The lessons have different skill levels, although most of our material is in the upper intermediate to advanced field, with the majority of lessons focusing on fingerstyle guitar playing.
At the moment, there are no specific suggested order when it comes to the lessons, but the free course "Fingerstyle Guitar Basics" is a good start if you want to learn more about fingerstyle guitar and how to get the thumb more independent from your fingers. There are short promos for almost all lessons, so be sure to watch some of those first to see if there are any specific lessons that interests you. As a premium member, you get access to all the material on the site! A good thing might be to start with some free lessons, and if you like them - continue and subscribe for a month to see if you like the content. You can always cancel the subscription before the next billing period.
Hope this helps, and let me know if you have any other questions! I'm here always, happy to help! :)
Thank you Emil!
I've looked it up. It's 44 mm. Good to know!
I've started experimenting with an acoustic guitar which has a 42 mm wide nut. It feels too small for my hands but! .... the problem with the unclean muted sound is gone. Apparently i have to try other sizes too untill i have found the right one.
It is a huge relief for me now!
So sorry for the late reply!
Really glad that you're part of the site!! :)
This is a great question, and many players are wondering about this.
The reason for anchoring the pinky on the pickguard is for stability and so that you get a steady right hand that is not floating around too much when playing. Many people do this - such as the players you mentioned, but also Chet Atkins and many other great fingerstyle players.
The big advantage for this is that you can bring up your hand from the bridge - so that you don't mute any strings, but still get a steady hand. For instance, watch Tommy at 4:28 in this video, where he plays a open string run (in the song "blue moon") with all strings ringing out beautifully - but he still has that steady hand floating over the bridge - because he is able to use his pinky to have a real steady hand even though nothing is muted. https://www.youtube.com/watch?v=sZA7g0A7asI
Some players rarely do this, like myself. I get the steady hand from having my palm on the bridge and/or from the right arm against the top of the guitar, so to speak. So when I don't want to mute the strings and play an open run for instance on the lower strings - it's a little bit more difficult for me to have a real steady hand without muting anything.
So I'd say that using your pinky on top of the guitar can be a great thing! But if you're like me, that might not feel natural to do - and that's ok too! :) Some players rarely use the pinky on top of the guitar and sound great anyways, so it's all about finding your own way of playing that feels good. Try practicing an open string run using most strings - and see if you can get your hand real steady without muting the strings. That's a great way to work on this!
Hi Larry! Sorry for my late reply!
I'm not able to offer TABs for this arrangement because of copyright reasons. So glad you like it though! Let me know here if there's anything you're wondering about regarding that arrangement - maybe I can help in writing.
Have you experimented with different brands of strings? Certain strings bring out the best of the instrument, and it's great to try different types of strings and brands to hear what strings work the best for that particular instrument. If it sounds boxy, I'd definitely think it would brighten up with the right kind of new strings.
The tritone substitution concept does not always include only dominant 7th chords. The most obvious choice of chords (using tritone substitution) for A7 and D7 would be Eb7 (instead of A7) and Ab7 (instead of D7). However, you can always try other chord qualities as well, such as maj7 chords in this case. The original progression is just G7 going back home to C. I added a D7 (dominant V chord of G7) before the G7, and an A7 (dominant V chord of D) before the D7.
Instead of keeping it that way, I then used the tritone sub on the A7 and D7, finding the chords Ebmaj7 and Abmaj7.
Original progression: G7 ---> C...
New progression: Ebmaj7 ---> Abmaj7 ---> G7 ---> C...
Now, you could look at this progression from another angle too;
The Ebmaj7, Abmaj7 and G7 chords can be found in the key of C minor. So you might analyze this as borrowed chords from the C minor tonality, rather than C major.
The notation for my arrangement of "Here, there and Everywhere" have never been available on this site, so you might've gotten in through me over email way back maybe? I've demonstrated that song in some live workshops and clinics.
So glad you like the site Phil! :)
Thanks so much for sharing here on the forum!
You mentioned that you're getting mixed up where to jump in when you're playing with other guitar players. The good thing is that you're listening, and that is step one. Always listen carefully to what the other player is doing. To have a bit of trouble playing with others when you haven't played a lot in those situations before is super common, and it's just something that most people go through at first. I would recommend you to play together with recordings, and try some of your songs with a metronome and stick to it for a few weeks and you'll notice a difference. Try to play the melody only with a backing track or a metronome, and be as expressive as you can. You'll think its a bit tricky in the beginning but that's only natural and we need to keep trying. Record yourself playing with the metronome and you'll notice even more what you need to work on. You need the listeners perspective, because sometimes it's difficult to really hear how you sound when you're in the middle of playing a song. Therefore, recording yourself is essential to get better. The more yo play with other people the faster you'll learn how to do that. And for solo guitar, it's great to record and listen back a lot too!
Thanks so much for being part of the forum!
All the best/ Emil