Barre Chords (Guitar Lesson)


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Matt Brown

Barre Chords

Matt teaches you how to work on finger independence and also some tricks with barre chords. Learn finger techniques, cheats, practical applications, and various barre shapes.

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 37:18Difficulty: 2.5 of 5
Chapter 1: (09:27) F Chord and Finger Independence Many beginning guitarists struggle with barre chords. Some beginners find them so frustrating that they simply give up on the guitar and quit playing altogether. If you find yourself struggling with the same dilemma, don't worry! When Matt Brown began to play the guitar at age 11, it took him a full month of practicing the basic F chord for a half hour each day before he felt comfortable with it. With a little patience, practice, and the proper instruction, you will eventually master playing barre chords.

The first barre chord that almost all students learn is the infamous F major barre chord. This voicing features a barre across the E and B strings. The barre is performed by the index finger. Generally, beginning students have difficulty getting either the first or second strings to ring properly when playing any type of barre chord. In this lesson, Matt Brown shares some advice that will get you playing almost all of the barre chord shapes in no time. In addition to watching this lesson, be sure to check out all of the lessons taught by other instructors that pertain to barre chords and movable chord shapes.

The movable F chord shape is the first barre chord taught by most instructors, because it is the easiest barre chord to learn. Although it is the easiest barre chord, it is still extremely difficult when you first try to play it. However, most students find that once he/she masters the basic F chord, other barre chord shapes become relatively easy to learn and master.

The problems that arise when playing the F chord are a result of a lack of flexibility and finger independence. Thus, you must enhance your abilities in these two specific areas in order to master the basic F chord. There are several technical exercises that help immensely with this process. You already learned the first exercise in Matt's exercise pertaining to proper practicing. This exercise increases finger independence and overall fret hand control.

Note: Open the "Supplemental Content" tab for tablature to this exercise.

In order to increase your reach development, work on the finger stretch exercise that Dennis Hodges demonstrates in his first metal lesson. This exercise will provide you with the left hand reach necessary to play the pesky F major chord.

In addition to these exercises, there are some technical guidelines that must be followed in order to fret the F chord. When first learning this chord, place your third fingers on the fretboard before the barre. Keep your fingers as close to the fret wire as possible. Then, without moving your second and third fingers at all, place the barre down. Keep your first finger parallel to the first fret. Do not angle it. Make sure that the fleshy pad of the first finger is fretting these two notes rather than the side of the finger. When you place the first finger down, your second and third fingers should not move at all. If they do, return to Dennis' stretch exercise.

Also, you must follow proper classical technique guidelines. Keep your fingers bent and relaxed at all times. Do not flatten any joints! Even though the thumb is not used to actually fret a string, it is the most important factor when fingering the F chord. Keep the thumb perpendicular to the middle of the neck. Do not angle it sideways or bring it up over the top of the neck. Finally, compare your technique to Matt's and make any necessary adjustments.
Chapter 2: (09:33) Major Barres, Finger Technique, and Cheats Sixth String Root Major Barre Chord

When referring to the visual shape of a barre chord, many JamPlay instructors describe these chords in relation to the "open" chord shape that they are derived from. For the sake of consistency, Matt will refer to barre chords in such a way throughout the course of this lesson.

In this scene, Matt demonstrates how to fret a movable barre chord shape that is derived from the shape of the basic "open" E major chord. When translating the open E shape into a barre chord, some important fingering adjustments must be made. The open strings must be barred by the first finger. Consequently, the fingering applied to the fretted notes must change as well. Regardless of these fingering adjustments, the root of this movable shape is still found on the low E string.

Matt applies this movable shape concept to an F major barre chord.

Note: A fretboard diagram of this chord can be found under the "Supplemental Content" tab.

Most beginning students encounter the same two problems when learning this chord. The first problem is an issue of finger reach. This problem can be solved by practicing the finger stretch exercise demonstrated in Dennis Hodges' first Phase 2 metal lesson. Second, most students have problems with getting the first and second strings to ring clearly. They have issues with performing a full or "grand" barre across all six strings. This problem usually results from a lack of proper instruction.

When playing the F chord with a full barre, a few technical issues must be addressed. Similar to the basic F chord, the thumb has by far the most important job when playing an F chord with a full barre. Once again, make sure that the thumb is perpendicular to the middle of the neck. Watch Matt carefully for a demonstration of proper thumb position.

When you first start to work on this barre chord, place the second, third, and fourth fingers on the fretboard prior to laying the barre down with the index finger. Make sure that these fingers do not move at all from their current position while applying the barre with the index finger.

Although the index finger must cover all six strings with the barre, it is not actually used to fret the notes on the fifth, fourth, and third strings. Instead, playing this barre properly requires that the index finger applies the most pressure at two specific points. Since this finger is really only used to fret the sixth, second, and first strings, it must apply the most pressure at these two points on the fretboard. Once again, be sure to watch Matt for a clear demonstration. When you feel like you have your fingers (including the thumb) positioned correctly, pick each string individually to ensure that they all ring properly with a clear tone.

Practicing Barre Chords

Mastering new chords, especially barre chords, can be a very difficult and frustrating process. For this reason, Matt provides some tips that will help through this process with the least amount of mental duress. When learning any new chord, practice it in very short intervals. Due to the frustrating nature of learning new chords, your focus will dwindle very quickly. Practice a new chord for five or ten minute intervals at a time. Then, practice something totally different for a while that is less frustrating for you. Block the tricky chord out of your mind while doing so. When you return to practicing the chord, you will hopefully have a fresh new perspective and a clear state of mind.

The "Open" A Shaped Barre Chord

Several other major barre chords can be performed on the guitar. One example is a barre chord based on the shape of the "open" A major chord. The root of this movable voicing is found on the fifth string. When translating this shape into a barre chord, the first finger must fret all of the notes that were once open strings. Consequently, the third finger must barre the remaining notes in the chord.

Many chord diagrams indicate that the first finger frets the fifth and first string with a barre. However, fretting the note on the first string is simply impossible for some people. No matter how long they practice, they still can't fret this note. This has nothing to do with improper technique or hand strength. Some peoples' hands are just not built to fret this note. Laying the barre down with the first finger is the easy part. The difficulty arises when you try to arch the third finger enough to allow the first string to ring properly. Due to this difficulty, many guitarists choose to omit the barre performed by the first finger. Instead, they simply fret the root note on the fifth string and leave out the cumbersome note on the high E string. Or, they choose to finger this chord in a totally different way. Be sure to watch Jim Deeming's Phase 1 lesson pertaining to "A Shaped" chords to learn this particular fingering.
Chapter 3: (11:08) Practical Applications and Barre Shapes Typically, it is much more difficult to play barre chords on a classical or steel acoustic compared to an electric guitar. This is due to a number of factors. First, electric guitar necks are usually not quite as wide as their classical and acoustic counterparts. As a result, the finger performing the barre has less ground to cover on an electric. Second, acoustic and classical guitars are generally set up with higher action. Action refers to the height of the strings above the fretboard. As a result of higher action, your fingers must press the strings down harder in order to produce a clear tone. Finally, steel string acoustics are generally strung with larger gauge strings than electric guitar. The larger a string is, the harder it is to fret within the context of a barre.

Regardless of what type of guitar you are playing, the action gets higher as you move further up the fretboard. As a result, certain barre chord such as the E shaped barre chord become much more difficult to fret once you reach roughly about the ninth fret. The eleventh fret is roughly the highest position in which this chord shape can be played. Also, your fingers run out of room as the frets get smaller. These are just a few reasons why it is important to learn a variety of barre chord shapes at different locations on the fretboard. For example, instead of playing an Eb major barre chord at the eleventh fret using the open E shape, Matt typically chooses to play the A shaped barre chord in sixth position for an Eb major chord.

In addition to revoicing chords lower on the neck, applying a tool called a capo can also solve some tricky barre chord fingering issues. For example, compare the two voicings of F# major that are listed in under the "Supplemental Content" tab. Both chords contain the exact same notes. One voicing is simply played with a capo and the other is not. Compare which of the two chords is easier to play and keep in tune.

The "Open" C Barre Chord Shape

Similar to the A shape, the open C major chord can also easily be translated into a movable barre chord shape. The root of this chord is determined by which note the pinky finger is fretting. Many of you may already be familiar with this chord if you watched Matt's Phase 3 lesson pertaining to the song "Under the Bridge." This song begins with a D major chord that utilizes the basic, open C major chord shape.

The "Open" D Chord Shape

The basic D chord that beginners learn can also be translated into a movable chord pattern. Unlike some of the other chords discussed in this lesson, this chord shape does not require that you play a barre. However, when the chord is transformed into a movable shape, some fingering adjustments must be made. The root of this chord is found on the fourth string. One of the advantages of this shape is that it is relatively easy to shift it to the higher regions of the fretboard.

The "Open" G Barre Chord Shape

When the G shape is translated into a movable barre chord shape, the first string note must be omitted from the chord. There is no practical way to fret this note without the aid of a capo.

Chapter 4: (07:26) Minor Barre Chords and Final Thoughts In this scene, Matt presents the movable barre chords that are based on basic "open" minor chord shapes. He demonstrates these shapes in alphabetical order according to the open shape that each chord is based on. As a result, he begins with the barre chord based on the open Am chord.

Am Shaped Barre Chord

Matt demonstrates how to use the shape of this chord to play a Bm and a Cm chord. It is also possible to move this shape anywhere on the neck. Just remember that the root is found on the fifth string. The note fretted by the index finger will give you the root name of the chord. If you are having problems playing the barre chord based on the open E major shape, this minor chord shape provides an effective stepping stone towards mastering the E shape.

Movable "Open" Dm Chord Shape

In the lesson video, Matt mistakenly says that there is no movable version of the open Dm chord. This is actually not true. This chord does translate into a movable shape. This shape just does not involve any barring. The root of this chord is found on the fourth string

Note: Open the "Supplemental Content" tab for a fretboard diagram of an Fm chord that utilizes the shape of the open Dm chord.

Em Shaped Barre Chord

The open Em shape is utilized to create one of the most frequently used movable minor barre chords. (The Am and Em shape are the two most commonly used minor barre chord shapes.)

When using the open Em shape as a barre chord, the first finger must perform a barre across all six strings. Since your second finger is not used to fret any notes, it can be used as a clamp to help the first finger firmly fret all notes held under the grand barre. This clamp technique is not mandatory, however many guitarists find it quite useful, especially beginners who are having trouble getting the three treble strings to ring clearly.

Abbreviated Form of the Em Shaped Barre Chord

If you remove the two lowest strings from the Em shaped barre chord, a new barre chord is formed. When this occurs, the note that is fretted by the pinky finger should be fretted by the third finger instead. This creates a much more practical fingering of the chord shape. The root note of this new voicing can be found on either the fourth or first string.

Matt utilizes this abbreviated open Em chord shape to play a voicing of an Am chord. This popular voicing begins the song "Stairway to Heaven." It can also be found in countless other pieces in almost all genres.

This Am chord is a very effective stepping stone to learning the basic F chord discussed in the first scene. The fingering of the Am shape that Matt demonstrates is very similar to the fingering of the F chord with just a few exceptions. Since the second finger is not used in the Am chord, many players find it easier to fret than F. Also, since the frets are closer together in this region of the fretboard, your fingers do not need to stretch as far to accommodate the proper chord grip. If you are having problems with the F chord, work on this version of Am for awhile. Once you master this chord, return to the F chord and see if you find it any easier.

Also, you may want to try moving the F shape to a higher region of the fretboard. Once you master the shape in a higher position, gradually move the shape one fret lower at a time until you reach first position.

If you follow the advice listed in this lesson, you will be playing barre chords like a pro in just a matter of weeks. However, remember that it may take awhile before you feel totally comfortable with these chords. Feel free to experiment with different approaches to practicing barre chords. Remember that everyone is different. That which may work for one person may not work for the next.


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.


cris2012cris2012 replied on July 20th, 2016

Hi Matt, this is very helpful. I came over from Jim Deeming's Phase 1 lesson to learn more about barre chords. Is it possible that my index finger could be too short to play a full barre? If I bend my second joint right at the top of the neck, the tip of my finger just barely reaches the edge of the sixth string? If I really push, I can get all strings covered, but the fold under my joint separates from the first and second strings. Is this something that can be improved with technique, or is this an insurmountable obstacle to doing full barres in the standard way? Any suggestions would be extremely appreciated. Thanks!

oscarsdadoscarsdad replied on April 5th, 2016

good finger exercises

capo montinicapo montini replied on June 5th, 2012

hey Matt, just a easy question... I have this bad habit (as my mother say) of annoying people by keep on tapping my finger tips anywhere, everywhere, any time every time!! but I found that, this "bad habit" did really help me with my fingers independence! just wondering if you think the same or it is just an annoying habit?

mattbrownmattbrown replied on June 5th, 2012

Ha! Nah, it's a VERY good habit if you ask me...

charlesfadamscharlesfadams replied on April 8th, 2012

thank you for the barre cord lesson. It is what I needed to figure out how to do it. I am having a hard time with it.

mattbrownmattbrown replied on April 10th, 2012

That's great to hear! Barre chords, improv, alternate picking, etc. can be the bane of a guitarist's existence. It really helps to have a teacher demystify these topics/techniques. Hit me up anytime!

bersulzbachbersulzbach replied on January 3rd, 2012

What song is that, dude? At scene 3.

mattbrownmattbrown replied on January 4th, 2012

It's a progression / rhythm similar to "Got Me Wrong" by Alice In Chains...that's probably what you're thinking of.

samljersamljer replied on July 15th, 2011

I was thoroughly impressed until you said to ignore a string. all it takes is a bit more practice, Going to go back to Steve Krenz's L&M Guitar, disapointing. WOW.

samljersamljer replied on July 15th, 2011

Build finger strength, and then the barre's came easy. It requires a whole new finger strength that basic open chords and notes will not give you.

airportstoamsterdamairportstoamsterdam replied on January 3rd, 2011

Hey Matt, thanks so much for specifying on that A major shape barre chord that you're not supposed to play the high E string! I have been trying to master that chord for a while and have given up several times on account of not being able to get that note to ring clearly. Glad to know I'm not abnormal...

mattbrownmattbrown replied on January 9th, 2011

Yeah...There are some rare instances when you will need to play the first string within that chord. In those situations, I always fret the fourth, third, and second strings with fingers 2, 3, and 4 respectively. Jim Deeming did a great lesson on A shaped barre chords that you may want to check out: http://www.jamplay.com/members/guitar/phase1/jim-deeming-16/lesson11.html

lcrscr675lcrscr675 replied on December 2nd, 2008

yo nice lessobn once again

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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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 82 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
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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