Learn to play fiddle tunes and other bluegrass and roots melodies, with an emphasis on alternate picking, simple scales, and developing good picking- and fretting-hand technique. Designed for guitarists just starting to play melodies as well as intermediate players who want to work on their flatpicking technique.
Grammy-winning guitarist Scott Nygaard is one of the most inventive and original flatpicking guitarists in the bluegrass/acoustic music scene.
His solos, a seamless amalgam of bluegrass, folk, and jazz influences, shift easily from breathtaking virtuosity to soulful melodic musings and his accompaniment is always intriguing, supportive, and propulsive.
Downbeat magazine called Scott “a phenomenally talented stylist.” He has performed and/or recorded with Tim O’Brien, Joan Baez, Chris Thile, Darol Anger, Jerry Douglas, Peter Rowan, Laurie Lewis, Anonymous 4, and many others, and has released two solo albums, No Hurry and Dreamer’s Waltz, on Rounder Records as well as self-produced albums with his band Crow Molly, Roger Tallroth and Scott Nygaard, and the Websters and Scott Nygaard. Scott was the guitarist on three recordings that have proven to be extremely influential on the contemporary acoustic music scene: Chris Thile’s Leading Off, Tim O’Brien’s Red on Blonde, and Jerry Douglas’s Slide Rule. He recently released a recording with John Reischman and Sharon Gilchrist, The Harmonic Tone Revealers.
Formerly the editor of Acoustic Guitar magazine, Scott has written hundreds of articles on music, musicians, guitars, and guitarists for Acoustic Guitar, Strings, Play Guitar!, and Guitar World Acoustic; authored two instruction books, Bluegrass Guitar Essentials and Fiddle Tunes and Folk Songs for Beginning Guitar; produced an instructional video, Bluegrass Lead Guitar for Stefan Grossman's Guitar Workshop, and taught at most of the United States’ best-known bluegrass and/or guitar workshops. Scott is co-founder and editor of Peghead Nation.
Learn the second part of the popular fiddle tune “Sally Gooden,” with advice on keeping your fretting-hand fingers in position above the notes, as well as “planting” them: keeping them down on the fret until after you play the next note in the phrase. With Notation/Tab
Intermediate Flatpicking Guitar Lessons
An Intermediate Flatpicking Guitar subscription includes:
A step-by-step approach to mastering flatpicking technique
More than 10 complete fiddle tunes to play, with variations
New lessons and tunes added every month
Detailed tab/notation for all lessons
In-depth lessons on flatpicking and fretting-hand technique
High-quality video with multiple camera angles so you can see closeups of both hands in action
Play-Along Tracks so you can practice what you’ve learned
Get started now!Use promo code ScottLand at checkout and get your first month free or $20 off an annual subscription. Subscribe to the Intermediate Flatpicking Guitar course today for access to all of these guitar lessons and new material every month!
FLATPICKING TECHNIQUE In these introductory lessons you’ll learn the basics of good flatpicking technique, including how to hold the pick, alternating picking, the rest stroke, the importance of upstrokes, and more.
Holding the Flatpick While there are many ways to hold the flatpick, it’s important that your hand and arm should be comfortable, with as little tension as possible.
Downstrokes and Bass Notes An in-depth look the downstroke and the different ways you can play the bass note of a boom-chuck strum. Scott talks about the importance of the rest stroke in bluegrass guitar technique, the arm movement required to play an upstroke strum after a downstroke bass note, and the disadvantages of playing bass notes with a “bounce stroke.”
Upstrokes and Swing Upstrokes are important not only for flatpickers playing fiddle tunes and bluegrass solos, but for rhythm guitarists trying to lock in with the rhythmic feel of the people they’re playing with, as well as for communicating how much “swing” a song has.
Alternating Picking Alternating picking, also called alternate picking or down-up picking, is the basis of good flatpicking technique. The basic idea is that you consistently alternate pick strokes based on where you are in the measure. Downstrokes are played on the 1, 2, 3, and 4 beats of a measure of 4/4 (or 1, 2, and 3 beats of a measure of 3/4), and upstrokes are played in between those beats—on the ands of the beats. In this lesson you’ll learn strict alternating picking and look at some ways to deal with string crossings.
Pick Exercises Learn some simple pick exercises that can help you deal with some of the trickier aspects of alternating picking. You’ll learn exercises that will help get your pick oriented to the strings and help you move your picking hand both from the wrist, for small movements, and the elbow, for larger movements.
FIDDLE TUNES Learning these popular and fun-to-play tunes will take you through the flatpicking techniques you need to know in order to play smoothly and efficiently.
Sally Gooden The first fiddle tune you’ll learn is the old-time and bluegrass standard “Sally Gooden.” In addition to learning the basic melody in A, played out of G position, with a capo at the second fret, Scott gives you advice on keeping your fretting-hand fingers in position above the notes, as well as “planting” them: keeping them down on the fret until after you play the next note in the phrase. This is very important to work on, as it gives your playing a lot of fluidity and makes your fingering more efficient.
Dry and Dusty The old fiddle tune “Dry and Dusty” has a beautiful and simple melody and is also a good tune for working on playing in the key of D without a capo. You’ll learn the D major scale in open position as well as a couple of scale exercises. Scott also gives you advice on playing a hammer-on/pull-off triplet slur, and makes sure you understand the somewhat unusual phrasing of the B part.
Salt Creek Doc Watson’s performance of the old-time fiddle tune “Salt Creek” in the 1960s made it a flatpicking and bluegrass jam session favorite and a must-learn tune for any flatpicker. It’s also a good tune to demonstrate a style of flatpicking rhythm that imitates fiddlers’ shuffle bowing: down down-up, where the first down is a quarter note and down-up is two eighth notes. This maintains the strict alternating picking style you’ve been working on, and gives a nice rhythmic pulse to your playing.
Cherokee Trail “Cherokee Trail” sounds like an old tune but was actually composed recently by the great old-time banjo player John Herrmann. It makes a great guitar tune, with a melody that emphasizes downbeats and uses lots of slurs: hammer-ons, pull-offs, and slides. Scott gives you advice on playing slurs and and shows you the hand movement necessary for playing clean pull-offs and hammer-ons. He also talks about the necessity of being precise in your movements when you slide from position to position.
Big Mon Bill Monroe’s classic fiddle tune “Big Mon” is in the key of A, and played on the guitar with a capo at the second fret. The tune, like “Salt Creek,” features a flatted seventh note, which makes it a Mixolydian scale. The first part is a great scale and alternating-picking exercise, while the second part has some typical syncopations favored by Monroe as well as some typical bluegrass licks you’ll hear played by banjo and mandolin players as well as guitarists.
Little Liza Jane The old-time fiddle tune “Little Liza Jane” is often played by fiddlers in the key of A, but Scott has arranged it for guitar in C position. The C scale has the same notes as the G Mixolydian scale used to play “Big Mon” and “Salt Creek” so you should be familiar with that scale. “Little Liza Jane” has a simple melody but the second part includes some syncopation and unusual phrasing. You’ll also learn two versions of the B part of “Little Liza Jane,” one in the lower octave on the three lowest strings and one in the higher octave on the three highest strings. It sounds great on the guitar in either octave.
Lonesome Moonlight Waltz Bill Monroe’s “Lonesome Moonlight Waltz” has a beautiful, haunting melody, and is a great tune for working on hammer-ons and pull-offs, as well as triplets played with slurs. It’s in the keys of D minor and F, but uses both the F and C major scales, as well as a few chromatic lines to connect melody notes. It’s also a good tune for working on phrases that start with upstrokes.
Shove the Pig’s Foot a Little Further in the Fire The old-time fiddle tune “Shove the Pig’s Foot a Little Further in the Fire” is a popular tune in old-time music circles. It has a simple but slightly syncopated melody that is fun to play and is also good practice for getting used to certain kinds of syncopations that come up frequently in bluegrass and old-time fiddle music. The B part is mostly played in a position with your first finger at the third fret, and Scott gives you advice on moving smoothly into this position. You’ll also learn a few different variations of the melody, including a variation on the A part in which you anticipate the main melody a beat early, a common rhythmic device in old-time music.
Whiskey Before Breakfast A must-know fiddle tune for flatpickers, “Whiskey Before Breakfast” has been recorded by numerous iconic guitarists, but probably the best-known is Norman Blake’s version, which is the basis for the version you’ll learn here. Like many fiddle tunes, the melody of “Whiskey Before Breakfast” can be played in many different ways and still retain its essential character. While there are some repeating phrases in the A part, Scott shows you how to vary the first basic phrase and how to think about the basic shape of a fiddle tune and not be stuck to a specific series of notes.
Stony Point The fiddle tune “Stony Point” is another great tune for working on getting the shuffle rhythm in your picking hand: down, down-up, down, down-up, etc. It’s been recorded by numerous people, most famously for guitarists by Tony Rice on his 1978 album Manzanita. It’s in the key of G and has three parts; the second part moves to E minor, though it resolves to G. You’ll learn a few variations, including a variation of the third part that accents the shuffle rhythm.