Free Sample Lessons

Some Old Day

This great Flatt and Scruggs song was recorded by JD Crowe and the New South on their classic self-titled album, with Tony Rice singing lead. It's a great example of a medium tempo bluegrass song played with a country swing feel. You'll learn a strum pattern that helps accent the swing feel, as well as some bass runs to use at the ends of phrases. Scott plays the song in D and looks at some different ways to finger the A and A7 chords. Finally, he sings the whole song through so you can play along with him.

Roots and Bluegrass Rhythm Guitar

While My Guitar Gently Weeps, Part 1

Some Old Day

Fingerstyle Guitar

with Stevie Coyle

The Beatles’ classic “While My Guitar Gently Weeps” makes a great fingerstyle guitar piece. In this lesson, Stevie shows you how to get an alternating bass going (Travis style) and then find the melody on the treble strings. Learn the infectious signature melody and bass line that start the verse in Part 1.

Fingerstyle Guitar

with Stevie Coyle

While My Guitar Gently Weeps, Part 1

Intermediate Flatpicking Guitar

Sally Gooden, Part 2

The B part of “Sally Gooden” starts with a simple scale fragment, starting on the open G, that may be familiar from the Alternating Picking video. Scott walks you through the melody of the B part phrase by phrase, and 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.These are very important things to work on, as they give your playing a lot of fluidity and make your fingering more efficient.

Intermediate Flatpicking Guitar

Sally Gooden, Part 2

Fingerstyle Blues Guitar

“Heavy Time” Fingerpicking

“Heavy time” is a style of blues fingerpicking that is more driving and forceful than the somewhat bouncy feel of alternating bass fingerpicking, as played by Mississippi John Hurt, Willie McTell, and others. In this lesson, Orville shows you a tune that illustrates the “heavy time” feel. Heavy time is all about what your thumb is doing—in this case, the thumb constantly pounds the beat, four beats per measure. Another thing that makes this style different is that the melody notes are played just with the index finger. Orville walks you through the piece phrase by phrase.

Fingerstyle Blues Guitar

“Heavy Time” Fingerpicking

Chord Melody Basics, Part 1: Triad Inversions

Roots of Jazz Guitar

Chord Melody Basics, Part 1: Triad Inversions

In this lesson, you’ll learn some of the essential chord voicings you’ll need to know to start playing 1920s-style chord melody. Matt starts by showing you the three major triad voicings on the top three strings, explaining the difference between root position, first inversion, and third inversion. He also shows you how to turn major triads into minor triads and gives you some ideas about fingering the shapes so that you can move through the voicings with the least amount of finger movement, changing your fingerings so you have a guide finger between chords depending on where you’re going and where you’re coming from.

Roots of Jazz Guitar

Chord Melody Basics, Part 1: Triad Inversions

Advanced Flatpicking Guitar

Crosspicking, Part 2: “Home Sweet Home”

In Part 2 of the lesson on crosspicking, you'll learn the first part of Scott's arrangement of "Home Sweet Home," which mostly uses the traditional 3-3-2 roll. Since crosspicking is usually used to play song melodies, it's a good idea to learn the melody of a song before tackling a crosspicking arrangement, so Scott starts by making sure you know the melody to "Home Sweet Home" and then takes the arrangement apart phrase by phrase (or roll by roll).

Advanced Flatpicking Guitar

Crosspicking, Part 2: “Home Sweet Home”

Irish Backup Guitar

The Jig Rhythm, Part 1

Jigs are the other most commonly played dance form in Irish traditional music. The 6/8 jig rhythm is unique and has a specific strumming pattern and a particular feel. Beginning jig players often use an alternating picking pattern, but to get the right feel, it’s usually better to use a down-up-down, down-up-down pattern. Flynn demonstrates the pattern and gives you a couple of exercises to help you get used to the pattern.

Irish Backup Guitar

The Jig Rhythm, Part 1

“Make Me a Pallet on Your Floor” Fingerstyle, Part 1

Blues Guitar

“Make Me a Pallet on Your Floor” Fingerstyle, Part 1

In this lesson you’ll learn a fingerstyle arrangement of the folk-blues classic “Make Me a Pallet on Your Floor” inspired by the playing of Mississippi John Hurt. Orville plays the song through and then explains the guitar part phrase by phrase. He also explains how you can alter the lengths of some of the chords, depending on how you hear the song, something that John Hurt and other great blues singers and guitarists did all the time.

Blues Guitar

“Make Me a Pallet on Your Floor” Fingerstyle, Part 1

Eldon Shamblin–Style Fiddle Tune Backup, Part 2

Western Swing Guitar

Eldon Shamblin–Style Fiddle Tune Backup, Part 2

Matt shows you a more advanced version of Eldon Shamblin–style backup in this video.

Western Swing Guitar

Eldon Shamblin–Style Fiddle Tune Backup, Part 2

Matt shows you a more advanced version of Eldon Shamblin–style backup in this video.

Irish Flatpicking Guitar

Tuamgraney Castle, Part 2

The B part of “Tuamgraney Castle” starts with a slide up to third position. Flynn walks you through the second part of “Tuamgraney Castle” in this video.

Irish Flatpicking Guitar

Tuamgraney Castle, Part 2

The B part of “Tuamgraney Castle” starts with a slide up to third position. Flynn walks you through the second part of “Tuamgraney Castle” in this video.

The Carter Scratch, Part 2: Playing Melodies in the Bass

Maybelle Carter–Style Guitar

with Cathy Fink

The Carter Scratch, Part 2: Playing Melodies in the Bass

Cathy gets you started playing melodies in the bass in this video. She starts by showing you how to play a C major scale with your thumb while your left hand stays in a C chord shape as much as possible. Then she shows you how to alternate melody notes with the thumb and your index finger stirring the chords.

Maybelle Carter–Style Guitar

with Cathy Fink

The Carter Scratch, Part 2: Playing Melodies in the Bass

Contemporary Flatpicking Guitar

with Grant Gordy

“Long Journey Home” Soloing Ideas

In this lesson, Grant shows you how to come up with soloing ideas on “Long Journey Home” in a position up the neck from the fifth to the eighth frets using melodic and rhythmic variations and triad inversions.

Contemporary Flatpicking Guitar

with Grant Gordy

“Long Journey Home” Soloing Ideas

Alternate Tunings Fingerstyle Guitar

with Doug Young

Blind Mary, Part 2

The second part of “Blind Mary” includes a Bm7 chord and a Gmaj7/B chord. Doug walks you through the B part of “Blind Mary” phrase by phrase in this video.

Alternate Tunings Fingerstyle Guitar

with Doug Young

Blind Mary, Part 2

The second part of “Blind Mary” includes a Bm7 chord and a Gmaj7/B chord. Doug walks you through the B part of “Blind Mary” phrase by phrase in this video.

Triads and Inversions, Part 2: GBE String Set

Bluegrass Guitar Fingerboard Mastery

with Stash Wyslouch

Triads and Inversions, Part 2: GBE String Set

In this lesson, you’ll learn triad inversion shapes for C, F, and G chords on the GBE string set and use them to play the traditional song “Roll On Buddy” in the key of C.

Bluegrass Guitar Fingerboard Mastery

with Stash Wyslouch

Triads and Inversions, Part 2: GBE String Set

In this lesson, you’ll learn triad inversion shapes for C, F, and G chords on the GBE string set and use them to play the traditional song “Roll On Buddy” in the key of C.

Clawhammer Guitar

with Steve Baughman

Shady Grove, Part 1: Basic Melody

Learn to play the traditional music favorite “Shady Grove” using many of the techniques you’ve learned in the last two lessons. Steve starts by showing you how to modify the bum-ditty pattern slightly by just playing a single note instead of the brush stroke, and then he walks you through the melody of “Shady Grove” phrase by phrase, giving you a chance to play along with him as he goes.

Clawhammer Guitar

with Steve Baughman

Shady Grove, Part 1: Basic Melody

Celtic Guitar

with Tony McManus

DADGAD Tuning

DADGAD tuning is associated with Celtic guitar more than any other tuning. In this lesson, Tony talks about how the tuning originated, how to get into DADGAD, and what you can do with it. Tony uses DADGAD to play jigs, reels, airs, etc., and he demonstrates how the whole step between the second string A and third string G makes it easy to play melodies across the strings, for a harp-like sound. He shows you a D major scale played in such a way that no string is played twice in a row: every note of the scale rings into the next note. He even shows you how you can play a Bb major scale in the same way.

Celtic Guitar

with Tony McManus

DADGAD Tuning

Ed Gerhard, Part 2: Ed Teaches “The Water Is Wide”

Advanced Fingerstyle Workshop

with Teja Gerken

Ed Gerhard, Part 2: Ed Teaches “The Water Is Wide”

In this lesson, Ed Gerhard teaches his popular fingerstyle arrangement of the traditional tune “The Water is Wide.” Gerhard used dropped-D tuning and a capo at the third fret. Because he tunes his guitar down a half-step from standard pitch, this results in his performance sounding in the key of E. If you prefer, you can leave your guitar in standard dropped-D tuning and place the capo at the second fret instead. Gerhard stresses the importance of supporting the tune’s melody and gives pointers for effectively building an arrangement in a dynamic fashion. virtuerecords.com

Advanced Fingerstyle Workshop

with Teja Gerken

Ed Gerhard, Part 2: Ed Teaches “The Water Is Wide”

Weekly Guitar Workout

Four-Note Arpeggios, Week One

This series of workouts consists of four-note arpeggios based on the harmonized major scale. You'll move through a series of arpeggios starting on each note of the major scale, in this case all in the key of G. So, for example, the first arpeggio starts on G, moves up a third to B, up another third to D, and up another third to F#, creating a Gmaj7 arpeggio in the process. The second arpeggio starts on A, moves up a third to C, up another third to E, and up another third to G, for an Am7 arpeggio. Notice that all the notes are in the key of G, so you'll get the four-note arpeggios that correspond to the harmonized major scale: Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, and F#m7b5. Once you get to the top string, you'll move downward in thirds once again, but this time the arpeggios start on the seventh of the chord formed by the arpeggio. So, for example, the arpeggio starting on G moves down a third to E, down another third to C, and down another third to A, giving you an Am7 arpeggio that begins on the seventh (G) and moves downward to the root (A).

Weekly Guitar Workout

Four-Note Arpeggios, Week One

Major Triads on the Top Three Strings, Part 3: A and E

Guitar Chord Theory

with Mark Goldenberg

Major Triads on the Top Three Strings, Part 3: A and E

In this lesson, in addition to learning the triad shapes for the key of A and E, Mark talks about learning to hear the separate voices within the chord, instead of just thinking of them as block shapes.

Guitar Chord Theory

with Mark Goldenberg

Major Triads on the Top Three Strings, Part 3: A and E

George Barnes, “I Can’t Give You Anything But Love” and ii–V licks, Part 2

Swing Guitar Soloing

George Barnes, “I Can’t Give You Anything But Love” and ii–V licks, Part 2

In Part 2, Matt uses the three- and four-note arpeggios he’s given you in previous weeks to explore the mysteries of the ii–V progression and construct licks that are built to provide resolution.

Swing Guitar Soloing

George Barnes, “I Can’t Give You Anything But Love” and ii–V licks, Part 2

In Part 2, Matt uses the three- and four-note arpeggios he’s given you in previous weeks to explore the mysteries of the ii–V progression and construct licks that are built to provide resolution.

Creating Bluegrass and Roots Music Solos

In this video, Scott gives you ideas about practicing the major scale in different ways, so that you begin to learn not just the scale in sequence, but the different notes in the scale, where and what they are, and how they are related to the chords in the key. You get exercises that show you how to practice the scale from chord tone to chord tone, chord tone to scale tone, in short musical phrases known as patterns or sequences, and more.

Creating Bluegrass and Roots Music Solos

“Singin’ In The Rain,” Part 2: Chord Melody Arrangement

The Song According to Matt Munisteri

“Singin’ In The Rain,” Part 2: Chord Melody Arrangement

In this video, Matt walks you through his chord-melody arrangement of “Singin’ In The Rain,” with some cool variations.

The Song According to Matt Munisteri

“Singin’ In The Rain,” Part 2: Chord Melody Arrangement

In this video, Matt walks you through his chord-melody arrangement of “Singin’ In The Rain,” with some cool variations.

Mandolin

Beginning Mandolin

Angeline the Baker, Part 1

The fiddle tune “Angeline the Baker” is a must-know tune for all roots music instrumentalists. Sharon teaches it here note-for-note and phrase-by-phrase. “Angeline the Baker” is in the key of D, and Sharon starts by reviewing the D major scale. She also talks about marking the time with your downstrokes, even if there’s a rest on that downstroke (sometimes called a “ghost stroke”), which will help you maintain a steady tempo. Sharon plays each phrase of the A part numerous times, so you can practice playing each phrase with her until you really get it down and are ready to put all four phrases together for the entire A part.

Beginning Mandolin

Angeline the Baker, Part 1

Theory for Mandolin and Fiddle

Learn how major chord arpeggios are constructed and how to find them on the mandolin/fiddle fingerboard. Chad explains that major chords are constructed of roots, thirds, and fifths: the first, third, and fifth notes in a major scale. Then he shows you different finger patterns for major arpeggios in bluegrass keys, giving you handy ways to visualize each pattern and advice about practicing them in different ways.

Theory for Mandolin and Fiddle

Bluegrass Mandolin Jam Favorites

Dixie Hoedown, Part 1

The bluegrass jam favorite “Dixie Hoedown” comes from mandolin great Jesse McReynolds and has been recorded by numerous people, including Jerry Douglas, David Grisman, Matt Flinner, and many others. But nobody really plays the B part the same way. The version you’ll learn here is based on the way Grisman, Jesse McReynolds, Ronnie McCoury, and others played it on Bluegrass Mandolin Extravaganza. Joe starts by showing you the A part, phrase by phrase. You’ll also learn the chords to the A part in this video.

Bluegrass Mandolin Jam Favorites

Dixie Hoedown, Part 1

Old-Time Mandolin

Little Liza Jane, Part 2

John adds a drone string to much of the melody of the B part of “Little Liza Jane,” and the first phrase begins with a clawhammer-style rhythm. John walks you through it phrase by phrase and then shows you how to find the melody of the A part an octave up the neck.

Old-Time Mandolin

Little Liza Jane, Part 2

I’m Going Back to Old Kentucky, Part 1: Two-String Pick Technique

Intermediate Bluegrass Mandolin

I’m Going Back to Old Kentucky, Part 1: Two-String Pick Technique

In this lesson you’ll learn the bluegrass standard “I’m Going Back to Old Kentucky” using a common technique in bluegrass mandolin: playing melodies on two pairs of strings. Sharon starts this lesson by talking about the basic right-hand technique for playing two pairs of strings at a time. She shows you how to keep the pick out on the edge of the strings and not let the pick dig in past the strings as well as how to slightly rotate your wrist so you can play all four strings (both pairs) at once. Sharon also gives you advice on practicing this technique with a metronome, with some ideas for exercises you can do.

Intermediate Bluegrass Mandolin

I’m Going Back to Old Kentucky, Part 1: Two-String Pick Technique

Introduction to Reels, Part 2: “Anything for John Joe”

Irish Mandolin

with Marla Fibish

Introduction to Reels, Part 2: “Anything for John Joe”

In this lesson, you’ll learn the reel “Anything for John Joe.” It’s what is often called a “half reel” or “single reel,” meaning there are only 16 measures in the whole tune. Marla starts by playing “Anything for John Joe” through a couple times and then takes it apart slowly, phrase by phrase.

Irish Mandolin

with Marla Fibish

Introduction to Reels, Part 2: “Anything for John Joe”

Gypsy Jazz Mandolin Essentials

Minor Swing, Part 2: Solo

In this video, Aaron walks you through the simple solo he’s created for “Minor Swing.”

Gypsy Jazz Mandolin Essentials

Minor Swing, Part 2: Solo

In this video, Aaron walks you through the simple solo he’s created for “Minor Swing.”

Monroe-Style Mandolin

with Mike Compton

Tennessee Blues, Part 2

Learn the “fancy high part” (all the way up the 15th fret) of “Tennessee Blues” in this video. Mike takes it apart phrase by phrase, showing you the best way to finger the high notes. You’ll also learn the shorter A section, which features sliding double stops up the neck, and some variations on the regular A section. (For full transcription, see Part 1.)

Monroe-Style Mandolin

with Mike Compton

Tennessee Blues, Part 2

Melodic Mandolin Tunes

Itzbin Reel, Part 1

“Itzbin Reel” is one of the first tunes John wrote. It’s basically a fiddle tune in the key of A, although the form is AABA rather than the standard AABB form of most fiddle tunes, and the B section has ten measures instead of the standard eight. John starts by showing you the A major scale and a couple of scale patterns to get used to the key of A major. And then he starts taking apart each section slowly, phrase by phrase. He also talks about keeping a steady up-and-down motion with your picking hand so you stay in time even when you’re not sounding a note. This is helpful in “Itzbin Reel,” because it has a few syncopated phrases that emphasize offbeats.

Melodic Mandolin Tunes

Itzbin Reel, Part 1

Closed-Position Solos, Part 1: “I’ll Fly Away”

The Advancing Mandolinist

Closed-Position Solos, Part 1: “I’ll Fly Away”

Learning to play melodies and solos in closed-positions allows you to play in any key. In this lesson, you’ll learn a solo to the gospel classic “I’ll Fly Away” in a closed position (meaning there are no open strings) in the key of G. Joe starts you out by showing you the G major scale in a closed position that starts at the fifth fret and the melody to “I’ll Fly Away” in the same position. He also shows you some double stops for G, C, and D (I, IV, and V) chords you can use to fill out the melody with chord tones. After learning the whole melody with double stops, Joe shows you how you can move the closed-position melody to any key, demonstrating this by playing “I’ll Fly Away” in the keys of F and B.

The Advancing Mandolinist

Closed-Position Solos, Part 1: “I’ll Fly Away”

Chord Melody Basics, Part 2: Picking-Hand Technique

Chord Melody Mandolin

Chord Melody Basics, Part 2: Picking-Hand Technique

Your fretting hand determines the notes you’re playing but your picking hand determines how those notes (and chords) are articulated. Aaron shows you how to create different sounds with the two progressions you learned in Part 1 by separating the chord and melody notes in different rhythmic ways, for example, playing the melody note before the full chord, or the bass note before the full chord. He also demonstrates how you can combine these approaches to give your chord melody performance some rhythmic variety.

Chord Melody Mandolin

Chord Melody Basics, Part 2: Picking-Hand Technique

Weekly Mandolin Workout

with Ethan Setiawan

Skipping Thirds: Week Two

This week's skipping-thirds exercise combines the forward and retrograde patterns into a four-note pattern: forward retrograde.

Weekly Mandolin Workout

with Ethan Setiawan

Skipping Thirds: Week Two

This week's skipping-thirds exercise combines the forward and retrograde patterns into a four-note pattern: forward retrograde.

Minor Swing, Part 2: Django Solo, First Chorus

Swing and Jazz Mandolin

Minor Swing, Part 2: Django Solo, First Chorus

Django’s solo on the original 1937 recording of “Minor Swing” is spectacular. You’ll learn the first 32 bars of the solo (two choruses). Joe walks you through the first chorus in this video.

Swing and Jazz Mandolin

Minor Swing, Part 2: Django Solo, First Chorus

Django’s solo on the original 1937 recording of “Minor Swing” is spectacular. You’ll learn the first 32 bars of the solo (two choruses). Joe walks you through the first chorus in this video.

Octave Mandolin

Inverness, Part 2

“Inverness” comes from fiddler/mandolinist John Mailander, who recorded it on his album Walking Distance. It’s a beautiful, contemplative melody that alternates measures of 6/4 and 4/4. Joe walks you through the second part of “Inverness” in this video.

Octave Mandolin

Inverness, Part 2

Brazilian Choro Mandolin

with Ian Coury

Naquela Mesa, Part 2

Ian walks you through the melody of the A part of “Naquela Mesa” in this video.

Brazilian Choro Mandolin

with Ian Coury

Naquela Mesa, Part 2

Ian walks you through the melody of the A part of “Naquela Mesa” in this video.

“Old Joe Clark” Sustain and Rhythmic Embellishment Techniques, Part 2

Melodic Embellishment

“Old Joe Clark” Sustain and Rhythmic Embellishment Techniques, Part 2

In Part 2 of the session, Sharon walks you through the basic melody of “Old Joe Clark” and isolates the four basic rhythms contained in the melody. Then she shows you how to use these rhythms to create variations on the melody.

Melodic Embellishment

“Old Joe Clark” Sustain and Rhythmic Embellishment Techniques, Part 2

Using Arpeggios and Closed Position to Play Song Melodies and Solos, Part 2

Improvising for Mandolin and Fiddle

Using Arpeggios and Closed Position to Play Song Melodies and Solos, Part 2

In this video, Joe shows you Dan Tyminski’s mandolin solo on “I Can’t Get You Off of My MInd” and talks about playing song melodies and solos in closed position with different songs.

Improvising for Mandolin and Fiddle

Using Arpeggios and Closed Position to Play Song Melodies and Solos, Part 2

In this video, Joe shows you Dan Tyminski’s mandolin solo on “I Can’t Get You Off of My MInd” and talks about playing song melodies and solos in closed position with different songs.

Swing Mandolin: Rhythm and Chord Solos

“Sweet Georgia Brown,” Part 2

In this video, Aaron talks about varying your accompaniment for “Sweet Georgia Brown” by using different voicings and rhythms, and using those ideas to play a rhythmic solo.

Swing Mandolin: Rhythm and Chord Solos

“Sweet Georgia Brown,” Part 2

In this video, Aaron talks about varying your accompaniment for “Sweet Georgia Brown” by using different voicings and rhythms, and using those ideas to play a rhythmic solo.

Banjo

Beginning Banjo

How to Play “Wagon Wheel”

In this lesson you’ll learn to play the jam-session favorite “Wagon Wheel,” using two different roll patterns, the alternating thumb roll and the forward reverse roll. Bill gives you advice on changing chords and keeping the roll going even if your fingers haven’t quite managed to finger the complete chord yet.

Beginning Banjo

How to Play “Wagon Wheel”

Blue Ridge Cabin Home, Part 3: Adding Rolls

Bluegrass Banjo

Blue Ridge Cabin Home, Part 3: Adding Rolls

In this lesson, you’ll start adding roll patterns to the melody of “Blue Ridge Cabin Home.” Every melody has a rhythm and when Earl Scruggs was working out his breaks, he tried to keep the melody’s rhythm intact as he added the roll patterns, letting the melody dictate what kind of roll to use. Bill shows you some ideas for choosing rolls. For example, if you have a melody note that’s held out for a long time you can try a forward roll, and when the melody notes are closer together you can try an alternating thumb roll or a forward reverse roll. Bill walks you through an entire solo here, with embellishments and fill-in licks.

Bluegrass Banjo

Blue Ridge Cabin Home, Part 3: Adding Rolls

Clawhammer Banjo

with Evie Ladin

Shady Grove

There are several versions of the traditional favorite “Shady Grove.” This one is in G modal tuning, the same tuning as “Cluck Old Hen.” Once again, to get into this tuning you simply raise your second string up a half step to C. “Shady Grove” is a one part tune, and you’ll mostly play the melody, not chords, whether you’re playing the melody by itself or singing the song. Evie starts by playing through the whole tune and singing the song, so you can get the melody in your head before you start finding it on the banjo. Then she walks you through the melody, phrase by phrase, showing you how the words of the song match the melody. You’ll also learn some variations to the basic melody, including more hammer-ons and drop thumbing.

Clawhammer Banjo

with Evie Ladin

Shady Grove

Old-Time Banjo

Mississippi Sawyer, Part 1

Wade Ward’s solo version of the square dance tune “Mississippi Sawyer” is a little different than the way it would be played for a square dance, in that it drops a beat at the end of each part. It’s played in double-D tuning: aDADE, where the fourth string is D, third string is A, second string is D, first string is E, and fifth string is A. Bruce shows you the tuning, gives you advice on getting in tune. Then he starts showing you the first part of “Mississippi Sawyer,” which starts with a D chord shape at the fifth fret and a simple bum-ditty pattern. Bruce walks you through each phrase slowly, giving you lots of chances to play along with him as you learn the tune. You’ll learn a basic version of the A part of “Mississippi Sawyer” in this video.

Old-Time Banjo

Mississippi Sawyer, Part 1

The Right-Hand Stuff, Part 2: The 1 2 1 5 Roll

The Banjo According to Danny Barnes

with Danny Barnes

The Right-Hand Stuff, Part 2: The 1 2 1 5 Roll

Danny talks about the other roll he thinks is important to practice and have in your repertoire, the 1 2 1 5 roll. The 1 2 1 5 roll allows you to move a melody up and down the banjo neck on the first string. Danny shows you how to do that on a tune like Alan Munde’s “Deputy Dalton” and how to practice the 1 2 1 5 roll with a metronome. He also shows you a variation that moves the middle-index finger alternation to the second and third strings (2 3 2 5) and third and second strings (3 4 3 5).

The Banjo According to Danny Barnes

with Danny Barnes

The Right-Hand Stuff, Part 2: The 1 2 1 5 Roll

Variations on “Cripple Creek,” Part 2: Variation #1

Contemporary Bluegrass Banjo

with Wes Corbett

Variations on “Cripple Creek,” Part 2: Variation #1

Wes shows you some ways to vary the melody of “Cripple Creek” and introduces the concept of “melodic style” banjo. Melodic-style was invented by banjoist Bill Keith, who devised a way to play linear note-for-note melodies where you never play the same string consecutively. Wes walks you through the variations phrase by phrase, pointing out how each variation relates to the original melody.

Contemporary Bluegrass Banjo

with Wes Corbett

Variations on “Cripple Creek,” Part 2: Variation #1

SESSION 7, Part 2: Earl’s Fiddle Tune Backup and “Across the Blue Ridge Mountains”

Earl Scruggs: A Player's Guide

SESSION 7, Part 2: Earl’s Fiddle Tune Backup and “Across the Blue Ridge Mountains”

After his interview with Thomas Goldsmith, Bill turns to Earl’s banjo-and-fiddle duet accompaniment style, analyzing “Grey Eagle” from a 1950s radio broadcast with fiddler Benny Martin and “Fiddle and Banjo (Stoney Point)” with fiddler Paul Warren, from Flatt and Scruggs’s December 1962 Carnegie Hall concert. Bill also takes a look at “Across the Blue Ridge Mountains” (also known as “My Home’s Across the Blue Ridge Mountains”) from Flatt and Scruggs’s 1963 Vanderbilt University concert in Nashville, discussing Earl’s solo and analyzing the different backup approaches Earl uses throughout the song.

Earl Scruggs: A Player's Guide

SESSION 7, Part 2: Earl’s Fiddle Tune Backup and “Across the Blue Ridge Mountains”

Session 3: Melodic Style in the keys of C, D, and A, Part 2

Melodic and Single-String Banjo

Session 3: Melodic Style in the keys of C, D, and A, Part 2

Bill shows you his melodic-style versions of “Arkansas Traveler” and “Red Haired Boy” in this video.

Melodic and Single-String Banjo

Session 3: Melodic Style in the keys of C, D, and A, Part 2

Bill shows you his melodic-style versions of “Arkansas Traveler” and “Red Haired Boy” in this video.

Session 2: J.D. with Jimmy Martin, Part 2: “Big Country”

The Banjo Style of J.D. Crowe

Session 2: J.D. with Jimmy Martin, Part 2: “Big Country”

Bill walks you through J.D.’s break on “Big Country,” as well as an easier version, in this video.

The Banjo Style of J.D. Crowe

Session 2: J.D. with Jimmy Martin, Part 2: “Big Country”

Bill walks you through J.D.’s break on “Big Country,” as well as an easier version, in this video.

Fiddle

June Apple, Part 2: The B Part and the “Georgia Shuffle”

Beginning Bluegrass and Old-Time Fiddle

June Apple, Part 2: The B Part and the “Georgia Shuffle”

In the second part of this lesson, you’ll learn the B part of “June Apple” phrase by phrase, as well as the “Georgia shuffle” bowing pattern, which works well on the B part. You’ll also learn how to add drone strings to the A and B parts.

Beginning Bluegrass and Old-Time Fiddle

June Apple, Part 2: The B Part and the “Georgia Shuffle”

Beginning Celtic Fiddle

with Emerald Rae

The Kerry Polka, Part 2: A Part Melody

Emerald walks you through the melody and bowing of the first (A) part of “The Kerry Polka” in this video.

Beginning Celtic Fiddle

with Emerald Rae

The Kerry Polka, Part 2: A Part Melody

Emerald walks you through the melody and bowing of the first (A) part of “The Kerry Polka” in this video.

Intermediate Bluegrass and Old-Time Fiddle

Salt Creek, Part 2

The second part of “Salt Creek” moves up into third position on the E string, so Chad starts by giving you advice on shifting into third position, with an exercise to help you practice the shift. Then he walks you through the A part, finishing by giving you an example of how he makes up variations and improvises on the second part of “Salt Creek.”

Intermediate Bluegrass and Old-Time Fiddle

Salt Creek, Part 2

Old-Time Fiddle

Greasy Coat, Part 1: Melody

West Virginia fiddler Edden Hammons was recorded in 1947 by a collector named Louis Chappell. Hammons’s playing has a Scottish influence, with strongly detailed phrases and an old-fashioned style of intonation. You’ll learn his version of “Greasy Coat” in this lesson. “Greasy Coat” is in A E A E tuning, and Bruce starts by playing the tune through a couple of times, before breaking the melody down for you phrase by phrase. He also shows you how Hammons often played thirds and sevenths slightly flat, and trilled the third. You’ll learn the melody of both the A and B parts in this video.

Old-Time Fiddle

Greasy Coat, Part 1: Melody

“Worried Man Blues” Key of D, Part 3: Pickups

Folk and Bluegrass Songs for Fiddle

with Lauren Rioux

“Worried Man Blues” Key of D, Part 3: Pickups

One of the ways you can start embellishing melodies is by varying the pickups to lines of the melody. In “Worried Man Blues” the vocal pickup is just one word/note: “it.” In this video, Lauren shows you how you can start varying the pickup rhythmically and melodically.

Folk and Bluegrass Songs for Fiddle

with Lauren Rioux

“Worried Man Blues” Key of D, Part 3: Pickups

Bill Cheatham, Part 2: Improvising and Variations

Advanced Bluegrass Fiddle

Bill Cheatham, Part 2: Improvising and Variations

In this video, Chad talks about some some approaches to improvising on “Bill Cheatham” and shows you a few variations. He shows you the “target notes” in each part and how you can think about creating lines that get to those notes, giving you some specific examples that illustrate what he means.

Advanced Bluegrass Fiddle

Bill Cheatham, Part 2: Improvising and Variations

Western Swing Fiddle

“Sugar Moon” Solo, Part 2

Chad walks you through Joe Holley’s solo in this video.

Western Swing Fiddle

“Sugar Moon” Solo, Part 2

Chad walks you through Joe Holley’s solo in this video.

The Tar Road to Sligo, Part 3: Introduction to Rolls

Irish Fiddle

with Dale Russ

The Tar Road to Sligo, Part 3: Introduction to Rolls

In this lesson, you’ll learn one of the most distinctive ornaments in Irish music, the “roll,” which combines grace notes and slurs. Dale explains the roll, and shows you a roll on different fingers and strings. He recommends practicing them slowly and repeatedly with a metronome so that the motion becomes natural, and he shows how you can use rolls in jigs whenever the first and third note of a three-note pattern are the same. You can also roll on the first notes of arpeggios, as in the last phrase of the B part of “The Tar Road to Sligo.”

Irish Fiddle

with Dale Russ

The Tar Road to Sligo, Part 3: Introduction to Rolls

Fiddle Styles Workshop

with Brittany Haas

Duck River

In this lesson you'll learn the way Brittany plays the old-time classic "Duck River," which comes from Kentucky fiddler John Salyer. Brittany teaches the tune phrase by phrase, shows you a way to rock the bow to get a real old-time feel, and includes a few variations on each part, with different double stops, drone notes, and melodic variations.

Fiddle Styles Workshop

with Brittany Haas

Duck River

“Hop Up Ladies” and “Grub Springs, Part 2

Old-Time Fiddle Styles

“Hop Up Ladies” and “Grub Springs, Part 2

Bruce warms up by playing through last week’s tunes, “Damon’s Winder” and “Jane Wallace.” Then he shows you “Hop Up Ladies,” which is also known as “Did You Ever See the Devil Uncle Joe?” and other titles. It probably started out in Ireland or Scotland as “Miss McLeod’s Reel.” You’ll also learn a lesser-known one tune Mississippi fiddler John Hatcher. Titled “Grub Springs,” it’s a completely different melody than the “Grub Springs” you’ll hear in jam sessions. It’s a crooked tune in A-modal (Mixolydian), with the fiddle also tuned in standard GDAE. Bruce walks you through John Hatcher’s “Grub Springs” in this video.

Old-Time Fiddle Styles

“Hop Up Ladies” and “Grub Springs, Part 2

Improvising for Fiddlers and Violinists

In this video, Alisa uses the concepts she introduced in Part 1 to improvise on ’Ida Red’ and ‘Cacklin’ Hen.’”

Links to recordings of:

Also see the Apple Music playlist on the main Improvising for Fiddlers and Violinists page.

Improvising for Fiddlers and Violinists

In this video, Alisa uses the concepts she introduced in Part 1 to improvise on ’Ida Red’ and ‘Cacklin’ Hen.’”

Links to recordings of:

Also see the Apple Music playlist on the main Improvising for Fiddlers and Violinists page.

Session 2: “Ookpik Waltz,” Part 2: Backup

Creative Jam Skills

There are a number of different ways to play the chords to “Ookpik Waltz.” In this video, Lauren and Brittany walk you through the chord progression they like and give you options for double stops for each chord. They also talk about bow pulsing and the different rhythms they use.

Creative Jam Skills

Session 1: “Honeysuckle Rose,” Part 2: Solo

Intro to Jazz Violin

Session 1: “Honeysuckle Rose,” Part 2: Solo

In this video, Aaron walks you through the solo for “Honeysuckle Rose” and explains what he’s doing in each phrase.

Intro to Jazz Violin

Session 1: “Honeysuckle Rose,” Part 2: Solo

In this video, Aaron walks you through the solo for “Honeysuckle Rose” and explains what he’s doing in each phrase.

Theory for Mandolin and Fiddle

Theory for Mandolin and Fiddle

Dobro

Beginning Dobro

Amazing Grace

In this lesson, you'll learn the popular gospel classic "Amazing Grace." The melody can be played almost entirely on the first string of the dobro, and besides being a great melody, makes a great exercise for practicing your intonation on the first string. It's also a great way to start developing the natural "singing" quality of the dobro in your playing. The best way to do that is to work on playing on one string at a time, which this arrangement does, of course. Once you've learned the melody see if you can play the melody on the first string cleanly without lifting the bar. Mike also talks about using a shallow vibrato on certain notes, adding texture to the note without really changing the pitch very much.

Beginning Dobro

Amazing Grace

Dobro Workshop

Shuckin’ the Corn, Part 1

The Flatt and Scruggs instrumental “Shuckin’ the Corn” features a classic dobro solo by Josh Graves. You’ll learn a break to “Shuckin’ the Corn” inspired by Josh’s solo in this lesson. Mike plays the whole solo through slowly and then takes it apart, measure by measure. You’ll learn the first part of “Shuckin’ the Corn,” which includes some typical Josh Graves roll patterns and one variation, in this video.

Dobro Workshop

Shuckin’ the Corn, Part 1

Ukulele

Ukulele

with Marcy Marxer

Accented Strums, Part 1

In this lesson, you’ll learn to accent strums to give a song a bouncy rhythm, using the folk classic “If I Had a Hammer.” You’ll learn a new way to finger the basic C and F chords that will allow you to play a fun intro to the song that switches between the C and F chords quickly. You’ll also learn a quick-changing chord pattern (C, G, F, G) that you can use for most of the verse, along with an accented strum pattern:

Ukulele

with Marcy Marxer

Accented Strums, Part 1

Bass

with Zoe Guigueno

Getting Started with the Bass, Part 3: Pulling the String

Learn how to get a sound from the bass, by “pulling” the string with the side of your index finger, from the tip to the second knuckle. Zoe gives you advice on where to place your thumb against the side of the fingerboard, how to pull through the string and rest on the adjacent string, and getting different sounds out of the bass, depending on where you place your finger. She also shows you how to use your middle finger, both on its own and alternating with your index finger.

Bass

with Zoe Guigueno

Getting Started with the Bass, Part 3: Pulling the String

Musicianship

Learning by Ear

with Lissa Schneckenburger

Lesson 2: Rhythmic Exercises

Learning by ear requires that you hear, remember, and duplicate melodic and rhythmic information, which can be overwhelming for beginners. So Lissa gets started with some call-and-response rhythmic exercises, all in 4/4 time.

Homework:

Do one call-and-response rhythm exercise every day
Use a metronome for all the music you play each day
Continue to sing along with your favorite music

Learning by Ear

with Lissa Schneckenburger

Lesson 2: Rhythmic Exercises

Homework:

Do one call-and-response rhythm exercise every day
Use a metronome for all the music you play each day
Continue to sing along with your favorite music

Creating Bluegrass and Roots Music Solos

Creating Bluegrass and Roots Music Solos

Theory for Mandolin and Fiddle

Theory for Mandolin and Fiddle

Improvising for Mandolin and Fiddle

Using Arpeggios and Closed Position to Play Song Melodies and Solos, Part 2

In this video, Joe shows you Dan Tyminski’s mandolin solo on “I Can’t Get You Off of My MInd” and talks about playing song melodies and solos in closed position with different songs.

Improvising for Mandolin and Fiddle

Using Arpeggios and Closed Position to Play Song Melodies and Solos, Part 2

In this video, Joe shows you Dan Tyminski’s mandolin solo on “I Can’t Get You Off of My MInd” and talks about playing song melodies and solos in closed position with different songs.

Improvising for Fiddlers and Violinists

In this video, Alisa uses the concepts she introduced in Part 1 to improvise on ’Ida Red’ and ‘Cacklin’ Hen.’”

Links to recordings of:

Also see the Apple Music playlist on the main Improvising for Fiddlers and Violinists page.

Improvising for Fiddlers and Violinists

In this video, Alisa uses the concepts she introduced in Part 1 to improvise on ’Ida Red’ and ‘Cacklin’ Hen.’”

Links to recordings of:

Also see the Apple Music playlist on the main Improvising for Fiddlers and Violinists page.

Creative Jam Skills

Creative Jam Skills

Fundamentals of Good Singing

In this video you will learn correct posture for good singing. Good posture keeps your air moving fluidly, keeps your throat open, and helps you hold high notes longer. Conversely, poor posture results in less breath support and reduces the openness of the vocal tract. Posture matters!

Fundamentals of Good Singing

Vocal

Fundamentals of Good Singing

Fundamentals of Good Singing