Fingerstyle Focus - Learn to play Fingerstyle Guitar!

Chapter 1 - In this chapter we'll begin by getting acquainted with which fingers to use on each string and explore a selection of exercises that will teach us good fingerstyle technique and a range of common picking patterns. This foundational work will set you up for success in the later chapters!

Exercise 1 - In this exercise, we'll begin by looking at a one of the most common combination of fingers picking strings. This exercise will give you a basis in which finger to use for which string. Let's get stuck in!

Exercise 2 - In this exercise, we'll reverse the patter of exercise one. This time we'll be focussing on going in the opposite direction.

Exercise 3 - In this exercise, we start to look at a common bass line with a separate group of melody notes. This simple patter will lay the foundations for more complex ideas that we visit in later chapters.

Exercise 4 - In this exercise, we'll be reversing the patterns in exercise 3. Again, this should help us start to develop some useful co-ordinations.

Exercise 5 - In this exercise, we'll see a moving bass line note played with a repeated group of melody notes. This idea is common in country, blues and many of styles.

Exercise 6 - This is a variation of the ideas explored in exercise 5. Playing the same idea on multiple groups of strings and chords will help further develop your blossoming coordination.

Exercise 7 - In this exercise, we'll be taking the ideas explored in exercises 5 and 6 and taking them up a level of difficulty. In this exercise we'll be repeatedly skipping a string in between the strings that we're playing. Let's dive in!

Exercise 8 - In this exercise begin looking at a technique called 'rolls'. Commonly found on the banjo and in country playing, this useful technique is an essential for anyone wanting to play fingerstyle.

Exercise 9 - In this exercise we'll be reversing the idea that we explored in exercise 8. As always, playing these ideas in different combinations and directions really helps build our coordination.

Exercise 10 - In this exercise we'll be playing with a triplet feel for the first time. This is also known as playing in 'compound time', in which we'll split each beat into 3 equally spaced notes.

Exercise 11 - In this exercise we'll continue playing in a triplet feel, but we'll be reversing the pattern that we used in exercise 10.

Exercise 12 - In this exercise we'll be back to simple time, but we'll be playing some small chords (groups of notes) along side a moving bass line that we covered earlier.

Exercise 13 - In this exercise we'll continue our work with chords over a moving bass line. This exercise has it's own challenges though, we'll be playing 16th notes (or semi-quavers) on some beats - these are twice as fast as the 8th notes (or quavers) that we've played so far. Don't be put off by the speed, just relax and focus on the sound that you're creating!

Exercise 14 - In this exercise we'll carry on building up our fingers strength and independence by playing groups of 3 notes on each 8th note beat in the bar.

Exercise 15 - In this exercise we'll take the idea from exercise 14 but apply it to strings that aren't adjacent to each other.

If you've worked your way through all of these exercises then congratulations! Once you feel comfortable with these exercises press on to Chapter 2 where we'll begin to look at connecting chords!

Chapter 2 - In this chapter we'll begin connecting chords and making music! These exercises will introduce the triplet feel as well as changing chords whilst maintaining a range of picking patterns!

Exercise 1 - In this exercise, we'll be using the chords C, Am7 and G to create our first connected sequence. Take your time and enjoy creating some music!

Exercise 2 - In this exercise, we'll be using the chords Em, D, Am7 and G to create a sequence in a triplet feel. There's a little 'tip of the hat' to Metallica in this one but you'll find being able to play this compound feel helpful in music of all styles!

Exercise 3 - In this exercise, we'll be using the chords D, C(add9) and G to create a piece of music that focuses on playing groups of notes together. Take your time to make sure that each notes comes out evenly and that your timing is consistent throughout.

Exercise 4 - In this exercise, we'll be using a lot more chords than in the previous exercise. You'll be working your way through G, Am7 Em, C, G, D/F#, Am, G/B and C/G - don't worry if you don't know some of these as we'll walk you through this. There's a lot more to think about in this exercise and also a little 'tip of the hat' to The Beatles in terms of style!

Exercise 5 - In this final exercise, we'll be using the chords C, A, G, E and D. This example has it's own challenges - you'll be picking notes individually and in pairs all within the same bars. Take the time to make the changes smooth and the results musical! Good luck on this final challenge!

Chapter 3 - In this chapter, we'll begin exploring the world of fingerstyle blues and 'swing' feel playing. These exercises will introduce some new techniques such as palm muting as well as a some more complex patterns that incorporate 'hammer ons' and 'pull offs'.

Exercise 1 - In this exercise we'll begin to look at basic blues bass lines and the 2nd posture for playing blues guitar.

Exercise 2 - In this exercise we'll continue to look at blues bass lines.

Exercise 3 - In this exercise we'll continue to look at blues bass lines, moving into the key of A.

Exercise 4 - In this exercise we'll continue to look at blues bass lines in the key of A.

Exercise 5 - In this exercise we'll continue to look at blues bass lines, but now we'll begin introducing some melody notes. These are all on the beat..... for now!

Exercise 6 - In this exercise we'll continue to look at blues bass lines with some melody notes on top. The new challenge though will be the syncopation that we'll be introducing - this is when you play on the 'off' beats in the bars.

Exercise 7 - In this exercise we'll continue to look at blues bass lines with some melody notes on top- this time with a variation on the previous bass line.

Exercise 8 - In this exercise we'll continue to look at blues bass lines with some melody notes on top- this time with a variation on the previous bass line and bringing back in the syncopated rhythm we used in exercise 6!

Exercise 9 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time there'll be a new challenge though.... adding 'hammer ons' and 'pull offs'. These can make your rhythm playing sound really interesting! Also, now you should be practicing these examples both swung and straight where necessary!

Exercise 10 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time in the key of A.

Exercise 11 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time in the key of A and with the syncopated rhythm we learnt earlier in this chapter.

Exercise 12 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time in the key of A and with a variation on the bass line.

Exercise 13 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time in the key of A, with syncopation and a variation on the bass line.

Exercise 14 - In this exercise we'll continue to look at blues bass lines melody notes on top- this time there'll be a new challenge though.... adding 'hammer ons' and 'pull offs' but this time we're in the key of A!!! Remember, these can make your rhythm playing sound really interesting so take the time to get comfortable with them as a technique!

A brief introduction to Chapter 4 - Fingerstyle Icons. Stuart Ryan's been writing music inspired by great artists for TV, Film and Magazines for over 20 years - using this experience, he's pieced together 5 great pieces in the style of 6 iconic guitar players. Throughout the coming lessons he'll teach you how to play each of these sections and the keys to emulating these iconic players' styles. You'll study pieces in the style of Bob Dylan, James Taylor, John Lennon and Paul McCartney, Paul Simon and John Mayer - learning something new in each one!

We kick off our Fingerstyle Icons chapter with a look at Bob Dylan's style of guitar playing - enjoy!

The second artist in our series of Fingerstyle Icons is James Taylor - let's get stuck in!

Here, we continue our journey through Fingerstyle Icons through a piece of music inspired by John Lennon and Paul McCartney. The Beatles had many songs that featured fingerstyle guitar playing and this piece will help you develop the chops so that you can go on to play any of their repertoire!

Our penultimate stop on our tour of Fingerstyle Icons is Paul Simon. A wonderfully intricate player, Paul Simon has had great success with a large number of commercial hits that feature fingerstyle guitar. The piece of music prepared for this study captures some of the quintessential Paul Simon licks and tricks.

In our final series of lessons within Chapter 4 - Fingerstyle Icons, we look at John Mayer. He's been one of the best selling guitarists of the last 10-15 years and has a unique percussive style to much of his rhythm playing - we'll explore this in the introduction and then go on to learn an arrangement inspired by John Mayer.

Chapter 5 - In this final chapter we'll be studying solo fingerstyle guitar arrangements. We'll be studying two classic tunes that illustrate simultaneous melody and accompaniment - these pieces are a real challenge but will set you up well in order to be able to learn more fingerstyle guitar in the future.

In the first of our two solo fingerstyle arrangements, we'll be looking at the classic tune Auld Lang Syne. Aside from being something we sing at New Years Eve each year, this timeless tune makes a great study for us to begin to understand how fingerstyle arrangements are pieced together.

Our final piece in this course is the classic tune, Danny Boy. Aside from being a great traditional tune that's known all over the world, this piece will allow you to explore the whole fretboard whilst providing your own accompaniment. Take your time with this piece, it's broken into 10 easy to manage chunks so take it one section at a time!