Free Guitar Video lessons from BRooks' Fingerstyle GUitar instructional courses

Travis Picking / Boom-Chick Fingerstyle Guitar Lesson: Performance

"This tune in A minor uses muting on both the fretting and picking hand to perform an accented and staccato melody. The verse has a great groove that is propelled by using a “heavy” alternating bass and swing 8th notes. A syncopated slide will also be introduced which is a common expressive technique used in a variety of Fingerstyle tunes. The bridge of the tune contrasts the main melody by changing dynamics and being played with a smooth, sustaining, legato approach which will demand subtle control from your picking hand."

Travis Picking / Boom-Chick Fingerstyle Guitar Lesson: Breakdown

A great way to learn a tune like this is to work on a just a few bars at a time, slowly trying to memorize phrases of 4 or 8 bars. Try learning the chord shapes used on the fretting hand and practice the appropriate altering bass with those chords, no melody just alternating bass. Once you have a grasp on what the thumb is doing, go back and work on adding in the melody. Make sure you get a nice swing feel with your 8th notes and work on getting good staccato notes when the melody calls for it on beats 1 and 2 in the A section. When working on the melody in the B section strive for smooth legato melody notes.

Fingerstyle Guitar Lesson: Jerry Reed-style "Clawin’” Picking Pattern

“Clawin’” borrows the basic picking pattern from one of Jerry Reed's most recognized and popular tunes, "The Claw". We've now stepped away from the Travis-picking alternating bass style and closer to a banjo roll with the middle and ring finger paired together creating double stop. The trick here is to keep straight and even 8th notes in your rhythm, which can be a challenge because the picking hand pattern has a grouping of three elements to it: 1) thumb, 2) index, 3) middle and ring finger paired. Push yourself to try this with several types of chords, keys, and different progressions.

Fingerstyle Guitar Lesson: Swiss Army Roll

Swiss Army Roll: 5 Strings takes a banjo roll and adds the ring finger into the mix by pairing it with the middle finger. Essentially the result is a banjo roll pattern with a built-in double stop. I use this technique on the B section of my tune "Jonesin'" if you want to hear it in action. Also listen to "The Claw" by Jerry Reed, where he plays a forward banjo roll with the middle and ring fingers paired.

Fingerstyle Guitar Lesson: Green Thumb Picking Pattern

Green Thumb is the basic rhythmic pattern used in the intro of Tommy Emmanuel's tune "(The Man with the) Green Thumb". The pattern has a great groove and uses a variety of pinches and syncopation. The version I'm teaching here is slightly simplified and uses the left-hand thumb over the top of the neck to play the F# on the second fret, sixth string on beat 3. If you can find a video of Tommy playing this tune (there are dozens on YouTube), notice that he also uses his pinky finger to play C# on the fourth fret, fifth string. TE plays the notes with the thumb very "heavy", in such a way that he often brushes two strings with one downstroke of the thumb, which is what allows him to play both F# and C# on beat 3. Additionally, he usually adds syncopation on the upbeat of beat 2, which I demonstrate toward the end of this video as a variation. Try getting this pattern down first and then play it along with Tommy as he plays the intro to "(The Man with the) Green Thumb". Go for feel and a good solid groove!

Fingerstyle Guitar Lesson: Bossa #2

Bossa #2 is a syncopated pattern that generates a really nice Bossa Nova groove. I learned this pattern from listening to Brazilian guitar legend João Gilberto and trying to emulate one of his most used rhythmic patterns. The use of 16th note syncopation is a characteristic of this pattern and the last 16th note of the pattern is often used as a chance to anticipate the upcoming chord, as you can hear in the example. Take your time and learn this pattern slowly at first. Once you have it memorized correctly, try bringing up the speed and applying the pattern over some alternative progressions on any string set. Notice the use of left-hand muting as well and how that helps accent and punctuate the rhythm

Fingerstyle Guitar Lesson: Double Pinch

Double Pinch is a great accompaniment pattern and skill builder to develop more thumb independence. For this pattern, we keep the thumb playing steady quarter notes (always starting the alternating thumb pattern on the root of the chord, on beat 1 of each bar) while the index, middle, and ring fingers play together with the thumb on two beats. First, try pinching on beats 2 and 4 along with this video then on your own try placing the pinches on other beats, i.e. 1 and 3, 2 and 3, 1 and 4, or any other combination. Experiment with muting the bass strings on the picking hand as well as dampening and muting the strings on the fretting hand with the techniques described and demonstrated in the video. Muting the strings helps accent and punctuate the pinches, an essential percussive and rhythmic tool you can utilize. After you have the "Double Pinch" pattern down, try some variations over a few different chord progressions.

Fingerstyle Guitar Lesson: Basic Boom-Chick Patterns 

These exercises will challenge the thumb to keep its alternating bass pattern accurate and constant as we add in the index, middle and ring fingers on beats 2 + 4, beats 1 + 3, beats 2 + 3 and finally beats 1 + 4, or any other combination you can come up with. Doing these patterns and exercises will help improve your thumb and finger independence and get you ready for the next stage of patterns. It's all about having control and coordination.

Fingerstyle Guitar Lesson: Skipping Patterns

Skipping patterns are very versatile and offer a unique feel that isn’t quite as busy as some of the other syncopated patterns we’ve looked at. The concept is similar to an arpeggio in that often only one note is played at a time in succession with the occasional pinch of two or three notes at once. It works great for accompaniment or to pair with a melody you might play simultaneously with the pattern or a close variation. This skipping type of movement will also help your thumb and finger independence. 

"Into The Trees" Performance

Into The Trees is a dynamic tune that will have you tapping your foot and bobbing your head, at least that is what I do when I play it! This is the title tune of my solo album Into The Trees, released in 2010. One of the most important elements that went into writing this song was allowing myself to experiment and try different things until I found what I liked the sound of. It utilizes some unique chord forms, fingernail clicks, the 1/2 step sliding concept with diminished 7th chord forms, banjo rolls, dynamics and decoration.

Fingerstyle Guitar Lesson: “Into The Trees” Breakdown

The main melody of the song uses chord melody type of playing which means nearly every melody note has a different chord accompanying it. This type of style gives the song a lot of movement. Strive for smoothness and cleanliness with transitioning from one chord form to the next. The melody is usually played at the top of the chord, on the higher treble strings. Take the first few chords to start with and slowly try playing them really emphasizing the melody, remembering to include the rhythmic click of the fingernails on beats 2 and 4 when possible.

“Limehouse Blues” Performance

"Limehouse Blues" is another great standard that many jazz musicians as well as guitar instrumentalists play often. It was written in 1922 by Douglas Furber (who wrote the lyrics) and Philip Braham (who wrote the music). Chet Atkins used to learn the lyrics to songs that he played instrumentally, so that he could better phrase the melody like a singer, something to consider doing with any tune you arrange. Atkins and Les Paul recorded a great rendition of "Limehouse Blues" on their second album, Guitar Monsters in 1978. We'll tackle this arrangement in the key of G Major and will focus on the chorus of the song.

Fingerstyle Guitar Lesson: “Limehouse Blues” Breakdown

Let's take a closer look at what's going on within this arrangement. As you learn this tune piece by piece, be sure to check in with yourself, are you keeping your technique nice and solid? Are you getting good tone? How is your sense of rhythm (in other words, how is your time and feel?) Notice the use of the thumb of the left (fretting) hand used over the top of the neck to play a bass note on the low E string during a few of the chords like the F#7 and FMaj7.

Just as we've done with our other etudes, the bass strings should be muffled, while letting the treble strings (where the melody is played) sustain clearly. Don't be afraid to "dig in" and play with some snap.

Remember to take sections of 2 - 4 measures at a time and only work that section until you have it down and memorized, then move on to the next measure(s), and so on. As you work up to playing at faster tempos, be sure to play the entire song at the speed in which you can accurately play the most challenging part or section. The chromatic "banjo roll" riff is a good section to focus in on and make sure you've got it clean and accurate. Again, don't forget to reference the tabs and notation.

“The Nieliwocki Stroll” Performance

This tune was inspired by my wonderful family friends Kandice and Daryll. During a visit to their house in New Jersey we jammed together for fun over some bluesy progressions and original songs. I stole some licks from Daryll's piano playing and tried to capture his funky laid back essence in this arrangement. Parts of this tune are also similar to some of Jerry Reed's ideas in "Jiffy Jam" and "Blue Finger", with ascending, walking bass lines in the key of E major. Kick back and have fun with the "Nieliwocki Stroll".

Fingerstyle Guitar Lesson: “The Nieliwocki Stroll” Breakdown

This tune was inspired by my wonderful family friends Kandice and Daryll. During a visit to their house in New Jersey we jammed together for fun over some bluesy progressions and original songs. I stole some licks from Daryll's piano playing and tried to capture his funky laid back essence in this arrangement. Parts of this tune are also similar to some of Jerry Reed's ideas in "Jiffy Jam" and "Blue Finger", with ascending, walking bass lines in the key of E major. Kick back and have fun with the "Nieliwocki Stroll".

Brooks' TrueFire Live Fingerstyle Guitar Workshops

Fingerstyle Guitar online Workshop: Harp Harmonics

Originally Aired on Friday, September 29th, 2017

Cascading harp harmonics. This technique was pioneered by fingerstlye guitar masters such as Chet Atkins, Lenny Breau, Ted Greene, and Tommy Emmanuel. The technique can be used for a wide range of sounds, beautiful textures, accompaniment or even lead and solo application. What's special about the harp harmonic sound is that it gives you the ability to voice chords in a way that is otherwise impossible on the guitar plus it can give you a beautiful, ethereal, harp-like quality. Although both hands must work in unison to achieve the desired sound, the right hand (picking hand) technique is the most critical and is what you should focus on first. This TrueFire Live Online Teaching session with Brooks Robertson will help you develop the proper technique and tone to get you up and running with your Harp Harmonic Fingerstyle Technique.

Fingerstyle Guitar online workshop: Boom-Chick Techniques

Originally Aired on Wednesday, April 18th, 2018

Brooks will go over the basic concepts and techniques covered in his Essentials: Boom-Chick Fingerstyle course. Topics of discussion include basic right hand picking technique, alternating thumb fundamentals, muffled bass technique, picking patterns, as well as considerations for arranging and composing in the boom-chick style. 

FINGER Picking: LIVE FROM THE TRUEFIRE STUDIO

Originally Aired on Tuesday, June 11th, 2019

Brooks Robertson goes over the concepts and techniques covered in his upcoming course and answers questions live!