Scales (Guitar Lesson)

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Matt Brown


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

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 34:15Difficulty: 3.0 of 5
Chapter 1: (9:19) Introduction Why are scales so important to learn? Scales are the fundamental building blocks of all music.

Basic Major Scale Fingerings
Matt demonstrates the two most common major scale fingerings devised by the great classical guitarist Andres Segovia. The first and most common pattern stays in 7th position. The second pattern begins in 2nd position then shifts up to the fifth position. When improvising, you will very seldom stay in the same position for the entire solo. This pattern gives you practice shifting up the neck to access higher notes.

These patterns can be transposed to any key across the neck. Start with your second finger on the root note and you are good to go! Be sure to practice these scale fingerings in all 12 major keys! Start with C and work your way around the Circle of Fifths.
Note: Click the "Supplemental Content" tab for diagrams of these scales as well as a Circle of Fifths diagram.
Chapter 2: (6:22) Natural Minor Scales Matt demonstrates the most common Natural Minor scale fingerings in the key of A minor. Once again, Segovia devised these patterns. The first stays pattern remains in 5th position throughout. However, the B note on the D string can be played on the 4th fret of the G string. This will cause a position shift. The second pattern is a pattern with a position shift. It is demonstrated in the key of E minor. Be sure to practice these scales in all 12 minor keys. Use the inner circle of the Circle of Fifths to practice minor keys.

Note: Click the "Supplemental Content" tab for diagrams of these scales.
Chapter 3: (9:34) Minor Pentatonic Scales This scale is derived from the Natural Minor Scale. It consists of 5 notes, hence the name "pentatonic". These notes are the 1st, 3rd, 4th, 5th, and 7th scale degrees from the Natural Minor Scale. In the key of A minor, these notes are A, C, D, E, and G. These notes are chosen because they are most consonant against a diatonic progression. B and F are notes that are generally used to create tension. As a result, they are omitted from the pentatonic scale.

In this scene, Matt demonstrates the 5 vertical pentatonic patterns or "boxes". The fifth position box is the most common, and consequently should be mastered first.

Note: Click the "Supplemental Content" tab for diagrams of the five minor pentatonic boxes.
Chapter 4: (1:31) Major Pentatonic Scales The finger patterns for the Major Pentatonic Scale are the same as the Minor Pentatonic. This scale also contains the same notes (C,D,E,G,A,C). In this case however, start and end the scale on the tonic note C. Reordering the notes as such will give the scale a major sound.

Note: Click the "Supplemental Content" tab for diagrams of the five major pentatonic boxes.
Chapter 5: (7:25) Practical Applications Scales help develop three basic skill sets essential to any musician.

1. Practicing scales enhances technical ability. Playing scales is an excellent way to monitor your hand posture (both right and left). Through repetitious practice of scales, speed can very gradually be increased. How do you think players such as Kirk Hammett or Dimebag Darrell can play such fast lines? They spent several years of diligent practice working on their scales.

2. Practicing scales is the best practice for being able to perform melodic content musically. When playing scales, they must be interpreted as a series of resolutions passing from one note to another. If you do not practice your scales musically, your solos and melodies will not sound musical. You may be playing all the correct notes, but it still doesn't sound like anything.

3. Playing scales increases your knowledge of the fretboard. In order to improvise effectively in a given tonality, you must be able to play the scale horizontally and vertically across the entire neck. In the course of a solo, you don't have time to sit and figure out where the next pentatonic box is. This must all be memorized through practice in advance. In order to play any written repertoire such as a classical piece or a jazz chord solo, one must know all the scale patterns that the piece contains. Knowing scales is also the biggest help in writing songs. Without a total knowledge of all the different scales and sounds available, how do you expect to write music that doesn't all sound the same?

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.

bigbyrdiebigbyrdie replied

In the Circle of Fifths explanation in the Intro to Scales, Matt has his directions in the video is backwards. To the right is fifths (clockwise), to the left (counter-clockwise) is fourths. It is evident when one is looking at the Circle of Fifths supplemental while listening to his explanation. This could be quite confusing to someone who's never encountered the Circle of Fifths. Pythagoras is watching.

gvt4089gvt4089 replied

sorry I think matt need help trying to get his point across. he does know the guitar

slononforceslononforce replied

Matt, am I mixed up or did you make an error when teaching the A minor pentatonic scale in the 2nd position? you said start with the A on the 6th string 5th fret then B on the 5th string 2nd fret. Didn't you mean to say C 5th string 3rd fret?

phil5980phil5980 replied

Rel minor is the 6th of the major, C = A.

euroa24euroa24 replied

hey matt when you mentioned the Circle of Fifths I have a question about when you said When you move to the right from C it would be F and that's 4ths. When I check out the diagram its to the left. is there a reason for this or just left is right right is left

jons4acesjons4aces replied

I agree with jaybones ... would like to see scales played at a very slow pace to better follow along and increase speed at slower intervals. Its all good though!

jaybonesjaybones replied

This guy is good for himself, but hard to see his fingers moving. Very frustrating to follow. Bye.

toddovermoentoddovermoen replied

I should point out that your trick for learning the relative minor if one does not have a circle of fifths to look at; or, has it memorized is very helpful for figuring out that relative minor!

toddovermoentoddovermoen replied

Excellent lesson, Matt. Thank you for the lesson. I always wondered what key guitarists were jamming in when they left the major scale. It was the relative minor! And it sounds so cool with a song in the key of G! Keep up the great work!

mattd01mattd01 replied

hey i been playing guitar for awhile and never had any lessons. I really wanna start playing lead guitar. where is a good spot to start on here ?

d_tokid_toki replied

Hi, maybe this is a stupid question but is there a reason to call it box 1, box 2, etc...? I mean, is there a rationale in the numbering?

mattbrownmattbrown replied

Hi! The numbers that people often give the box patterns or shapes are completely arbitrary. What one person might refer to as "box 1," might be what someone else refers to as "box 5". So no, there isn't really a set numbering for the five shapes. The CAGED system is a different story. This system relates chords, scales, and arpeggios based on their visual shapes. So, there is a set pattern to the CAGED system. I imagine you can search for "CAGED" on the homepage and find a lot of great lessons on this topic.

AaronMillerAaronMiller replied

Good question! I'm sure Matt will get on here and explain but I wanted to chime in just in case it takes him a few days to see this. The Boxes are just finger patterns on the fretboard. If you look at our scale library here and click "patterns" it may make more sense to you!

willtomwilltom replied

Matt in scene 5 you played around with the am minor pent you started out at the 5th fret playing the scale and then you started sliding up and down the neck. My question is can you move the scale anywhere on the neck as long as you end up back in the first position?

tomhighwoodtomhighwood replied

please see comment Feb. 11, 2014 Thanks, Tom

tomhighwoodtomhighwood replied

Really enjoyed the lesson. Cycle of 4ths. You stopped on A flat, I could not find A flat on the scales tool on the main page. What am I missing?

mattbrownmattbrown replied

Glad you enjoyed it! Hmm, the key of Ab major should definitely be in the scale library in the "teaching tools" section. Maybe there's something wrong with the scale library. I'll have to look into that...

mattbrownmattbrown replied

Ah...I think I know what the problem may be...In terms of major keys, Ab major is always referred to as Ab major - never G# major. In terms of minor keys however, the key of G# minor is always used and never Ab minor...This just has to do with notating music and what is easiest to read/notate in standard notation.

tomhighwoodtomhighwood replied

I am so sorry, I am still confused. If I understand what you are telling me, shouldn't I still be able to find the A flat major scale in the scale library under Ionic mode?

midlifemidlife replied

Matt, I have all 5 box patterns of the minor pentatonic well memorized, but the way I learned the patterns was to start with the first note on the low E, play up the scale then play back down. In your lesson you always start and end on the root note. It took me a minute to figure out we were playing the same patterns, just starting on a different note. Is it important to start and end on the root note? Is it typical to start and end on the root note when soloing?

midlifemidlife replied

Ok, went back an rewatched your lesson on minor pentatonic and answered my own questions! Sorry about that.

mattbrownmattbrown replied

Hey! No problem! Typically when I practice a scale, I'll begin and end on the root note, but not always. I think it's important to practice both ways. Starting and ending with the root note is important to get the overall sound of the scale in your ears. When playing a solo, you're usually starting with a note that is within the chord you're playing over...not always though. For example, if the first chord in the solo section is Am, most of the time you'll want to start on a strong note within that chord (A,C,E). The same concept applies to ending the solo - end with a note that works well with the chord at the end of the solo. Keep in mind that this chord might begin a new section of the song. It sounds like you're on the right track.

tjpostmatjpostma replied

Great Lesson Matt. Very helpful. There is something very intriguing about the Circle of Fifths. It seems to really help mastering the fretboard. Great basis for practicing scales.

mattbrownmattbrown replied

Thanks! Yeah, it is very helpful for practicing scales, progressions, etc. It's also helpful for outlining V to I (dominant to tonic) chord relationships.

johnnyrockitjohnnyrockit replied

Thanks Matt! Very helpful!!!

mattbrownmattbrown replied

You're very welcome! Thanks for checking out my lessons!

jondavisjondavis replied

As I like to play along, I'd like the instructors to have a 1234 count before playing the scale so I can come in at the same time. Just a thought.

mattbrownmattbrown replied

Yeah...that's a great suggestion!...This lesson is about 5 years old at this point...I think we tried to incorporate more 'play alongs' in later lessons that we did...especially with the Reading Music and Rhythm series.

rbradyrbrady replied

Hi, Matt: what do you think is the best way to learn all of the scale shape-patterns for using them over the length of the neck? For example, I will practice improving in a key using all positions, but if I am to jump from one end of the neck to the other, my ability allows me to really only jump to a root because that is how I have defined the patterns. Do you think it is most effective to know the notes of each scale (and the notes of the fretboard), or to create a really good mental image of the scale patterns as they connect to each other so that I can sort of place that image on the fretboard while I play? Thanks!

mattbrownmattbrown replied

Hey! When you're first learning a scale, the first step that most people go through is learning where to put your fingers. This is just one step out of many towards actually being able to use the scale for a practical purpose. In the course of a solo or melody, you always want to play off of the important chord tones that are being played. So, to be an effective player, you have to an awareness of how the notes you're playing relate to what the rhythm section is doing. My advice at this point is to organize your improv practice. Try improvising using just a single string at a time. Pick a backing track and improvise using only the first string. Then, repeat the process with the other strings. Also, limit yourself to using just a single vertical position as well. When going through this process, make sure you are using your ears to dictate what you play. Don't just hack through notes that are in the scale and "work." Make sure the ideas that you play make musical sense. Hope this helps! Keep the questions coming!

mritalian55mritalian55 replied

Good job Matt, I want to ask one question that I am a little confuse about. When looking at the minor scale why do is meant by This mode is built from the sixth scale degree of the parent Major Scale, and is commonly known as the Natural Minor Scale.

mattbrownmattbrown replied

Basically, if you look at a major scale, C major for instance, you get the notes C, D, E, F, G, A, B, and C. The "relative" natural minor scale begins on the sixth note of the major scale and contains the same group of notes. The sixth note of the C major scale is A. So, the relative natural minor scale in relation to C major is A natural minor. This scale is spelled A, B, C, D, E, F, G, A. Notice how A natural minor and C major contain the same group of pitches.

raoelraoel replied

So the root note is A?

mattbrownmattbrown replied

Yep...The root note is A. Seems like you understand what is going on here.

martymaymartymay replied

I like your lessons but I still dont understand this: when you start a solo with a minor scale, how can you add a major scale phrase in the middle of the solo? I mean how do you know where to start? Because if I start with an A minor key, I cant keep phrasing in A major, it doesnt sound good (Im not sure Im clear here, just let me know if not)

joefroehlejoefroehle replied

I get where this lesson is going but then you go on to just tear up the scales in some solo stuff...that would be nice...some intermediate steps or solo tips I would love...any suggestions?

mattbrownmattbrown replied

I get more into that type of information later in the series with the lessons on specific lead techniques and lessons about playing over specific tonalities. I'm also about to film some new lessons that cover that type of information.

gwilkin9gwilkin9 replied

I guess its the old cliche...practice your scales and you will get better...turns out to be true. Good lesson. Understand the concept of the circle of fifths and how it works. Not having so much fun with the practical application, going to check out the Jazz lesson reccommended..

zpcohenzpcohen replied

Good lesson, but could you further explain what you mean by "playing the scales musically" and hearing the resolutions. I'm not sure what you mean by this.

larrythao1994larrythao1994 replied

are there patterns to scales? or do we have to memorize them?

x29ax29a replied

Why is this rated Skill: 3.0 of 5. Seems to be more like the essential basics :)

mattbrownmattbrown replied

I agree. I would have rated this lesson a 1 on the difficulty level.

ricky54326ricky54326 replied

I'm still a little confused about the Circle. How would you go from, say, C to F? Just move up a string and play the same scale?

mattbrownmattbrown replied

Check out my Phase 2 Jazz series. I did a full lesson about the circle of fifths.

bresedkbresedk replied

Silver36, if you do a search on the internet it is easy to find a circle of fifths chart, that should help you out with the scales.

hazeldinehazeldine replied

nice lesson, although you got the 3rd Am Pentatonic wrong when you did it the first time through :P when practicing these scales, i would suggest ALWAYS to do it with a metronome at around 60 ( depending on your current ability ) plus if your not doing so already, try doing these lessons in conjunction with Matts lessons on Reading Music, especialy with some of his rythum exercises, and it will help keep your scales practice from getting boring ( which helps very quickly... ) as for the scale boxes, just steal them from i think its Brads lessons, as he uses scales boxes, so there already on the site : )

kajkagenkajkagen replied

nice lesson. Some scale diagrams would be a big help

mbeurymbeury replied

how fast should i be able to play each scale before i move on to the next one? i dont want to try to move on and end up in a huge mess

snakedogmansnakedogman replied

I agree that addition of scale diagrams would be very welcome for this lesson!

bvalbval replied

Its way easier to learn scales visually with a diagram vs reading through the tab. I've seen them in other lessons, I would like to see them here and in the suplemental content. Thanks!

mdejessemdejesse replied

A lot to cover, need to see scales, since your fingers ares so close to strings, I can't tell what fret you are hitting.

huxtablejoneshuxtablejones replied

those scales diagrams would be great

cbw2003cbw2003 replied

What is the difference between "major" and "minor" scales? What makes a scale "minor"?

cbw2003cbw2003 replied

In the Supplemental Content section, I see the Circle of Fifths Diagram but do not see diagrams of any of the scales. Have these been posted yet?

kevinacekevinace replied

Just wanted to let you know that the circle of fifths is now in the supplemental content of this lesson.

kevinacekevinace replied

We will add this to the supplemental content section ASAP. I apologize for the inconvenience.

silver36silver36 replied

great lesson, where can i find the circle of fifths chart?

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.

Proper PracticingLesson 1

Proper Practicing

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

Length: 29:00 Difficulty: 2.0 Members Only
Introduction to LeadLesson 2

Introduction to Lead

Matt Brown discusses some of the fundamentals to playing lead.

Length: 15:41 Difficulty: 1.5 Members Only
Figuring Out NotesLesson 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
ScalesLesson 4


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
Major ScalesLesson 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
Natural Minor ScalesLesson 6

Natural Minor Scales

Matt teaches the most common natural minor scale patterns.

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


Learn & master the most popular types of bends.

Length: 27:48 Difficulty: 2.5 Members Only
Sweep Picking & RakesLesson 8

Sweep Picking & Rakes

Learn sweep picking and string rakes.

Length: 18:36 Difficulty: 3.0 Members Only
Solo TechniquesLesson 9

Solo Techniques

Learn various techniques to use when improvising / soloing.

Length: 12:51 Difficulty: 3.0 Members Only
Tuning DownLesson 10

Tuning Down

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

Length: 7:18 Difficulty: 2.0 Members Only
Barre ChordsLesson 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
Rock LicksLesson 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
Rock SequencesLesson 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
String SkippingLesson 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
IntervalsLesson 15


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

Length: 34:47 Difficulty: 2.0 Members Only
Rock Lead GuitarLesson 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
Solo Using Diatonic ScalesLesson 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
Diatonic Natural Minor 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
Right Hand TechniqueLesson 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
Non-Diatonic ProgressionsLesson 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
Harmonic MinorLesson 21

Harmonic Minor

Matt begins to discuss and demonstrate the harmonic minor scale.

Length: 29:46 Difficulty: 2.0 Members Only
Improvising Over Harmonic MinorLesson 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
Sweet Child O' MineLesson 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
TodayLesson 24


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
Back In Black SoloLesson 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
BrotherLesson 26


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

Length: 9:42 Difficulty: 2.5 Members Only
Matt's Rock ManifestoLesson 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
Legato Playing ExercisesLesson 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
Right Hand ExercisesLesson 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
String Skipping EtudeLesson 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
Three Octave ScalesLesson 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
Diatonic IntervalsLesson 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
Diatonic 7th ArpeggiosLesson 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
Diatonic 7ths Across the NeckLesson 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
Solo Ideas #1Lesson 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
Solo Ideas #2Lesson 36

Solo Ideas #2

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

Length: 17:29 Difficulty: 2.0 Members Only
Legato Playing IdeasLesson 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
Rhythm ConceptsLesson 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
Compositional TechniquesLesson 39

Compositional Techniques

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

Length: 17:27 Difficulty: 1.5 Members Only
Creative Chord VoicingsLesson 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
Lead ApproachLesson 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
Lead Approach #2Lesson 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
Lead Approach #3Lesson 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
String Skipping RevisitedLesson 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
Matt Brown

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

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

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

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

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Matt Brown Matt Brown

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

Free LessonSeries Details
Joe Burcaw Joe Burcaw

Join Joe as he shows one of his favorite drills for strengthening his facility around the fretboard: The Spider Technique.

Free LessonSeries Details

Join over 512444 guitarists who have learned how to play in weeks... not years!

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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

Exclusive only to JamPlay, we currently broadcast 8-10 hours of steaming lesson services directly to you! Enjoy the benefits of in-person instructors and the conveniences of our community.

Interactive Community

Create your own profile, manage your friends list, and contact users with your own JamPlay Mailbox. JamPlay also features live chat with teachers and members, and an active Forum.

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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