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Tyler Grant is a National Flatpicking Champion and internationally recognized guitar virtuoso, songwriter, vocalist, producer and leader of the band Grant Farm'. Tyler has appeared at most major US festivals and performed thousands of concerts and guitar workshops worldwide. He has produced four solo albums and four releases by Grant Farm for his own Grant Central Records. The latest 2016 release, Earth and Wood, a triumphant return to Bluegrass, is Tyler's first Acoustic alb... (more)
Tyler currently offers 330 guitar lessons at JamPlay, with 61 beginner lessons, 238 intermediate lessons, 10 song lessons and 21 Lick & Riff Library entries.
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Are you ready to learn some serious country guitar? Let's join Tyler Grant as he systematically teaches us the fundamentals of beginner country guitar. If you're a beginning player and wanting to cut to the chase and learn how to play the genre that you're passionate about, then this is the course for you!
Tyler Grant introduces us to 'Country Guitar for Beginners'!
Before we start our beginner Country lessons with Tyler let's get some ground floor lessons under our belt with David Issacs! In this opening lesson, Dave will discuss the name and function of the various parts of an electric guitar.
Continuing on the ground floor, Now that we've covered the guitar itself, Dave will discuss each string and how to tune them!
Next on the ground floor, using the correct positioning and posture while playing can save a lot of frustration and possibly even injury. In this lesson, Dave will cover the proper techniques to help us be comfortable and proficient in our playing.
In our final ground floor lesson, Dave will cover how tablature can be a useful stepping stone, helping us familiarize ourselves with printed music for the guitar, and with a bit more work - standard notation. Here, Dave will discuss the basics of tablature and how it associates with the location and direction of the notes on the fretboard.
Now that we've completed our ground floor lessons, let's join Tyler Grant and dive right in with our first melody! In this lesson, Tyler gets us started with his, 'The Old Steam Tractor'.
Chords are the building blocks of Country Guitar. Here, Tyler will present us with our very first set of chords: the C and G7 chords!
Now that we have a couple of chords under our fingers let's pair them with some basic strum patterns.
We've got chords. We've got strumming patterns. Now let's add the first scale to our Country Guitarist lexicon as Tyler highlights the C Major Scale!
Ok now let's put all of the tools that we've learned thus far to use with our first song! In this lesson, Tyler covers the melody for the Country staple, 'Down in the Valley'.
Let's continue our work with 'Down in the Valley', as Tyler covers the rhythm guitar section of the song.
Moving on, here we will dive into our second melody of the course, 'Ferry Across Still Water'.
Now it's time to expand our lexicon of guitar chords with the G-Major, and D-Major chords!
Alternate picking is a great way to add a rhythmic dynamic to our playing. Here, Tyler covers the nuances of this technique.
Ready for more scales? In this lesson, Tyler highlights a couple of scales that are arguably the most utilized in Country music, the G-Major and G-Pentatonic scales!
Ok, now it's time to dive into our second song of the course with the melody of the familiar classic, 'Cotton Eyed Joe'!
Alright, we've got the melody to 'Cotton Eyed Joe' down. Now let's move on to the rythym section of the song.
For our third melody of the course, Tyler presents us with a fun little track, 'Country Boogie' in A!
In this lesson, we've got another update for our chording lexicon with the A-Major and A7 chords!
Here are some great additions to our playing repertoir! Bends and slurs can open the door for more expressive playing and can define a players style. Here, Tyler covers hammer-ons, pull-offs, slides, and bends!
Now it's time to dive back into our scale work as Tyler presents us with another useful set of scales, the A-Major and A-Minor Pentatonic!
Are you ready? It's time to get our first guitar solo under our fingers and put all of our scaling, bends, and slurs to use as Tyler takes us out to, 'The Woodshed'!
In this next lesson, we'll get back to our scale work as Tyler covers the D-Major Scale.
At this point we've got quite a bit of playing under our fingers! For our fourth melody of the course, Tyler highlights the classic tune, 'The Water is Wide'.
Continuing with our chording, In this lesson Tyler covers the D-Minor and moveable shapes such as F7 and A7.
In this lesson, Tyler will cover some more common and useful rhythmic strumming patterns.
We're coming down the homestretch! Here, Tyler presents us with the final scale of the series, the E Pentatonic Scale.
Let's close out the playing portion of the course with our last guitar solo. In this next lesson, Tyler covers an original solo, 'Boots and Jeans'.
Congratulations! Here we are at the end of the course and we've got an army of Country guitar skills and licks under our fingers, but what do we do with it? In this final lesson of the series, Tyler leaves us some useful insight on where to take our playing next!
Join Tyler Grant to begin your journey on the guitar in the Bluegrass genre! Learn the basic fundamentals of the instrument, while also getting an introduction into the world of Bluegrass guitar. Foundational elements like melody playing, rhythm, technique and guitar knowledge are all covered in this genre flavored beginner course!
Join Tyler Grant in the comprehensive beginner guitar course that will begin you on your journey in Bluegrass guitar playing!
Before we jump into our beginning Bluegrass lessons let's get started with some ground floor fundamentals featuring Trevor Gordon Hall! In this lesson, Trevor discusses the name and purpose of various parts of the acoustic guitar.
Let's continue with our ground floor skills. Here, Trevor will discuss each of the strings and how to tune them properly using a digital tuner.
Continuing on the ground floor, in this lesson, Trevor will discuss the importance of proper and ergonomic posture while playing.
One more ground floor skill before we join Tyler for our beginner Bluegrass lessons. Here, Trevor will break down the basic building blocks of guitar notation and provide us with the tools to help read the notation included with each lesson.
Okay! Let's shift gears and join Tyler Grant as he discusses proper body mechanics when beginning to play guitar, and explores our first Bluegrass melody!
Tyler explains why the G and D chords are so important to Bluegrass music.
An integral skill in learning Bluegrass guitar is understanding different strum patterns. The Boom Strum is foundational to the genre.
Don't let scales intimidate you, they unlock the ability to play lead guitar and create your own melodies. Tyler explains the G Major scale and how to play it.
Time to learn your first Bluegrass song! Tyler breaks down the different components that compose a typical Bluegrass song.
Rhythm is fundamental to music, and especially Bluegrass. It's the most important element to hold down the groove.
Learn a new melody, in the key of C Major. As you get more familiar with playing, everything will become more natural. Keep at it!
Add these chords to your chord vocabulary, the more chords you know, the more dynamic you'll be.
One technique to increase your proficiency as a player is to learn how to alternate pick. It allows you to be more efficient with the energy spent playing, and fit more notes into your phrasing!
This is the foundational scale for all of Western music. Why? Tyler explains.
Apply your newfound knowledge of the C Major scale to the song "Skip To My Lou".
Learn the rhythm section for "Skip To My Lou", applying your knowledge of the Boom Strum from earlier.
Want a cheat code to getting more out of your guitar? Get yourself a capo. The basic chords you've learned will transform into something totally new!
This is a Bluegrass standard, once you learn it you'll be able to jump into any jam session.
Take your knowledge of the G Major Scale and move it along the neck to get a different sound of your notes.
Learn key licks to add to your Bluegrass repertoire, this is where your style and flavor of playing can shine.
This is one of Tyler's favorite songs to jump into Bluegrass in any given moment.
This is your first guitar break, utilizing some of the breaks you learned in the previous lessons.
This is a classic fiddle tune, Tyler walks you through how to bring this song to life.
Barre Chords can be intimidating, Tyler shows you some tips on how to make the stretch a bit easier on your fretting hand.
Integrate your Barre Chord knowledge and discover more chords you can create with this shape.
While the Boom Strum is your baseline for Bluegrass, there are other strum patterns that will add some flair to your playing.
Learn the lingo of how to communicate with other musicians, indicating what chords are in your composition.
"Don't Let Your Deal Go Down" integrates some of the new chords and strum patterns you just learned.
Wondering how to play lead guitar in Bluegrass? Tyler explains how to do this.
Pull together everything you've learned thus far and play a full Bluegrass song from start to finish.
Congratulations, you did it! After learning everything in this course, Tyler discusses where you can take this knowledge next.
A sub-genre of country music which blends improvising with folk-like melodies. Pioneered by Bill Monroe in the 1930s in the "bluegrass" state. Learning to flatpick properly is absolutely crucial to the Bluegrass style.
Welcome to Tyler Grant's series on bluegrass flatpicking! Tyler offers a vast history of awards and live experience that defines his knowledge of how to successfully accomplish the skill of utilizing a pick on an acoustic guitar.
Tyler Grant opens his series by demonstrating proper left and right hand techniques.
Tyler Grant demonstrates and explains the difference between a song and a tune.
Tyler introduces the major scale and explains how it is a fundamental component in almost all of bluegrass music. Starting with the C major scale, Tyler provides tools on how to use ear training and numbering techniques to uncover the theory of how melodies are built.
Here's an ear training lesson for bluegrass flatpickers. Tyler moves through first position scales and explains how to use numbers and their associated tones to help train your ear so that finding the key melody is much easier.
Tyler covers some key terminology and scales that are used in the bluegrass genre.
Tyler applies the scales taught in previous lessons to the melody and solo sections of the tune "New River Train".
In lesson eight of his bluegrass flatpicking series, Tyler Grant teaches the tune "The Gal I Left Behind Me". This is another flatpicking study in the key of C.
Now that you've spent some time learning the C major scale and some melodies based on it, it's time to move on to the the G major scale. In lesson nine, Tyler Grant demonstrates the G major scale and some common applications in bluegrass music.
Tyler Grant is back with another tune for his Bluegrass Flatpicking series. In this lesson he teaches the traditional tune "Banks of the Ohio," which encompasses the techniques you've learned thus far.
Continuing on with his flatplicking studies, Tyler Grant offers up a tune lesson in the key of G. He teaches "Miss McLeod's Reel".
By now, you should be comfortable with the G major scale. Now it's time to tackle another commonly used scale in bluegrass flatpicking. This time Tyler Grant takes you through the D major scale.
Tyler Grant is back with another traditional bluegrass standard. "Forked Deer" likely comes originally from old world fiddle tunes, and like "Banks of the Ohio," is good practice for what you've learned in this series so far.
Tyler Grant is back with another lesson for his bluegrass flatpicking series. In this lesson, he discusses how to transpose tunes to different keys.
Now that you know how to transpose out of the keys of C and G, it's time to start taking a look at performing in the keys of A and E Major.
Tyler Grant is back with a look at how to make variations on the tunes you are playing. This can be done either on the fly through improvisation techniques, or by writing specific variations and arrangements ahead of time.
Tyler Grant is back with another lesson for his Bluegrass Flatpicking series! In lesson 17, he discusses basic vocabulary that is used in the bluegrass scene and demonstrates how and when those items are used.
In lesson 18 of his series on bluegrass flatpicking, Tyler Grant discusses the 'guitar break' or solo.
In lesson 19 of his bluegrass series, Tyler offers up some thoughts on guitar breaks. To discuss and demonstrate the concept, he uses the song "Sitting On Top Of The World".
Much like the previous lesson in this series, lesson 20 is all about solos and guitar breaks. Using the tune "I'll Fly Away," Tyler Grant demonstrates more ideas for guitar breaks and solos.
Tyler Grant is back with lesson 21 in his Bluegrass Flatpicking series. In this lesson, he discusses rhythm tendencies for the genre as well as the addition of bass runs.
In lesson 22 of his Bluegrass Flatpicking series, Tyler Grant discusses the 'G run'. This is a melodic line typically played in the bass register in G major but can also be used in any key.
Tyler Grant is back with another tune to add to your bluegrass repertoire. "Cold Frosty Morning" gives you some practice playing in a minor key in the bluegrass style.
Continuing with his instruction in minor keys, Tyler Grant offers up the tune "Sally in the Garden". This tune is in the key of D minor.
To conclude Tyler Grant's look at the bluegrass flatpicking style, he offers up one more tune in a minor key. Lesson 25 focuses on the tune "Rights of Man".
Tyler Grant takes an in-depth look at the classic country genre and explores the tricks, techniques and guitarists that helped shape it's sound..
Tyler Grant is back with an introduction to his new series "Classic Country Chops." In this series, Tyler goes in-depth on the classic country genre as it relates to the electric guitar. He profiles the artists that shaped the sound and the tricks they used to craft it.
To get you started on the right path, Tyler spends a lesson discussing the fundamentals that make up the classic country sound and how it relates to the electric guitar.
Taking the fundamentals that you learned in lesson 2, it's time to dig in to your first melody. In this lesson Tyler covers the country inspired Red River Valley melody.
Now that you have the melody to Red River Valley under your fingers, it's time to tackle the rhythm parts.
Tyler Grant takes a look at another classic melody and adapts it for use in a country telecaster fashion.
In lesson 6, Tyler takes the tune Red Wing which you previously learned the melody to and looks instead at the rhythm parts.
Tyler Grant now takes a look at the song Down in the Willow Garden, first looking at it's melody.
Now that you know the melody parts to the song Down in the Willow Garden, it's time to learn the rhythm parts.
Now that you have a solid grasp of the classic country fundamentals taught previously, it's time to start looking at a few more and applying them to country tunes and songs.
Tyler continues with his look at classic country fundamentals in part 2B.
Tyler Grant continues his teaching on classic country technique in part 3.
Lesson 12 will be the wrap up of this section of fundamental concepts and techniques for classic country technique.
Taking all of the new country guitar fundamentals taught over the last several lessons, Tyler Grant teaches you an in the style of original tune called The JamPlay Waltz.
Now that you've had another round of country fundamentals under your belt, it's time to delve in to the next category of classic country guitar. Tyler Grant now moves on to the 60's era.
Now that you're well in to the 60's era of country guitar, it's time to dissect the lead playing of Don Rich.
Tyler Grant is back with another original in the style of classic country guitar. This time you'll be learning a Polka!
Tyler is back profiling another artist that helped shape the classic country sound, Roy Nichols. In this lesson, you'll be looking at is rhythmic tendencies.
Now that you have a good idea about how Roy Nichols would play rhythm guitar, Tyler now deconstructs his solo tendencies.
In lesson 19, Tyler Grant teaches an in the style of solo for legendary country guitarist James Burton.
Tyler Grant is back with another fundamentals lesson in his Classic Country series. This time he's taking a look at the Chicken Pickin' and double stop techniques.
Now that you've got the fundamentals of chicken pickin' down, it's time to apply those concepts to a solo making good use of the technique!
In lesson 22, Tyler takes a profiling look at another great country guitarist. This time he's set his focus on rhythm riffs in the style of Clarence White.
Continuing with a profile on Clarence White, it's time to step into solo territory. Tyler Grant offers up a solo in the style of this legendary country guitarist.
Tyler is back with another round of classic country fundamentals that will set you up for the players he will be profiling in the upcoming lessons.
Taking into account the information you learned previously, Tyler offers up a sliding scale solo for your classic country repertoire.
We've now reached the 70's era of classic country. To start off with Tyler Grant provides lick vocabulary inspired by Albert Lee.
Now that you've learned a handful of Albert Lee inspired licks, it's time to put those together to great a solo inspired by this legendary guitarist.
As the era's marched on, country's influence was felt across many genres and especially so in Rock and Roll. In lesson 28, Tyler takes a look at how the technique influenced rock music.
One common feature of country guitar from classic to modern is the use of slides and volume swells to mimic the sound of a pedal steel guitar. In the final lesson of this series, Tyler offers up a solo in this style.
This course will provide you with the skills, confidence and knowledge you need to whip out your guitar this summer.
Tyler gives a quick description of the course, who it's for, and what you can expect to learn.
Tyler explores the primary chords in the key of D and the shows how to use them in playing the old tune “Michael Row The Boat Ashore.”
Tyler shows some other patterns using the D primary chords, and gives you some ideas for songs you could learn with these patterns.
Tyler shows you some other chord progressions in D using a few new chords, and gives you a few ideas for songs that use these progressions.
Tyler covers the basics of fingerpicking in D.
Tyler shows you some of the common chords in G and then uses them to show you the old standard tune “Down by the Riverside.”
Tyler shows you more chord patterns using the primary chords of G and gives you some leads on songs to try with these patterns.
Tyler Shows you more common chords used in the key of G and gives examples of songs that use these chords.
Tyler shows us some fingerpicking patterns for G progressions and then suggestsa few songs to try with these patterns.
Tyler shows us some patterns using the 3 minor in G.
Tyler goes over common chords in the key of C and uses them to teach the old standard "Old Folks at Home."
Tyler shows some more common chords in the key of C and recommends more songs to try using them.
Tyler shows you more common chords in the key of C and lists some more songs that use with them.
Tyler shows a few common fingerpicking patterns and progressions in the key of C and gives some ideas for more songs you can try these progressions out with.
Tyler shows us the primary chords in the key of A and then uses them to teach the old standard tune "When the Saints go Marching In."
Tyler goes over more primary chord patterns in A and mentions some songs these patterns can be used to play.
Tyler shows us more chords in the key of A and names more songs we can play with them.
Tyler shows you some finger picking patterns in the key of A.
Tyler shows us some common chords in the key of E and teaches the old standard "In the Sweet By and By."
Tyler shows more common E patterns and names some songs that go with them.
Tyler shows us how to transpose songs using the common chords we have already learned and a capo to change the neck position of the fretting hand.
Want to take your Bluegrass Flatpicking style to the next level? This series complements Tyler’s Bluegrass Flatpicking Method series on JamPlay. Tune-up your guitar, grab your pick and let’s move forward with your Bluegrass Flatpicking.
Tyler gives you a rundown of what you can expect in this advanced bluegrass course.
The C major scale is a staple of Bluegrass music. Lean the scale in and out with the exercizes and tricks that Tyler teaches you in this course.
Bluegrass is a folk tradition, meaning songs usually get passed on by ear. In this lesson, Tyler teaches you methods to learn songs and recognize chords by ear.
Further your bluegrass vocabulary by learning this classic C Major song in the style of Maybelle Carter.
Crosspicking is an advanced, harp like style of playing that is key to developing a well-rounded bluegrass style. Tyler takes you deep in to crosspicking with several exercises aimed at building your chops.
Climb higher in your crosspicking journey with this song in the style of George Shuffler of the Stanley Brothers. Tyler will show you multiple examples with lots of cross picking challenges take you further.
As our last C major lesson we have a classic song that you might recognize, with a nod to the great Don Reno.
Now we're going to move on to G major scales and exercises. Tyler has a bunch of great G major workouts for you to tackle next in your bluegrass journey.
Let's take apart this classic G major song and study it's melody, then try it in the crosspicking style we learned earlier.
Now that we have this one under our fingers, let's modify it to play in the style of the great Doc Watson.
Here is another jaunty tune to round out our focus on the key of G. Don't forget the tag at the end!
Let's start working on the key of D, with another bunch of exercises to practice scales and tricks.
Sometimes called "Swanee River," this song is a great way to work on our D major chops. Let's start by learning the melody strum and crosspicking arrangements.
Now let's take this song further by trying a D Major guitar break in the style of the master guitar picker Tony Rice.
Tyler gives you one last D major song to work out in this lesson. Take it for a ride in the lead sheet then try it out in the style of Dan Crary.
Look out! Here comes A major to challenge your fingers. Tyler takes you through a challenging series of exercises in this key to get you going.
Here is another classic bluegrass tune to test your skills, this time the deal is going down in A. Let's get to it.
Digging deeper in to the deal! Here Tyler is going to show you a guitar break that will push your further in your A key journey.
For our last A major tune, we're going to light a fire! Try this one out in the styl of the great Norman Blake.
Often bluegrassers will capo their guitar up to fret 4 and play in the key of E as if it were C. Let's work on that now with another classic song.
As with prevous tunes, we are now going to take "Railroad Man" and work it up in to a guitar break. This time Tyler is going to show you how he would do it. Again, this is playing C at capo position 4.
Here is another tune capo'd up to E, the jaunty Fisher's hornpipe!
Let's work some more on your cross string chops! Go ahead and give these floaties a try!
Now we're going to really put those harp-like floaties to use in the cross-string arrangement of "St. Anne's Reel."
C is a very common bluegrass key and shape, so we will spend some additional time becoming familiar with some of the tricks and relationships inherent in this scale.
Blues is also an important part of guitar vocabulary. For this lesson we will focus on Blues stylings in the context of Bluegrass, using a guitar solo in C as our template.
Now we're going to try capoing up to position 4 to play in the key of B as if it were the key of G. We will use the classic song "Take This Hammer" to work this up.
Now Tyler is going to channel Dan Tyminski in exploring "Take This Hammer" even further. This time with a flashy guitar break.
Speed is key in the style of bluegrass. Tyler is going to use this classic song to teach you about ramping up your speed chops, and he will introduce you to his personal speed-building technique, velocitation.
For our last lesson, Tyler is going to show you one of his tunes. Can you play it as fast as Tyler?
Built on the foundation of bands that include The Allman Brothers and The Grateful Dead, the Jam Band style has become one of the hottest genres in the live music scene today. Any guitarist can incorporate the improvisational spirit of these inventive bands and players into their own style. The influences of the Jam Band movement are broad and don’t meet any specific criteria, but tend to relate to Rock, Jazz, Blues and other American Roots Music styles.
This lesson is a primer on how this course is going to work.
In this first method to gain fluency, Tyler shows you how to connect the C major scale up and down the next using Closed Positions (the CAGED system).
Tyler calls this next approach “3 Notes Per String” where he uses stretch fingering to explore seven patterns of the C major scale.
Tyler builds on the material of the previous two lessons by introducing the Ionian and Aeolian modes to help you tap into the “wandering” style of Jam Bands.
Continuing the “wandering” style, Tyler explores the Mixolydian and Dorian modes and teaches you a quick pneumonic device to remember the names of all the modes.!
In this lesson, Tyler will point out some of the similarities between the Jam Band and Jazz styles of playing. He then covers some basic 3-note phrases, while mapping out how to move them up the neck to help you get from point A to B.
Ok it's time to step it up a notch! Let's take the phrases that we learned
in the previous lesson and extend them to 5-note phrases while combining them with other scales and modes in order to target specific notes within a chord.
Time to add a touch of the Blues! You'll start out by reviewing
some common blues scales before learning how to incorporate them into
the wandering guitar style. Tyler will then discuss perfecting the
tonality of your notes, which is as equally important as the notes themselves!
Alright let's stay on task and cover how to incorporate the A minor scale,
commonly known as "The Blues Scale", into the wandering guitar style.
Dickey Betts is one half of the famous Allman Brothers lead section. In this lesson your will learn how to apply some of his style to your leads.
Duane Allman is a jam band legend, and his distinctive style has informed many players. Here Tyler will help you capture what is unique about Allman's lead playing and give you ideas to take into your own improvisations.
Duane Allman was also known for his slide playing. In this lesson, Tyler will show you how to incorporate Duane's slide style into standard tuning.
Use all the notes! This lesson goes beyond diatonic notes and scales to explore passing tones; the notes between the scale tones. This will give your playing extra depth and spice!
Sidestep those scale notes and say hi to the neighbors! Chromatic notes are great to use as passing tones in your lead playing to spice things up and go outside of the box. In this lesson, Tyler shows you some some licks that use those tones to give you more lead guitar ideas.
Obviously, no course on Jam Bands would be complete without an examination of the style of Jerry Garcia of the Grateful Dead. This lesson focuses in on the soloing style of Jerry. Join Tyler as he explores the details of what made Jerry sound like Jerry, from unique bends to chromatic runs!
Jerry Garcia and Bob Weir famously complemented each other in their rhythm guitar styles. In order to learn more about this musical relationship, Tyler will first show you some exercises focused on the rhythm styles of Jerry Garcia.
To further understand the rhythm guitar styles of the Grateful Dead, we need to learn how Bob Weir's guitar locked in with Jerry Garcia. So in this lesson Tyler goes over several rhythm styles that you might hear from Bob and practices them with you.
Modal playing will open up new worlds for you in how you jam. In this lesson, Tyler examines two modes commonly used by the Grateful Dead, the Lydian and Phrygian, and gives you some exercises to develop a feel for these sounds.
The envelope filter is an effect that lends a voice-like quality to your playing, and was often used by Jerry Garcia of the Grateful Dead. Join Tyler for this very expressive solo and learn the ins and outs of the envelope filter!
Lets dive into some more technique in the wandering style. In this lesson, Tyler discusses various picking hand techniques and ideas to help you out.
In this lesson, Tyler explores some of the more exotic sounds found in the Jam Band genre; two modes from the harmonic minor scale.
In lesson 22 Tyler offers up a solo study in the style of Carlos Santana.
Next up is a solo study in the style of Phish guitarist and lead vocalist Trey Anastasio.
Let's take another look at a jam band guitarist in lesson 24. This time we're profiling the style of Warren Haynes.
As Tyler begins to wrap up the series, he discusses rhythms and how to change them subtly to convey further movement and avoid sounding repetitious.
In this final lesson of the series, Tyler puts it all together and provides some ideas on freely performing in what he calls the wandering style.
Tyler Grant returns with a pack of unique licks to add to your country playing. This series is all about vocabulary from the 50's through 2000's of Country guitar. From the legends that defined Classic Country to the virtuoso's of the 90's and early 2000's, this pack of 30 licks covers it all!
Tyler Grant offers up a pack of classic country vocabulary, just right for all your country playing. This pack spans the 1950's beginnings of country through the virtuoso era of the early 2000's players.
In this lick, Tyler Grant teaches a classic lick in the style of Luther Perkins.
In this Lick, Tyler teaches a Carl Perkins style lick in the Rockabilly genre.
Tyler Grant once again profiles the great Carl Perkins. This time you'll be working up the neck.
Lick four is another rockabilly lick, this time in the style of Doc Watson.
Lick 5 is a Jimmy Bryant inspired country bebop lick.
In this lick Tyler offers up a southwest style lick, inspired by country great Willie Nelson.
Here's another southwest country style lick, this time inspired by Grady Martin.
This lick is a James Burton inspired lick that utilizes double stop bends.
Here's another lick using double stop bends, this time in the style of Roy Nichols.
Lick 10 profiles the style of Chet Atkins in this cross-string lick.
This lick takes a nod from Don Rich during his playing with Buck Owens and the Buckaroo's.
Taking another look at the Buck Owens band, this one is inspired by Buck himself in the style of a polka.
Lick 13 profiles Roy Nichols again. This time using a sidestepping technique.
Here's a cross string lick in the key of E, inspired by James Burton.
Here's a lick in the key of A inspired by Clarence White.
Lick 16 is a bluesy country lick from the 70's inspired by Roy Buchanan.
Here's an Albert Lee inspired lick in the key of G.
In this lick Tyler provides a jazzy lick inspired by Glen Campbell.
Here's a lick profiling Eagles guitarist Bernie Leadon.
Moving in to the 80's now, Tyler offers up a lick in the style of Ricky Skaggs.
Lick 21 is a 1980's country lick inspired by Ray Flacke.
Here's a 1980's open position country lick in the style of Steuart Smith.
Lick 23 profiles the legendary 90's country singer and guitarist Vince Gill.
Here's a lick inspired by Diamond Rio guitarist Jimmy Olander.
Here's another 90's lick inspired by Pete Anderson.
Lick 26 profiles legendary country guitarist and picking virtuoso from the 90's, Brent Mason.
Continuing on into the 2000's and the picking virtuoso era, here's a lick inspired by Nashville superstar, Keith Urban.
Here's another hard hitting 2000's country lick inspired by Nashville superstar Brad Paisley.
Starting to wrap up this lick pack, Tyler offers up a lick designed to teach you additional Telecaster tricks.
For the final lick in this pack, Tyler offers up a lick designed to help you with speed on the Telecaster.
You've been spending some time working up your flatpicking chops, but where do you go from here? A cornerstone of the Bluegrass flatpicking style, the hot lick originated with the genre and runs through present day songs and tunes. This lesson set of 30 hot Bluegrass licks is a great place to start in learning the vocabulary necessary to excel in this style!
To kick off this series of 30 hot bluegrass licks for your repertoire, Tyler gives you a couple examples of what will be taught and what you need to be successful with this course.
This lick has a descending line that has just enough pep to earn its name.
This descending G minor pentatonic lick borrows from blues in the open G position.
This bluesy, bluegrass lick in G uses a combination of the minor and major pentatonic scales.
This bluesy lick in G takes some standard pentatonic notes and grasses them up with repetition and loops.
Bluegrass licks often take inspiration from fiddle tunes. As a result, lots of flatpicking method mimics fiddle movement. This is certainly true of this lick in G.
Crosspicking is a technique that uses a consecutive picking pattern on three adjacent strings. This at times leaves them ringing and sounding like a harp. Tyler uses this concept in this shuffle lick in G
A "run" in bluegrass is a lick that travels through a scale in a steady rhythm. This big run in G works all the way from the bottom to the top of the strings.
This is another fiddling mixture lick, this time in the key of C. This one has shades of C6 in it.
There's a lot of action in this C major lick! Take this string of notes and run them around the fretboard.
This lick in C shifts postions using an open E string, sometimes called a drop string technique.
Sometimes cross string playing is called "floaties." Here is a floaty lick in C that will challenge you for a while.
You'll find more crosspicking in this C lick which leans heavily on the three note forward roll.
Now we're going to use that three note forward roll to descend in another C lick.
This lick uses some classic bluesy language in the key of D, for dog.
This bluesy lick in D descends into a D run.
Here's a lick in D that uses cross string techniques that Tyler affectionately calls "Floating Dog."
This lick is all about being able to navigate the IV to I chord. In the key of G, this lick uses a chugging rhythmic figure to help drive you home.
This lick is an uplifting lick that gradually builds up then gently rests back down.
Lick 19 takes a look at navigating the crucial V to I chord change at the end of a guitar break.
Like the previous lick, this one again navigates the V to I chord change. This time we're gonna go harder with a chuggin', driving rhtyhm and alternate picking.
This lick in the key of G is designed to help traverse from up the neck and down into open position on the V to I chord.
This lick uses the same technique as the last lick, but this time travels around a Hornpipe progression.
This lick again uses the Hornpipe changes, but is centered around the chuggin' style.
Lick 24 is a quick and "snappy" Bluegrass lick in the key of A.
Much like "Big Run" and "Big Run in C" this lick is all about that large run that traverses the guitar's register, this time in the key of A.
"Easy Breezy" is a bluegrass lick designed for the key of E, or more specifically an E chord.
To wrap up the licks in this series, Tyler covers several "tag" figures that are often used as licks to end a song or tune. He starts with a tag in the key of G.
The second tag in the key of G is a standard Appalachian fiddle tune tag, that also has a G run in it.
Lick 29 is another run style tag, this time in the key of C.
To wrap up this lick series, Tyler provides a tag in the key of C that includes a beefed up version of the venerable "Shave and a Haircut" ending.
Bluegrass flatpicking as a genre is full of unique repertoire that includes genre bending concepts and techniques. From blazing hot licks to banjo rolls, it's got a little something for everyone. Want to join in a Bluegrass jam and make it out alive? This course is for you!
Tyler Grant introduces 'The Bluegrass Flatpicking Survival Guide'.
To start off the Bluegrass flatpicking survival guide, Tyler will first give an overview of the concept section before launching into teaching the basic physics surrounding the Flatpicking technique.
It's time to calibrate our picking hand. There's a lot going on with your picking hand so it's important to make sure your entire picking mechanism is up to speed. Tyler discusses how to get there.
Just like your picking hand, your fretting hand will need to be calibrated. Lets spend some time getting your fretting hand sorted out.
A core basic component of Bluegrass music is the use of major scales in songs and tunes. Tyler works with you to not only get the major scale under your fingers, but also in your ear.
The Bluegrass style borrows from the blues and other classic Americana genres. It would be impossible to survive a Bluegrass jam without also knowing the blues scale.
Bluegrass Flatpicking repertoire is made up of songs and tunes, each with their own characteristics. Tyler discusses the Bluegrass song in this lesson and uses the traditional song Swing Low Sweet Chariot as an example.
You won't always have a band to back you up as a Bluegrass guitarist. As a result, it's important to know how to create solo arrangements. The first technique Tyler discusses is called Melody Strum.
A staple of Bluegrass guitar, crosspicking is a borrowed technique from the Banjo that can also be used to spice up a melody for a solo arrangement.
Two elements of Bluegrass playing that are typically present are the kickoff and the break. Although the kickoff is not typically played by the guitarist, in a solo arrangement it is necessary to be able to cover this part of a traditional bluegrass song or tune. The break is another word for solo and where you have the most artistic license as an instrumentalist to go wild.
Tyler mentioned previously that Bluegrass repertoire is made up of both songs and tunes. In this lesson he'll discuss the tune. These are typically derived from fiddle players and are meant to accompany dances.
In Bluegrass music, the Tater and Tag are the bookends of the jam. The Tater sets the tempo and the rhythm and the Tag ends the song or tune.
Bluegrass music has a certain bounce to it derived from the fact that it typically accompanies a physical dance. The shuffle concept is a combination of swinging notes out of rhythm and accenting notes that are off beat. Every player has a shuffle style they prefer and in this lesson Tyler will help you find yours.
Some would say that capo usage is cheating. Not so in Bluegrass music. This form nearly requires the use of open position shapes, commonly the C, G and D shapes. In order to change keys to support a vocalist, the capo is a must have in the Bluegrass Flatpicker's arsenal.
There isn't much better way to learn than by observation. Before Tyler starts the performance section of this survival guide, he discusses seeing the Bluegrass playing of others that have come before you.
Now we move on to practical application of the concepts taught in the first set of lessons. To get you started, Tyler will give an overview of the performance section, then jump in to a Bluegrass kickoff using the song Swing Low Sweet Chariot.
Ok. Now let's expand on Swing Low Sweet Chariot to include the chorus and the verse with an alternate picking style. In this lesson, Tyler will incorporate a cross-picking
technique that can be used to add color and flourish to the piece while still maintaining the core chord structure.
Swing Low Sweet Chariot contains one of the most common chord progressions in bluegrass music, making it a perfect training tool. Here, Tyler will provide a guitar break in C that targets specific melody notes while utilizing key embellishments that we have learned so far.
Moving forward, let's keep with the same chord progression but detach it from the Swing Low Sweet Chariot melody. We'll use this popular progression to expand our vocabulary of the licks and tools that are useful when navigating a I - IV - I - V progression.
Let's round out our study of the three main keys that bluegrass music is played in with this guitar break in D, which uses a I - IV - I - V progression. Using these shapes, in conjunction with your capo, will offer you the ability to play in any of the twelve keys!
Congratulations! Here we are on the final lesson of The Bluegrass Flatpicking Survival Guide! In this lesson, Tyler will walk us through a smokin' jam of the legendary bluegrass standard 'Leather Britches'.
Bluegrass music is ubiquitous in Americana music and a major role of the guitar is to pin down a strong rhythm section behind mandolin and fiddle players, as well as vocalists. If you're joining in on a Bluegrass jam in the near future, or want to, this primer course is for you!
In this video, Tyler talks a little bit about what to expect from this series.
The "boom strum" is a foundational concept in bluegrass. In this lesson, Tyler will introduce you to this technique and show you an exercise to get the hang of it.
Usually the boom strum alternates bass notes, but sometimes we double the bass note so the bass can step up to the next note on the chord change. Tyler gives you an example of this here.
Continuing to explore boom strum bass lines, in this lesson you will learn some common chord progressions in the key of G major. Each of them has its own bass progression, and together they will show you how to boom strum your way through all sorts of songs.
Walk up and walk down bass lines are another really great way to enhance your bluegrass playing. In this lesson we will explore some bass lines that will expand your bluegrass horizons even further.
From the full shebang right on down through some boom strum variations, Tyler gives you some great rhythm variations aimed at giving you a full range of ideas to draw from in your playing.
In bluegrass, a "run" is a form of musical punctuation that typically comes in at the end of a verse, chorus or a guitar break / lead. Tyler shows you how to sneak G runs into your rhythm playing to create accents and conversations in your playing.
In keeping with the theme, let's look at runs for the key of D, appropriately called "D runs."
G, D, and C are the most common chord shapes in bluegrass music. So maybe you can guess that we will be looking at "C runs" next. This set of runs is a little different, in that we have no open string to use for our root note.
We have spent a bit of time exploring boom strum, and the various runs in different keys, and now it is time to explore thinking of the bass lines as a melody, and to get creative with how it develops through the changes.
So far we have been working with songs that are in 4/4 time, but there are a lot of bluegrass songs in a waltz time of 3/4. In this lesson, Tyler gives you an exercise to explore playing a boom strum in waltz time.
When we are starting a song with a band, often we are trying to start with a strum on the downbeat, so we need to know how to get back into our boom strum rhythm from a strong down beat strum. In this lesson, Tyler will show you how to practice this skill.
Lets take a look at syncopation and how it's used in Bluegrass. Tyler demonstrates it's use as a fill in between a vocal line or between melody sections. He demonstrates various rhythms and also talks about filling in for the bassist.
In the 60's, guitarist Del McCoury created the modern Bluegrass rhythm sound. It focuses less on bass notes and is generally busier than the rhythm guitar played in earlier Bluegrass music.
A staple of Bluegrass guitar playing is the capo. In this lesson Tyler talks about its use in Bluegrass and why it's a fundamental tool for the genre.
Bluegrass music is often played at fast tempos. During the course of a song or set of songs and tunes, you may find that fatigue start's to set in or that you just can't keep up. This lesson is all about ways to economize fast playing to avoid fatigue and keep the rhythm from falling behind.
Ending a song or tune has stylistic considerations in Bluegrass music where it's not typical to see fade outs and you may need to close a tune after a free form jam. Tyler talks about endings in this lesson and provides several examples.
When you're chugging along on a fast bluegrass rhythm it's easy to introduce a lot of "sameness" in your playing. One way to keep the rhythm from getting monotonous is to introduce dynamics and other tricks to spice up your playing.
Now it's time to take the concepts and technques learned in the previous section and apply them to actual music. Tyler starts by giving us an overview of what the performance section will contain, then jumps right in to a Boom Strum rhythm workout using the song Billy in the Lowground.
Using the song Sweet Low Sweet Chariot, you'll be tapping into the bass melody style along with a standard boom strum.
Tyler is going to use this song to teach you some syncopated ideas as they apply to bluegrass rhythm techniques. Here you can see how it can be used to accentuate certain parts of a song.
Here is another example of the techniques we have learned being put to use. In this song, we will start the rhythm pattern with a strong down beat.
The moden bluegrass style has more strumming and less bass note movement. We will use this progression to become familiar with this more progressive sounding rhythm pattern.
Sometimes for a fast song, we will choose to economize our playing. In this last lesson, Tyler will show you a few patterns that can be worked into faster rhythm playing for bluegrass music.
"Peaceful Easy Feeling" was written by prolific songwriter, Jack Tempchin. The song originated during his time in the San Diego coffee shop scene in the early '70s. Introduced to the Eagles in the Fall of 71', it was quickly included on their 1972 debut album 'Eagles'. Topping out at No. 22 on the charts, the song is still a staple on classic rock airwaves and features a B-Bender guitar on lead along with two different acoustic parts supporting the rhythm. So without further ado, let's get started on this iconic song!
Let's join Tyler as he performs a clinical dissection of this classic Eagles tune!
'Ramblin' Man' is from The Allman Brothers' 1973 release 'Brothers and Sisters'. The song features Dickey Betts as the writer, lead vocalist, and primary guitarist, and is a great way to learn solo lines and phrasing using the major pentatonic scale. Chock full of memorable melodies, classic Allman Brothers twin guitars, and even some slide guitar, 'Ramblin' Man' is a must to add to your classic rock and southern rock repertoire!
Let's join Tyler in a complete breakdown of this iconic Allman Brothers song!
"Black Water" was recorded by the American music group the Doobie Brothers for their 1974 album 'What Were Once Vices Are Now Habits'. The song features a doubled acoustic guitar throughout, and a rockin' solo midway through. This song is a must-learn for fans of music from this era and is a great tune to learn so you can sing along with its memorable lyrical lines.
Let's join Tyler as we dive into this classic Doobie Brothers hit!
Known for its soaring dual guitar solo that spans over three minutes long, “Blue Sky” was track three on side four of the album “Eat a Peach” by the Allman Brothers. The album was released in 1972, only a few months after Duane Allman, lead guitarist and founder of the band tragically died in a motorcycle crash in Macon, Georgia. The song was written by guitarist Dickey Betts about his girlfriend Sandy "Bluesky" Wabegijig, and was the first time Betts sang lead on an Allman Brothers song. The song features an acoustic guitar on rhythm, and two electric guitars played by Duane Allman and Dickey Betts that switch off playing lead and rhythm throughout the track.
Guitar tracks abound as we join Tyler in this iconic classic rock tune!
One of the catchiest songs in the Country Rock canon, “Amie” was originally released as track six on the album “Bustin’ Out’ by Pure Prairie League in 1972. Upon release, the song didn’t get much airplay, but by the Spring of 1975, the song blew up, eventually reaching #27 on the US charts. The three-part vocal harmony in the chorus gets everybody singing along, and the song features a doubled acoustic guitar in the intro and outro, an acoustic rhythm arrangement, an electric guitar on lead, and let's not forget that iconic acoustic guitar solo.
Time to join Tyler as we dive into this super catchy hit!
"El Paso," tells the story of a lonely gunfighter's fatal quest for the affection of his love interest, Feleena, in the town of El Paso. The song was released in the fall of 1959 as the first song on side two on Marty Robbins' fifth album, 'Gunfighter Ballads and Trail Songs'. The song was soon thereafter released as a single which went on to become the very first #1 song of the 1960s on the Billboard Music Charts before winning a Grammy in 1961 for Best Country and Western Recording!
Join Tyler Grant as he takes us down to El Paso with this Marty Robbins' hit!
Released in the summer of 1963, "Love's Gonna Live Here" was released as the b-side to the single "Getting Used to Losing You". Despite being the b-side to the single the song went on to enjoy massive popularity as it topped the Country Charts for a record 16 weeks - a record that would not be broken for a whopping 49 years!
Join Tyler Grant as he breaks down this Buck Owens' country classic!
In the autumn of 1988, Steve Earle released his third album, "Copperhead Road". The album's opening song, which shares the same title, was the first single from the album and peaked at #10 on the Billboard Mainstream Rock chart. There was an actual Copperhead Road, however, the road's name was legally changed due to the street signs being repeatedly stolen.
Let's take a trip down to Copperhead Road with Tyler Grant!
"Maggie May" was released in the summer of 1971 as the second track on side two of Rod Stewart's third studio album, "Every Picture Tells a Story". This classic rock staple topped the charts in several countries upon release and tells the story of the mixed emotions of a young man involved in a relationship with an older woman. The song was initially released as a b-side to the intended hit "Reason to Believe" but radio stations worldwide quickly incorporated it into their playlists making it the catalyst for Stewart's solo career!
Let's join Tyler Grant as he teaches a clinic on this Rod Stewart classic!
This version of "Tennessee Flat Top Box" was released in the fall of 1987 as the seventh track on Rosanne Cash's sixth studio album "King's Record Shop". The song went on to be one of four chart-topping hits from the album with "Tennessee Flat Top Box" peaking at #1 on both the US and Canadian country charts. Despite being the daughter of the legendary Johnny Cash she was unaware that her father had originally written the song which proved to be what Rolling Stone called a "healing of her strained relationship with her father".
Let's join Tyler Grant as he breaks down this 80's rendition of the Johnny Cash classic by his daughter, Rosanne Cash.
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