Rated one of the top 30 guitarists in the world under 30 years old by Acoustic Guitar magazine, Trevor's style ranges from driving rhythms to delicate melodic themes. It's these melodies we aim to unlock with this 38 lesson course. By embracing the idea that there are multiple ways to play any note, this course hopes to tie the fretboard together and deepen your understanding of melody in a fingerstyle context.
Suited for guitarists of all skill levels, Trevor also includes 4 songs to learn as you progress through the course. Learn more or start the course with membership, or get lifetime access with full purchase.
This is a full, 12+ hour course featuring 38 step-by-step lessons with full supplemental content.
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Rated one of the top 30 guitarists in the world under 30 years of age by Acoustic Guitar magazine, Trevor is an instrumentalist whose style ranges
from edgy driving rhythms to delicate melodic themes. Exploring the guitar’s full creative potential, his blending of sounds weave together textures into grand yet
intimate and lyrical compositions. While leaving no physical aspect of the guitar untouched, Trevor navigates audiences through an igniting experience of music that isn’t just heard but felt.
Aside from being featured on NPR, NBC, PBS and countless international media outlets, Trevor’s tour calendar has taken him to 14 countries and counting performing at many historic places including Carnegie Hall in NYC, Union Chapel in London, Music History Museum in Bologna, Adolfo Mejia Theater in Colombia, and a brief performance on The Great Wall in China.
He has also had the opportunity to share the stage with some of the most trusted and legendary names in the music business prompting high praise from John Mayer, Steve Miller, Graham Nash, Steve Hackett, Dar Williams, Will Ackerman, Pat Martino, Stanley Jordan, Phil Keaggy, Tommy Emmanuel, Andy McKee and more.
John Mayer"...Beautiful work! It is so refreshing to hear a player take a whole new approach to the instrument..."
Pat Martino"Creative imagination resides, as well as flourishes within certain artists, and it certainly does so in Trevor Gordon Hall...this gentleman's abilities are totally exceptional..."
Steve Miller"What a great concert! Magnificent!"
Graham Nash"In the genre of intriguing guitar players Trevor really stands out. His music is both soothing and challenging..."
Connect the Dots.
Movable Chords, Arpeggios, Triads and Open Strings
All guitarists love patterns. They are easy to see and remember, but can make the fretboard feel segmented, disconnected and scattered. This course serves to tie the fretboard together and explore the colorful, melodic potential the guitar has to offer. We explore open string, harmonics, and arpeggio ideas aimed at expanding your ability to craft melodies on the guitar. While taught from the perspective of fingerstyle guitar in standard tuning, this course offers tips that can be useful to players of all styles and tuning.
Fingerstyle guitar is a broad term that can incorporate percussive elements of playing as well as Chet Atkins/Jerry Reed amazing flurry of notes approach and so much more in between. This course is meant to navigate through gems found on both sides of the tradition, shining light on how to use those ideas to polish and enhance melodic playing. By fully embracing the idea that there are multiple ways to play a single note, this course hopes to tie the fretboard together and deepen exploration of all the colorful melodic potential the guitar has to offer.
We are working towards polishing and crafting melody in this course. This can be difficult to develop without looking at possible inefficiencies in how we are holding our arms, hands, and guitar. In this lesson we will talk through how to use the natural movements of arms, hands, wrist and fingers to our advantage. This will allow us to start from a neutral position and help ensure we are not fighting against our own limbs with unnecessary tension when playing.
Working towards how to really craft melody we will focus on using good right hand technique while switching left hand chords. This is important to gain comfort with because as we move on to other left hand fretboard changes, the right hand should develop an auto-pilot stable technique.
Melody is our goal. Playing it well and with color. In this lesson we will focus on a very important technique to help cross strings with ease and confidence. Melody requires one note after another regardless of where you play it so crossing strings with precision can make or break the flow.
This batch of exercises serves as a sort of overture for what the rest of this course will cover. Each exercise will start with a D chord and add on a different ending. Each ending will highlight a specific idea that we will explore in more detail as we work towards crafting a melody. They will start fairly simply and work up in complexity.
Let's expand the second half of each exercise with more movement in the left hand. It’s important to keep notes ringing as long as possible. We will cover how to use these exercises to start thinking about independent notes not just chord blocks.
Now, we will talk about how to pivot over strings with thumb while crossing as well as a moveable shape you can use anywhere on the fretboard. The pattern will always play one note per string string until you get to the high E and then turn around and go back down.
In this lesson, we will take the same right hand finger patterns and change up the left hand. If we have a major pattern, a minor pattern, a dominant, and an inversion of major, we can play almost any progression using arpeggios. We will start with these and then move them around the fretboard.
Working towards melody will require good understanding of various chords in arpeggio form. We are working up to a full etude that will hop all around the fretboard while still maintaining same patterns we have been discussing.
Now we'll be expanding on more changes with the same shapes while building to our Etude. We will start with our now familiar Major 9 pattern and move into placing the minor 9 pattern on low part of the neck. This will require some stretching, so remember to always analyze thumb position. Pay attention to not just the finger sequence but the overall shape.
Let's expand again! On to the A Major and F# Dominant shapes.
"Hopefully now you're starting to get the hang of this! Let's look at the D Major - B Dominant shapes in this lesson. It’s important to remember you want to be able to play each arpeggio starting from any point in the shape. "
We want to continue our goal being comfortable with every shape we have learned on different parts of the neck. This lesson will highlight putting some of these shapes in open position, as well as deepening more practice of other positions.
Now on to Dmajor to A First Inversion. Be sure to play each exercise and listen for the sound color of each. What do these sounds make you think of? What mental image or mood or feeling? These can better help you remember them and then apply when you need that color or mood in your own playing or composing.
Let's move on to the last shapes in this section: D - A First Inversion - Bm-A First Inversion.
Now let’s put all of those shapes together in a progression. You can see how much mileage you can get out of one right hand crossing string picking pattern.
Using open strings can sometimes be a confusing proposition. Normally when we ascend in pitch we go up fretboard OR to higher strings but now when using open strings sometimes you have to go to a higher string for a lower pitch, or a lower string for a higher pitch. Let your ear guide you and fingers will follow!
Now we will take the same right hand patterns we've been working on with a few minor tweaks, and add in some open strings. This will change the way we approach playing scales and melodies. Go slowly and be careful to follow the right hand fingerings as we seek to emulate the picking patterns of a banjo.
The concept of utilizing the open strings we have available will be very important in your fingerstyle journey, so make sure you go slow and learn this new way of thinking. Open strings throw a lot of confusion into our normal scale pattern thinking but as we build you will see how important this is for crafting our melodies. Enjoy those ringing strings!
Now that we have some open string ideas let’s shift to some arpeggio triad shapes incorporating what we have covered so far. Each small chunk of this etude can be seen as its own exercise so have fun breaking it down or playing it altogether. This one gets the fingers cooking so expect a workout burn as you play it.
Let's put all of this together with harmonics not just being used for color but for sustaining melody notes similar to a piano sustain pedal. This frees us up to really extend sustaining life of the melody and gives us freedom for color and expression
In part two, be sure to practice getting clean right hand and left hand harmonics. Go only as fast as you can play evenly in tempo making sure you don’t memorize gaps between the notes and the harmonics.
Remember, this course is all about finding different ways to play a note. In this lesson, we look at some arpeggio shapes, but look to use our open strings and harmonics to accomplish the goal of the course.
Coloring a melody can be a multi faceted task on the guitar. We can use harmonics, open strings and fretted notes. Here we look at some ways to affect a melody and get some of these concepts under our fingers.
Let's now take a look at the Triad Melody Etude. This etude incorporates chord movements, open strings and harmonics - all things we have been working on!
In this lesson, we will finish up learning the Triad Melody Etude. Be sure to take each section slowly and spend plenty of time with it, and you will have it down before you know it!
This etude will fully explore what we have been discussing. It modulates keys a few times while still using harmonics, open strings and thinking melodically.
Now, the next section of the Modulating Melody Etude.
Now we come to the last part of the Modulating Melody Etude. Try playing each section together slowly and make sure to let harmonics ring out as long as possible. Sometimes this requires being extra careful with left hand when switching to new chords not to stop the string from resonating. Let you ear guide you.
Playing fingerstyle can put a lot of demands on your hands and arms. Being able to take proper care of yourself is a must! In this lesson, Trevor shows us some of his go to exercises and tools for keeping his hands in the best possible shape.
Trevor is always asked about his nails! In this lesson, he gives a comprehensive, step by step tutorial of exactly what his regimen is regarding his nails. A must see for any fingerstyle player!
“Inspiration is for Amateurs..The rest of us just show up and get to work”... In other words, don't simply wait for inspiration to strike, instead put the work it and it will come! Learning how to practice can be just as challenging as what you are actually practicing. Here, Trevor gives us a detailed look into his practice routine that he has spend years refining!
In this lesson, Trevor takes us through his song, "The Meeting at the Window". The lesson begins with a complete playthrough, followed by an in depth teaching of the first section of the song.
Now, the middle section of Trevor's song, "The Meeting at the Window".
Trevor wraps up the teaching of his song, "The Meeting at the Window".
Now we get to take an in depth look at Trevor's beautiful song, "That Old Familiar Pain". Trevor will go through the piece step by step. This this first part, we get a complete playthrough, followed by the teaching of the first section of the song. Enjoy!
Trevor teaches us the middle section of his song "That Old Familiar Pain".
Trevor wraps us his song "That Old Familiar Pain" by teaching us the last section of the songs, which includes a little bit of percussion!
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