to play the exercise as low on the fretboard as players with much larger hands.

4. Practice with a metronome to ensure that your slurs are played in an even rhythm. Make sure that you are playing cleanly and evenly.

5. Even though the exercise is written in sixteenth notes, you may want to practice it in eighth notes at first to ensure that all slurs are played evenly. When you feel ready, switch over to sixteenth notes.

6. Pay careful attention to the left hand fingering used in the exercise. Do not deviate from the fingerings that Matt uses!

7. In order to perform very large left hand stretches, the thumb may need to leave its normal position. When stretching between the first and ring finger or between the first finger and the pinky finger, the thumb must not make contact with the back of the neck. Instead, allow the thumb to float free behind the neck. Doing so opens up the palm of the hand and facilitates the widest stretch possible between each of the fingers.

John Petrucci Exercise #1 (Scene 6)

A. Exercise Overview


A very important component of playing fast legato material is synchronization of the hands. When the hands work in perfect synchronization with one another, wasted movement is minimized. In turn, you are able to play faster and more accurately. This exercise is designed to improve synchronization, as well as economy of movement, and finger independence.

The exercise features a repeating pattern that is played four times. The pattern is played four times in each fretboard position before moving on to the next. Once the pattern is repeated four times in 12th position, the pattern is reversed. Continue to ascend one position at a time once the pattern is played backwards four times.

B. Exercise Demonstration (01:19 - Scene 6)

Matt breaks down the entire exercise in Scene 6 at a slow tempo.

C. Practice Guidelines

1. Practice the exercise with a metronome.

2. The exercise is written in sextuplets, but you may want to play in eighth note triplets at first to ensure that your rhythm remains perfectly steady.

3. Econony of movement is key to playing accurately and quickly. Keep the left hand fingers as close to the fretboard as possible at all times.

4. Strive for the smoothest, cleanest sound possible. Avoid playing choppy melodic lines.

5. Practice the exercise on all six strings.

Note: Check out the book Rock Discipline to learn more of John Petrucci's favorite technical exercises.

John Petrucci Exercise #2 (Scene 7)

A. Exercise Overview


The final exercise of the lesson develops your ability to play multiple slurs between all possible left hand fingers. The exercise utilizes four different scale segments that can be found within both the major and natural minor scales. These segments are notated on the third and fourth strings only. However, they can be played on all pairs of adjacent strings for additional practice.

B. Exercise Demonstration (01:11 - Scene 7)

C. Exercise Guidelines

1. Practice with a metronome!

2. Practice in an eighth note triplet rhythm at first. When you feel ready, practice in sextuplets (sixteenth note triplets).

3. Repeat each scale segment multiple times before moving on to the next one.

4. Pick only the first and last note of each scale segment exercise. Pick the first note with a down stroke and the last note with an upstroke.

5. Vary the area of the fretboard in which each scale segment is practiced. Don't limit yourself to playing fast legato material in one small area of the fretboard.

6. Spend more time practicing the segments that are most difficult for you.

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.


tangohuntertangohunter replied on January 5th, 2010

Great lesson..am I the onoy one that was surprise that the Kirk Hammet hammer on lesson..didn't actualy require a hammer?

mattbrownmattbrown replied on January 18th, 2010

I'm not quite sure what you mean there. There are two hammer-ons played in a row on each string in the KH hammer-on exercise. Just thought I'd check in and make sure we're on the same page with that exercise.

kvdalykvdaly replied on December 31st, 2009

Matt - thanks for posting this. I just went through Walliman's great article and explanation on legato, and I was hoping he would do a lesson so that I could put it all together. Now I can combine these exercises and his into my practice routine for 2010.

jpfanboyjpfanboy replied on December 31st, 2009

yay, john petrucci rocks :)

Rock Guitar with Matt Brown

Found in our Beginner Lesson Sets

Chuck Berry among others pioneered the style of rock and roll in the 1950's. Today, rock and roll remains the most popular genre of music. Over the years the genre has progressed & spawned many sub-genres: soft rock, classic rock, punk rock, and more. Dive into this Phase 2 set of lessons to become a master of rock.



Lesson 1

Proper Practicing

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

Length: 29:00 Difficulty: 2.0 Members Only
Lesson 2

Introduction to Lead

Matt Brown discusses some of the fundamentals to playing lead.

Length: 15:41 Difficulty: 1.5 Members Only
Lesson 3

Figuring Out Notes

Matt shows you the basics of figuring out any note on the guitar.

Length: 7:00 Difficulty: 2.0 Members Only
Lesson 4

Scales

Learn the basic minor, natural, and major scales. Quite a few techniques & ideas start with scales - they're an essential building block.

Length: 34:15 Difficulty: 3.0 Members Only
Lesson 5

Major Scales

In this lesson, Matt takes you through the major scales & helps you to understand how they can be used.

Length: 20:25 Difficulty: 3.0 Members Only
Lesson 6

Natural Minor Scales

Matt teaches the most common natural minor scale patterns.

Length: 13:24 Difficulty: 3.0 Members Only
Lesson 7

Bending

Learn & master the most popular types of bends.

Length: 27:48 Difficulty: 2.5 Members Only
Lesson 8

Sweep Picking & Rakes

Learn sweep picking and string rakes.

Length: 18:36 Difficulty: 3.0 Members Only
Lesson 9

Solo Techniques

Learn various techniques to use when improvising / soloing.

Length: 12:51 Difficulty: 3.0 Members Only
Lesson 10

Tuning Down

Matt explains the most effective way to tune your guitar down.

Length: 7:18 Difficulty: 2.0 Members Only
Lesson 11

Barre Chords

Learn how to establish finger independence and a few tips and tricks with barre chords.

Length: 37:18 Difficulty: 2.5 Members Only
Lesson 12

Rock Licks

In this lesson, Matt Brown introduces a rock lick and shows how several famous players have modified it.

Length: 19:30 Difficulty: 2.0 Members Only
Lesson 13

Rock Sequences

In this lesson Matt teaches some crucial rock sequences. He also explains how these sequences can be integrated in to your playing.

Length: 34:52 Difficulty: 2.0 Members Only
Lesson 14

String Skipping

Matt Brown focuses on string skipping technique. He provides several exercises designed to improve this aspect of your playing.

Length: 33:09 Difficulty: 2.0 Members Only
Lesson 15

Intervals

Lesson 15 in Matt's rock series is all about intervals.

Length: 34:47 Difficulty: 2.0 Members Only
Lesson 16

Rock Lead Guitar

Matt Brown demonstrates lead guitar techniques using Aerosmith's "Sweet Emotion" as an example.

Length: 29:24 Difficulty: 2.5 Members Only
Lesson 17

Solo Using Diatonic Scales

Matt Brown explains which scales can be used when playing a solo over a diatonic progression in a major key. As an example, he teaches the solo section to Candlebox's song "Far Behind."

Length: 33:02 Difficulty: 2.5 Members Only
Lesson 18

Diatonic Natural Minor

This lesson covers the natural minor scale and diatonic natural minor progressions. Matt uses the solo section to "Stairway to Heaven" as an example.

Length: 24:55 Difficulty: 2.5 Members Only
Lesson 19

Right Hand Technique

In lesson 19 Matt provides instruction on developing right hand skills including string skipping.

Length: 26:38 Difficulty: 2.0 Members Only
Lesson 20

Non-Diatonic Progressions

In lesson 20, Matt discusses chord progressions that don't follow a diatonic tonality.

Length: 29:07 Difficulty: 2.0 Members Only
Lesson 21

Harmonic Minor

Matt begins to discuss and demonstrate the harmonic minor scale.

Length: 29:46 Difficulty: 2.0 Members Only
Lesson 22

Improvising Over Harmonic Minor

In lesson 22, Matt continues his discussion of the harmonic minor tonality.

Length: 14:36 Difficulty: 2.5 Members Only
Lesson 23

Sweet Child O' Mine

In lesson 23, Matt takes a look at the solo section for the song "Sweet Child O' Mine."

Length: 19:43 Difficulty: 2.5 Members Only
Lesson 24

Today

Matt will be taking a look at the solo section from the live version of the Smashing Pumpkins song "Today".

Length: 7:29 Difficulty: 2.5 Members Only
Lesson 25

Back In Black Solo

Matt Brown reviews and discusses the solo section to AC/DC's hit "Back In Black".

Length: 9:34 Difficulty: 2.5 Members Only
Lesson 26

Brother

In lesson 26, Matt covers the solo section from the Alice in Chains song "Brother".

Length: 9:42 Difficulty: 2.5 Members Only
Lesson 27

Matt's Rock Manifesto

Matt Brown discusses lead guitarists, what makes a good solo, and tips for your own lead playing.

Length: 41:06 Difficulty: 0.5 Members Only
Lesson 28

Legato Playing Exercises

Matt Brown teaches a number of exercises aimed at improving your legato playing technique.

Length: 37:16 Difficulty: 1.5 Members Only
Lesson 29

Right Hand Exercises

Matt Brown demonstrates a few exercises to build skill and speed in your right hand.

Length: 15:06 Difficulty: 1.5 Members Only
Lesson 30

String Skipping Etude

Matt Brown teaches Heitor Villa-Lobos' 1st Etude as a lesson in string skipping.

Length: 38:47 Difficulty: 3.0 Members Only
Lesson 31

Three Octave Scales

Matt Brown demonstrates how to play three octave versions of the minor pentatonic and the major scales in all 12 keys.

Length: 16:56 Difficulty: 2.0 Members Only
Lesson 32

Diatonic Intervals

Matt Brown demonstrates how to play all seven of the diatonic intervals within the framework of a horizontal major scale.

Length: 23:01 Difficulty: 1.5 Members Only
Lesson 33

Diatonic 7th Arpeggios

Matt Brown discuss diatonic arpeggios as a theory lesson as well as demonstrating the technique.

Length: 9:55 Difficulty: 1.5 Members Only
Lesson 34

Diatonic 7ths Across the Neck

Matt Brown explains how to play the diatonic seventh chords of the major scale. Similar to lesson 32, this lesson takes a horizontal approach to the fretboard.

Length: 10:46 Difficulty: 1.5 Members Only
Lesson 35

Solo Ideas #1

Matt Brown teaches a progression and accompanying solo to demonstrate ideas for creating your own.

Length: 21:34 Difficulty: 2.0 Members Only
Lesson 36

Solo Ideas #2

Matt Brown takes a look at another chord progression and solo.

Length: 17:29 Difficulty: 2.0 Members Only
Lesson 37

Legato Playing Ideas

In lesson 37 of the Rock Series, Matt Brown demonstrates and talks about legato playing ideas.

Length: 21:24 Difficulty: 2.5 Members Only
Lesson 38

Rhythm Concepts

Matt Brown switches gears in lesson 38 to start talking about rhythm concepts for rock playing.

Length: 27:44 Difficulty: 1.5 Members Only
Lesson 39

Compositional Techniques

Matt Brown discusses some often used techniques to build effective rock compositions.

Length: 17:27 Difficulty: 1.5 Members Only
Lesson 40

Creative Chord Voicings

Matt Brown shows off some ways to add some creativity and originality to your rock chord voicings.

Length: 11:59 Difficulty: 1.5 FREE
Lesson 41

Lead Approach

Matt Brown takes another look at his approach to soloing. He demonstrates ideas you can use in your own playing.

Length: 12:10 Difficulty: 2.0 Members Only
Lesson 42

Lead Approach #2

Matt Brown adds practice to his lead approach by giving you another chord progression to solo over.

Length: 7:14 Difficulty: 2.0 Members Only
Lesson 43

Lead Approach #3

Matt Brown has another chord progression and solo exercise to go over in this lesson on lead approach.

Length: 10:25 Difficulty: 2.0 Members Only
Lesson 44

String Skipping Revisited

Matt Brown takes another look at string skipping. He breaks down some key areas of Matteo Carcassi's Allegro as an exercise.

Length: 16:29 Difficulty: 2.5 Members Only

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
Community
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00

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


Bill

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



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