Right Hand Technique (Guitar Lesson)


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Matt Brown

Right Hand Technique

In lesson 19 Matt provides instruction on developing right hand skills such as string skipping. He uses Matteo Carcassi's epic composition "Caprice" as an example.

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 26:38Difficulty: 2.0 of 5
Chapter 1: (02:28) Introduction Thought Matt was done with string skipping? Think again! He returns to this important right hand concept in the current lesson. This time around, he uses Matteo Carcassi's "Caprice" to address string skipping technique. Watch at 00:42 as he performs this piece. Also, get on YouTube and watch some famous classical guitarists play the piece. Remember that it is much easier to learn a piece that you have heard several times.

In addition to string skipping technique, Matt will also explain how to properly interpret a written piece of music. You will learn how dynamics and phrasing techniques can be added in order to bring the piece to life. As you watch Matt's performance, notice the dynamic contrast between key phrases.

Note: "Caprice" is typically performed at a faster tempo. Matt has chosen to play the piece at a slower tempo in this lesson for teaching purposes.

Carcassi Biography

Note:
The following information about Matteo Carcassi is taken from lesson 2 of Steve Eulberg's Phase 2 Fingerstyle Series.

Matteo Carcassi, the famous Italian guitarist and composer, was born in 1792 in Florence, Italy. He began his musical training as a pianist. However, he began to study the guitar as well at a young age. Carcassi decided to move to Germany in 1810 to pursue a career in music. He soon gained a reputation as a virtuoso pianist and guitarist. While in Germany, Carcassi met French guitarist Antoine Meissonier, who published most of his pieces.

In 1820, Carcassi decided to move to Paris. He continued to tour Europe for the next two decades, but spent the majority of his time in Paris. Carcassi quit performing public concerts in 1840. He died in Paris, France on January 16, 1853.

The Complete Carcassi Guitar Method

One of Carcassi's most important contributions is his method book for the guitar (op. 59). This book remains a fixed standard among classical guitar educators across the globe. Along with the Aguado, Giulliani, and Sor method books, the Carcassi Method is a key component of many undergraduate classical guitar programs.
Chapter 2: (08:32) Musicality Discussion Steps to Follow When Learning a New Piece

1. Make a note of the official title and composer. The official title of this song is "Caprice." Matteo Carcassi is the composer.

2. Note the tempo and style of the piece. Titles such as "Caprice," "Gigue" Allemande" and "Bouree" all indicate a specific style of piece. Do your own investigation into the Caprice. What are some key elements of a Caprice? How is a Caprice typically performed? What is the tempo range? Is it a lively or solemn type of piece?

3. Note the key signature. There is one flat in the key signature, so it can be determined that this song is in the key of F major or D minor. Since the song begins and ends with a Dm chord, it is safe to assume that the piece is in the key of D minor.

4. Note the time signature. This song is played in 4/4 time.

5. Make a note of any important features such as syncopation, multiple parts (i.e. melody and accompaniment), dynamics, pickup notes, etc.

In the original score for this piece, there are no dynamics written. All of the dynamics that have been included in the "Supplemental Content" section have been added to the score by Matt. Just because no dynamics are written doesn't mean that you can play without them. Instead, you must add your own. As the lesson progresses, Matt will explain where and why he has added dynamic markings to certain measures.

Technique

A. Right Hand Technique


Matt uses alternate picking throughout the entire piece. However in measures 20 and 22, you may want to experiment with using all downstrokes.

Remember the rules pertaining to proper string skipping technique. A review of these guidelines is provided below.

Do not rest any part of the right hand on the body or the bridge of the guitar. Rest the top of the forearm on the upper hip of the guitar's body. This allows for maximum range of movement with the right hand wrist. The wrist is also free to move at a greater speed when this technique is applied. Watch Matt at 07:35 for a demonstration. Notice how only the forearm is anchored to the body of the guitar.

B. Left Hand Technique

Pay very close attention to the left hand fingering that Matt uses for each chord. These fingerings will allow you to play the piece with the least amount of difficulty. Economy of movement is key when playing solo guitar arrangements. Using sensible chord fingerings will help keep your movements economical. The smallest amount of movement and effort must be used at all times. This will allow you to play comfortably, accurately, and with maximum speed. Economy of movement becomes increasingly more important as the repertoire you work on continues to increase in difficulty. Consequently, you must develop a sound technical foundation from the very beginning.

Implying a Melody Line within an Arpeggio

A repeating arpeggio pattern occurs throughout most of the piece. Whenever this arpeggio figure occurs (all measures except 20 and 22), highlight the notes that are played on the B and E strings. This will create a subtle melody line within each arpeggio shape. To accomplish this, the accompaniment part must be played slightly quieter in comparison. Grip the pick tighter when picking the B and E strings. As a result, the notes on these strings will be louder and will stand out as a melody line. Always remember that the melody line is sacred. It is the most important part of a piece. Do not bury it by playing the accompaniment too loud.

Performing the Bass Line

Make sure all bass notes are held for their full value. Otherwise, the bass line will sound disjunct. This is a relatively easy task since almost all bass notes are played with open strings. Play through the bass line a few times by itself to hear how it should sound. Make sure all of the notes ring into one another in a connected, legato feel.

Measures 1-2

Measure 1 features an "open" D minor chord. An arpeggio pattern is applied to this chord in conjunction with a D pedal tone. Remember that a pedal tone is a note that remains constant while changing material is played against it.

Measure 2 utilizes the viio diminished chord (C#o) in the D harmonic minor tonality. As you learned in Lesson 18, the VII chord is major in the natural minor tonality. Due to the raised seventh scale degree that occurs in the harmonic minor scale, the vii chord becomes a diminished triad.

Similar to Dm in the first measure, C#o is also played with an open D pedal tone. Once again, remember to highlight the notes played on the B and E strings.

Note: The harmonic minor tonality / scale will be discussed in detail in an upcoming rock lesson.

Measures 3-4

Measure 3 is identical to measure 1.

The melody shifts to the bass voice in measure 4. To highlight this change in the arrangement, Matt adds a slight crescendo to this measure. A D pedal tone is played in conjunction with the melody. This time around however, the pedal tone is played in the upper voice.

Measure 5

The arpeggio pattern returns in measure 5. Now, the pattern is applied to the V chord, A major. Remember to highlight the notes on the B and E strings in order to bring out the melody line.

Measure 6

As expected, the V chord resolves to tonic (Dm) in measure 6. An A pedal tone is played in the bass.

Measure 7

This measure is the same as measure 5.
Chapter 3: (04:28) Lines 3 and 4 Measures 8-9

The melody shifts down to the bass voice once again in measure 8. Here, the melody implies the dominant V chord A. An A pedal tone fretted on the third string is played in conjunction with the melody.

The V chord in measure 8 chord begins the cadence that ends the first section of the piece. A return to the tonic chord occurs as expected in measure 9. To highlight the return to the somber, tonic chord, Matt adds a light decrescendo to measures 8-9. What effect does this decrescendo have on the overall feel of the first section?

Measure 10

The melody shifts back to the bass voice in this measure. Add a slight crescendo to highlight this change.

Measure 11

This measure begins a modulation to the relative major key of F major. The dominant chord in F, C7, is used to establish the modulation. To highlight the key change, Matt continues to crescendo in measure 11.

Note: The following information pertaining to relative major and minor keys is taken from lesson of Matt's Phase 2 Reading Music and Rhythm series.

For every major key, there is a relative minor key. Relative major and minor keys are written with the same key signature.

Note: Open "Circle of Fifths" listed under the "Supplemental Content" tab.

Around the outside of the circle, each major key is listed. The key center ascends by a fifth interval each time as you move around the circle in a clockwise direction. Moving inwards towards the center of the circle, the key signature for each key is listed. On the inside of the circle, the relative minor key to each major key is shown. For example, A minor is the relative minor to C major. E minor is the relative major to G major.

Finding the Relative Minor Key

If you do not have a circle of fifths diagram handy, you can use a simple shortcut to determine the relative minor of any major key. Simply write out all of the notes within the major scale. To not neglect to add any sharps or flats that may occur in the key. Then, count up to the sixth note of the scale. This note is the root of the relative minor key. Let's use the key of Bb major as an example. This scale features two flats in the key signature. Consequently, this scale is spelled as follows: Bb, C, D, Eb, F, G, A, Bb. The sixth note of the scale is G. G is the relative minor to Bb.

In many musical compositions, the key center modulates from the relative major to the relative minor or vice versa. This happens very frequently in the classical, jazz, rock, and country genres. Switching from major to the relative minor creates a drastic change in emotional quality.

Measure 12

The melody shifts down to the bass voice in this measure. Continue to crescendo through this measure until the F major chord is reached in the following measure.

Measure 13

In this measure, the basic arpeggio pattern is applied to an F major chord.

Measure 14

An A7/E chord occurs in this measure. This chord establishes an effective resolution back to the home key of D minor.

Measure 15

A tonic Dm chord is arpeggiated. Return to a mezzo forte volume level.
Chapter 4: (05:14) Lines 5 & 6 Measure 16

Play a crescendo in this measure to highlight the shift of the melody from the upper voice to the lower voice.

Repeat Signs

An open repeat sign occurs at the beginning of measure 16. Once you reach the closed repeat sign that occurs at the end of measure 23, repeat back to the beginning of this measure. Always follow the musical road signs indicated in a piece! The repeated section is an important part of the piece.

Measure 17

This measure is the same as measure 2. A C#o diminished chord is played with a D pedal tone.

Measure 18

Here, the basic arpeggio pattern is applied to an A7 voicing. Notice how a D pedal tone is played in conjunction with this chord.

Measure 19

This measure is the same as measure 1.

Measure 20

The VI chord, Bb occurs for the first time in this measure. The Bb chord begins a grand VI-IV-V-I progression that closes this repeated section (mm. 17-23). Highlight the progression by adding a crescendo.

Measure 21

The arpeggio pattern is applied to the iv chord. A Gm6 voicing is used for this chord. Continue to crescendo through this measure.

Measure 22

Reach a forte volume at the beginning of measure 22.

Measure 23

Perform a decrescendo to mark the return of the somber Dm chord.
Chapter 5: (05:51) Lines 7 & 8 Measure 24

Play the final two lines of the piece using a mezzo piano volume level.

Notice how the rhythm of the bass line changes in this measure.

Measure 25

This is the same as the first measure.

Measure 26

The same bass rhythm from measure 24 is played again.

Measure 27

Do not ignore the repeat sign! Repeat back to the beginning of measure 24.

Measure 28

The tonic Dm chord is first played in first inversion. On beat 3, the bass note of the chord changes from F to A. This puts the chord in second inversion.

Measures 29-31

"Rall." is indicated at the beginning of measure 29. "Rall." is an abbreviation for "Rallentando." Rallentando indicates a simultaneous decrease in volume and tempo. Gradually slow down and get quieter through the final measures. A Rallentando is not the same as a ritardando. A ritardando lacks the volume component. It only indicates a gradual slowing of tempo.

Preview of Next Lesson

Matt returns to lead guitar concepts in the next. He will explain how to improvise over several non-diatonic chord progressions. These chord progressions are taken from songs that Matt has covered in Phase 3.

Video Subtitles / Captions


Member Comments about this Lesson

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thesnowdogthesnowdog replied on June 12th, 2012

G'day Matt, When you're playing something like this are you worrying about muting the unused lower strings? Is it technically feasible to effectively mute, for example, the low E while droning the A and playing higher strings? Presumably, if it is, then a lot of that is done in the left hand? I find I'm periodically in position to mute them when playing through this but there's still plenty of time where I can hear them. Thanks.

mattbrownmattbrown replied on June 13th, 2012

G'day to you, sir! Nah, I don't worry about muting the low strings that are not being used...With the left hand, you'll hopefully be able to see that I'm only worried about fretting the necessary notes in each chord (no muting of open strings)...If I had to guess, I imagine you're having some accuracy problems with hitting the correct low string with your picking hand. If that's the case, you've discovered what the problem is and know what to work on. As an exercise, eliminate the left hand and play through the tabs using all open strings. With the left hand out of the picture, you'll be able to focus all of your attention on your right hand accuracy and technique. Yeah, it sounds terrible and it's not particularly fun, but if you work on it for a few minutes at a time, it's an effective means to an end. Then, isolate the left hand...Just strum in time where the chords change to nail the left hand switches...Finally, put it all together when you've nailed the individual components. Hope this is helpful! Please let me know if you still have any questions / comments!! Thanks!

thesnowdogthesnowdog replied on July 17th, 2012

Thanks Matt. No, it's definitely just a sympathetic resonance and I've discovered that I really only tend to notice it when practising at very slow tempos. Anyway, it's reassuring to know you're not performing some sort of surreptitious muting dance. :)

mattbrownmattbrown replied on July 18th, 2012

Glad you sorted the problem out! Maybe practice in front of a mirror and imitate what my right hand looks like...I use photo booth on my laptop when practicing. If you're a pc guy, I imagine there's a similar program (assuming you have a webcam).

chris49chris49 replied on June 23rd, 2010

I cant print the entire Suplemental content...it only prints about 2/3s of the measures...I print preview and it only shows 2/3's of the piece. Is this a tech issue? Any suggestions appreciated.

mattbrownmattbrown replied on June 29th, 2010

Yeah, that sounds like a technical issue to me. Give this a try...Open up the page you want to print by clicking on it in Supplemental Content. Then, click on the actual image of the notation and drag it to your desktop. Once the image is on your desktop, open it up with a program like Preview for mac or Image Viewer / Paint for PC. Finally, print the document from the program. Sorry about this! I'll see what the computer wizards can do.

mattbrownmattbrown replied on April 23rd, 2009

Attention everybody! The supplemental content is faulty at the moment. I'll post a new comment when it is fixed.

mattbrownmattbrown replied on April 23rd, 2009

Ok...all fixed now. sorry!!!

aquariartyaquariarty replied on April 23rd, 2009

I just wondered why the chords used in this piece aren't shown on the score and in the Supplemental Content, as some of them have alternative fingerings. I, for one, would find this very helpful.

mattbrownmattbrown replied on April 23rd, 2009

well..Classical pieces never have the chords written in. I was trying to introduce you guys to that and sort of get you used to it. You can get the proper fingering for each chord by watching my hands in the lesson video. If you need help with the fingering for a specific chord(s), feel free to shoot me a message or something and I'll be glad to help you out!

mattbrownmattbrown replied on April 23rd, 2009

Actually, on second thought, I will add chord diagrams to the supplemental content section. I'm sure there are plenty of others that would like to see them. They will be listed in the order that they are used in the piece.

blake winstonblake winston replied on April 22nd, 2009

this is too funny, i learned this song for classical guitar when I first picked it up

mattbrownmattbrown replied on April 22nd, 2009

cool! yeah...This is one of the first classical pieces I ever learned too.

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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