Trevor Gordon Hall
Trevor Gordon is a Guitar instructor at JamPlay.com
Rated one of the top 30 guitarists in the world under 30 years of age by Acoustic Guitar magazine, Trevor is an instrumentalist whose style ranges from edgy driving rhythms to delicate melodic themes. Exploring the guitar’s full creative potential, his blending of sounds weave together textures into grand yet intimate and lyrical compositions. While leaving no physical aspect of the guitar untouched, Trevor navigates audiences through an igniting experience of music th... (more)
Trevor Gordon currently offers 130 guitar lessons at JamPlay, with 130 intermediate lessons.
Trevor Gordon Hall's contribution to JamPlay
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Crafting Fingerstyle Melodies
Crafting Fingerstyle Melodies. Fingerstyle guitar is a broad term that can incorporate percussive elements of playing as well as Chet Atkins/Jerry Reed amazing flurry of notes approach and so much more in between. What the percussive traditions open up are ways of viewing harmonics and various sounds incorporating the full guitar into playing, and the Chet Atkins/Jerry Reed style open up ways of finger patterns and stringing together open strings to build speed and assemble blazing lines mimicking banjo rolls and more. This course is meant to navigate through gems found on both sides of the tradition shining light on how to use those ideas for opening up more ways to polish and enhance melodic playing.
Crafting Fingerstyle Melodies: Series Introduction
Fingerstyle guitar is a broad term that can incorporate percussive elements of playing as well as Chet Atkins/Jerry Reed amazing flurry of notes approach and so much more in between. This course is meant to navigate through gems found on both sides of the tradition, shining light on how to use those ideas to polish and enhance melodic playing. By fully embracing the idea that there are multiple ways to play a single note, this course hopes to tie the fretboard together and deepen exploration of all the colorful melodic potential the guitar has to offer.
7:02 Runtime
0.0 Difficulty
Proper Placement
We are working towards polishing and crafting melody in this course. This can be difficult to develop without looking at possible inefficiencies in how we are holding our arms, hands, and guitar. In this lesson we will talk through how to use the natural movements of arms, hands, wrist and fingers to our advantage. This will allow us to start from a neutral position and help ensure we are not fighting against our own limbs with unnecessary tension when playing.
5:21 Runtime
1.0 Difficulty
Building Finger Intuition
Working towards how to really craft melody we will focus on using good right hand technique while switching left hand chords. This is important to gain comfort with because as we move on to other left hand fretboard changes, the right hand should develop an auto-pilot stable technique.
28:11 Runtime
2.5 Difficulty
Crossing Strings
Melody is our goal. Playing it well and with color. In this lesson we will focus on a very important technique to help cross strings with ease and confidence. Melody requires one note after another regardless of where you play it so crossing strings with precision can make or break the flow.
15:01 Runtime
2.5 Difficulty
Course Overture Exercises Pt 1
This batch of exercises serves as a sort of overture for what the rest of this course will cover. Each exercise will start with a D chord and add on a different ending. Each ending will highlight a specific idea that we will explore in more detail as we work towards crafting a melody. They will start fairly simply and work up in complexity.
19:18 Runtime
3.0 Difficulty
Course Overture Exercise Pt 2
Let's expand the second half of each exercise with more movement in the left hand. It’s important to keep notes ringing as long as possible. We will cover how to use these exercises to start thinking about independent notes not just chord blocks.
20:32 Runtime
3.0 Difficulty
String Crossing Arpeggios
Now, we will talk about how to pivot over strings with thumb while crossing as well as a moveable shape you can use anywhere on the fretboard. The pattern will always play one note per string string until you get to the high E and then turn around and go back down.
22:52 Runtime
3.0 Difficulty
Arpeggio Chord Shapes
In this lesson, we will take the same right hand finger patterns and change up the left hand. If we have a major pattern, a minor pattern, a dominant, and an inversion of major, we can play almost any progression using arpeggios. We will start with these and then move them around the fretboard.
23:12 Runtime
3.0 Difficulty
Connecting Arpeggio Chords
Working towards melody will require good understanding of various chords in arpeggio form. We are working up to a full etude that will hop all around the fretboard while still maintaining same patterns we have been discussing.
25:02 Runtime
3.0 Difficulty
Moving Arpeggio Chords: A Major - F# Minor
Now we'll be expanding on more changes with the same shapes while building to our Etude. We will start with our now familiar Major 9 pattern and move into placing the minor 9 pattern on low part of the neck. This will require some stretching, so remember to always analyze thumb position. Pay attention to not just the finger sequence but the overall shape.
23:42 Runtime
3.0 Difficulty
Moving Arpeggio Chords: A Major - F# Dominant
Let's expand again! On to the A Major and F# Dominant shapes.
19:12 Runtime
3.0 Difficulty
Moving Arpeggio Chords: D Major - B Dominant
"Hopefully now you're starting to get the hang of this! Let's look at the D Major - B Dominant shapes in this lesson. It’s important to remember you want to be able to play each arpeggio starting from any point in the shape. "
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3.0 Difficulty
Moving Arpeggio Chords: F - E Dominant
We want to continue our goal being comfortable with every shape we have learned on different parts of the neck. This lesson will highlight putting some of these shapes in open position, as well as deepening more practice of other positions.
17:52 Runtime
3.0 Difficulty
Moving Arpeggio Chords: D - A 1st Inversion
Now on to Dmajor to A First Inversion. Be sure to play each exercise and listen for the sound color of each. What do these sounds make you think of? What mental image or mood or feeling? These can better help you remember them and then apply when you need that color or mood in your own playing or composing.
16:20 Runtime
3.0 Difficulty
Moving Arpeggio Chords: D - A 1st Inv. Bm - A 1st Inv.
Let's move on to the last shapes in this section: D - A First Inversion - Bm-A First Inversion.
18:02 Runtime
3.0 Difficulty
Creating Apreggio Progressions Etude
Now let’s put all of those shapes together in a progression. You can see how much mileage you can get out of one right hand crossing string picking pattern.
22:57 Runtime
3.0 Difficulty
Understanding Open Strings
Using open strings can sometimes be a confusing proposition. Normally when we ascend in pitch we go up fretboard OR to higher strings but now when using open strings sometimes you have to go to a higher string for a lower pitch, or a lower string for a higher pitch. Let your ear guide you and fingers will follow!
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3.0 Difficulty
Banjo Roll Technique
Now we will take the same right hand patterns we've been working on with a few minor tweaks, and add in some open strings. This will change the way we approach playing scales and melodies. Go slowly and be careful to follow the right hand fingerings as we seek to emulate the picking patterns of a banjo.
22:49 Runtime
3.0 Difficulty
Rethinking Melody to Include Open Strings
The concept of utilizing the open strings we have available will be very important in your fingerstyle journey, so make sure you go slow and learn this new way of thinking. Open strings throw a lot of confusion into our normal scale pattern thinking but as we build you will see how important this is for crafting our melodies. Enjoy those ringing strings!
34:27 Runtime
3.0 Difficulty
Traids and Open Strings Etude
Now that we have some open string ideas let’s shift to some arpeggio triad shapes incorporating what we have covered so far. Each small chunk of this etude can be seen as its own exercise so have fun breaking it down or playing it altogether. This one gets the fingers cooking so expect a workout burn as you play it.
19:51 Runtime
3.0 Difficulty
Adding Harmonics and Open Strings Pt 1
Let's put all of this together with harmonics not just being used for color but for sustaining melody notes similar to a piano sustain pedal. This frees us up to really extend sustaining life of the melody and gives us freedom for color and expression
18:56 Runtime
3.5 Difficulty
Adding Harmonics and Open Strings Pt 2
In part two, be sure to practice getting clean right hand and left hand harmonics. Go only as fast as you can play evenly in tempo making sure you don’t memorize gaps between the notes and the harmonics.
19:40 Runtime
3.5 Difficulty
Arpeggios with Open Strings and Harmonics
Remember, this course is all about finding different ways to play a note. In this lesson, we look at some arpeggio shapes, but look to use our open strings and harmonics to accomplish the goal of the course.
25:47 Runtime
3.5 Difficulty
Coloring in a Melody
Coloring a melody can be a multi faceted task on the guitar. We can use harmonics, open strings and fretted notes. Here we look at some ways to affect a melody and get some of these concepts under our fingers.
34:19 Runtime
3.5 Difficulty
Triad Melody Etude Pt 1
Let's now take a look at the Triad Melody Etude. This etude incorporates chord movements, open strings and harmonics - all things we have been working on!
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3.5 Difficulty
Triad Melody Etude Pt 2
In this lesson, we will finish up learning the Triad Melody Etude. Be sure to take each section slowly and spend plenty of time with it, and you will have it down before you know it!
25:41 Runtime
3.5 Difficulty
Modulating Melody Etude - Part 1
This etude will fully explore what we have been discussing. It modulates keys a few times while still using harmonics, open strings and thinking melodically.
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3.0 Difficulty
Modulating Melody Etude - Part 2
Now, the next section of the Modulating Melody Etude.
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3.0 Difficulty
Modulating Melody Etude - Part 3
Now we come to the last part of the Modulating Melody Etude. Try playing each section together slowly and make sure to let harmonics ring out as long as possible. Sometimes this requires being extra careful with left hand when switching to new chords not to stop the string from resonating. Let you ear guide you.
21:03 Runtime
3.0 Difficulty
Taking Care of Your Hands
Playing fingerstyle can put a lot of demands on your hands and arms. Being able to take proper care of yourself is a must! In this lesson, Trevor shows us some of his go to exercises and tools for keeping his hands in the best possible shape.
18:47 Runtime
0.0 Difficulty
Nail Care
Trevor is always asked about his nails! In this lesson, he gives a comprehensive, step by step tutorial of exactly what his regimen is regarding his nails. A must see for any fingerstyle player!
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0.0 Difficulty
Structured Spontaneity
“Inspiration is for Amateurs..The rest of us just show up and get to work”... In other words, don't simply wait for inspiration to strike, instead put the work it and it will come! Learning how to practice can be just as challenging as what you are actually practicing. Here, Trevor gives us a detailed look into his practice routine that he has spend years refining!
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0.0 Difficulty
The Meeting at the Window - Song Lesson, Part 1
In this lesson, Trevor takes us through his song, "The Meeting at the Window". The lesson begins with a complete playthrough, followed by an in depth teaching of the first section of the song.
24:47 Runtime
4.0 Difficulty
The Meeting at the Window - Song Lesson, Part 2
Now, the middle section of Trevor's song, "The Meeting at the Window".
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4.0 Difficulty
The Meeting at the Window - Song Lesson, Part 3
Trevor wraps up the teaching of his song, "The Meeting at the Window".
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4.0 Difficulty
That Old Familiar Pain - Song Lesson, Part 1
Now we get to take an in depth look at Trevor's beautiful song, "That Old Familiar Pain". Trevor will go through the piece step by step. This this first part, we get a complete playthrough, followed by the teaching of the first section of the song. Enjoy!
25:07 Runtime
4.5 Difficulty
That Old Familiar Pain - Song Lesson, Part 2
Trevor teaches us the middle section of his song "That Old Familiar Pain".
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4.5 Difficulty
That Old Familiar Pain - Song Lesson, Part 3
Trevor wraps us his song "That Old Familiar Pain" by teaching us the last section of the songs, which includes a little bit of percussion!
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4.5 Difficulty
Building Colorful Chords
Building Colorful Chords. This course will give a ground up approach to chords from the guitarists perspective so that any player can bring new color options and understanding to their own playing beyond the “RULES”. Trevor will provide plenty of shapes and etudes to develop your ear training as well, so you can start to connect the dots between what chords you hear your favorites artists playing and where they are located on the fretboard.
Building Colorful Chords Introduction
Have you ever wanted to get outside of your standard cowboy and barre chords? Are you left wanting without a mix of color and panache from your voicings? In Building Colorful Chords, Trevor dissects chord construction and offers up the technique and wisdom to take your chordal playing to the next level!
3:09 Runtime
0.0 Difficulty
Fretboard Notes
Knowing the names of the notes on your fretboard is a key component to learning how to build chords. From open strings to knowing every note on your guitar, Trevor shares a simple and effective way to memorize all the notes so that they'll literally be at your fingertips when you need them!
8:18 Runtime
1.5 Difficulty
Foundation of Scales and Intervals
We continue refreshing our basic knowledge in this lesson. Trevor reviews the foundations of scales and intervals, starting with the chromatic scale (the basis for everything), then on to the major scale where we discuss what each degree of the scale represents.
16:35 Runtime
2.0 Difficulty
Understanding Triads and Keys
Stacking intervals, also known as triads, are the foundation of how chords are put together. In this lesson, Trevor demonstrates triads in the key of G with some easy to remember patterns that will help you immensely in your chord playing journey.
20:52 Runtime
2.5 Difficulty
Aria Etude Progression in Triads
Now it's time to put what we've learned so far into practice. Trevor teaches us an etude that will help solidify our foundational chord concepts.
10:13 Runtime
2.5 Difficulty
Understanding Vertical Inversions
Let's talk about inversions. Inversions are basically rearranging the notes of your triads. Trevor will cover root position, 1st inversion and 2nd inversion.
18:12 Runtime
2.5 Difficulty
Vertical Triad Inversion Chords Etude
This lesson features an etude that will help you get a good grasp of your vertical inversions. Being able to switch between these inversion around the neck will serve you well when playing your songs or putting your own spin on someone else's songs!
12:11 Runtime
3.0 Difficulty
Adding Extensions for Color
Adding extensions is the next piece of the colorful chords puzzle. Trevor starts by adding 6ths and 7ths.
17:52 Runtime
3.0 Difficulty
Adding Extra Extensions
In this lesson, Trevor explains the meaning of higher numbered extensions like 9's 11's and 13's, and why they give us the sounds that they do.
20:46 Runtime
3.0 Difficulty
Spicing Up Familiar Chords
Sometimes colorful chords can be as simple as tweaking chords that you are already familiar with. In this lesson, Trevor will talk about introducing certain intervals, building tension and even some tips to get that pinky working!
20:36 Runtime
3.0 Difficulty
Incorporating Open Strings
One way to open up the sound of standard tuning is to incorporate open strings whenever possible. Trevor gives us some examples of adding in these open strings that definitely add a unique color to our sound.
13:04 Runtime
3.0 Difficulty
Major 7 Chord Inversions (Bottom Up)
Now that we've explored more four note chords, lets revisit the inversion topic. Trevor goes over how to build your four note major 7th inversions from the bottom up.
11:27 Runtime
3.0 Difficulty
Dominant 7 Chord Inversions (Bottom UP)
Let's look at building our dominant 7th chord inversions from the bottom up. Taking the time to understand each note while going from chord to chord is key in getting the most out of your chords.
11:36 Runtime
3.0 Difficulty
Minor 7 Chord Inversions (Bottom UP)
Now we give the same treatment to our minor 7th chords. Each inversion gives a slightly different flavor to these chords that are a key part of any chord vocabulary!
9:36 Runtime
3.0 Difficulty
Bottom Up Inversion Combinations Etude
Get ready to stretch your fingers as Trevor revisits all of our previous bottom down inversions with an etude that will help tackle some tough chord changes within a beat. Starting with the root position shapes, he'll then progress through the second and third positions.
15:18 Runtime
3.5 Difficulty
Bottom Up Variation of Previous Etude
Time to shake things up and play our inversions in a different context by varying the usage and order. In this lesson,Trevor will use the chord inversions from the previous etude in the open, second, and third positions to create a unique bottom down melody."
11:34 Runtime
3.0 Difficulty
Major 7 Inversions (Top Down)
Many times changing a single note can have a dramatic influence on the color or timbre of a chord. Trevor now covers the Major 7th inversions from the top down, and will show us how restructuring inversions can often help make changes more fluid.
5:01 Runtime
2.5 Difficulty
Dominant 7 Chord Inversions (Top Down)
Let's keep the top down as Trevor now covers Dominant 7th chord inversions. He'll discuss how to make more economical changes with these unique shapes by trading a low root note for a higher equivalent root.
3:52 Runtime
2.5 Difficulty
Minor 7 Chord Inversions (Top Down)
Continuing with our top-down inversions, Trevor will now cover the Minor 7th inversions and how they correlate to our inversions from previous lessons.
4:37 Runtime
2.5 Difficulty
Top Down Etude Using Inversion Combinations
In this lesson Trevor ties everything together with a top down etude that will utilize all of our top down inversions from the previous lessons. He will start with the root position shapes, then progress through the second and third positions.
7:14 Runtime
3.0 Difficulty
Top Down Inversion Etude Variations
Now let's mix things up and utilize our inversions in context by varying the usage and order. Trevor will utilize open, second, and third position inversions to create a unique melody.
4:14 Runtime
3.0 Difficulty
Silent Night With Inversions
Sometimes the most useful tool that we can use is a familar melody. In this lesson, Trevor will combine all of our bottom up, and top down inversions that we've learned into a his own familiar melody, the holiday standard "Silent Night".
7:39 Runtime
3.5 Difficulty
A-String Major 7 Inversions
Let's shift our focus from the high and low E rooted inversions to inversions on the A string. Starting with the major 7, Trevor will cover how to seamlessly switch between major, minor, and dominant chords after establishing our basic shape.
4:48 Runtime
2.5 Difficulty
Colorful G-Major Inversions
Now we will begin exploring the inversions of our major chords, starting with G major. There are some tough reaches in here, so it might take some practice. Stick with it!
17:51 Runtime
2.5 Difficulty
Colorful A-Major Inversions
Now we are inverting the A chord up the neck. Trevor will teach you four inversions and combine them into an exercise.
12:24 Runtime
2.5 Difficulty
Colorful D-Major Inversions
It's time for D major inversions now. Some of these stretches are tough, but they are worth it! This set is very much like the D major inversions in how we work them out. Trevor combines these four inversions into an exercise for you to practice.
13:06 Runtime
2.5 Difficulty
Colorful C-Major Inversions
Trevor shows you four inversions of the C major chord. The first ought to be familiar, but the rest are pretty challenging!
13:27 Runtime
2.5 Difficulty
Colorful E-Major Inversions
Add color to your E chord next. The first inversion is a modified open E, but with a much bigger stretch! By now a few of these shapes might be familiar but we are putting a new spin on them every time. Check out these four in the exercise that Trevor has prepared.
9:06 Runtime
2.5 Difficulty
Etude Combining Major Colorful Inversions, Part 1
With all of these inversions under our belt, it's time to start tying them together! Trevor takes you through the first half of a big etude that will sum everything up.
10:22 Runtime
3.0 Difficulty
Etude Combining Major Colorful Inversions, Part 2
This is it! With this lesson, we will learn the second half of Trevor's etude and combine all of these skills into one exercise. Stick around for the practice session to really get these skills deep into your head and hands.
20:46 Runtime
3.0 Difficulty
30 Must Know Harmonic Fingerstyle Licks
30 Must Know Harmonic Fingerstyle Licks. Have you ever thought of adding various flavors or harmonics to your fingerstyle playing? Do you have the techniques down but instead missing some vocabulary? In this series Trevor Gordon Hall offers up 30 licks you can get into your playing that combine harmonics with the fingerstyle genre.
30 Must Know Harmonic Fingerstyle Licks Introduction
Welcome to 30 Must Know Harmonic Fingerstyle Licks, created by Trevor Gordon Hall. In this lick pack series, Trevor provides 30 unique fingerstyle licks that showcase various harmonics on the guitar.
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0.0 Difficulty
Natural Harmonic Melody
The first lick in this pack is a natural harmonic melody using the 5th, 7th and 12th fret harmonics.
6:01 Runtime
3.0 Difficulty
Chime-like Natural Harmonics
In this lick, you'll combine the 5th and 7th fret harmonics along with regular fretted notes to create a chime-like effect.
5:55 Runtime
3.0 Difficulty
Pentatonics and Harmonics
Try out this harmonic fingerstyle lick that incorporates the pentatonic scale.
4:56 Runtime
3.0 Difficulty
Natural Harmonics with Strumming
Lick 4 is all about strumming and ringing those natural harmonics.
6:28 Runtime
2.5 Difficulty
Natural Harmonics and Moving Harmony
In lick 5, you'll be using harmonics as the melody and changing the harmony underneath them.
6:19 Runtime
2.5 Difficulty
Natural Harmonics and Moving Bass Notes
Just like the previous lick, you'll be using harmonics to set the stage, but this time you'll be moving a bass line with them.
5:37 Runtime
2.5 Difficulty
Filling the Space with Harmonics
In lick 7, you'll use harmonics to fill space that is otherwise empty. You'll be utilizing artificial harmonics on this one.
6:53 Runtime
3.0 Difficulty
Artificial Harmonics Beyond the C
Using artificial harmonics, you'll be outlining the C major scale and also utilizing hammer-ons and pull-offs.
5:07 Runtime
3.0 Difficulty
E-Minor Slap Harmonics
In lick 9 you'll be using the slap harmonic technique in the key of E minor.
5:34 Runtime
3.0 Difficulty
Slapping Individual Notes
Much like the last lick, you'll be using the slap harmonic technique here. However, you'll be targeting single notes this time.
6:06 Runtime
3.0 Difficulty
Outlining Chords with Harmonics
Lick 11 will use artificial harmonics to outline chords and create a lick.
5:57 Runtime
3.0 Difficulty
Pentatonics and Artificial Harmonics
Lets take another look at using harmonics with pentatonics. In this lick, you'll be utilizing artifical harmonics with the pentatonic scale.
4:42 Runtime
3.0 Difficulty
Outlining a Chord Progression with Artificial Harmonics
Just like we've outlined a chord using artificial harmonics, we're now going to outline an entire progression!
5:49 Runtime
3.5 Difficulty
Combining Pull-offs and Harmonics
Lets get a bit more complicated! In this lick you'll be using harmonics along with the pull-off technique.
5:26 Runtime
3.5 Difficulty
12th and 19th Fret Over a Static Chord
This lick will use a single chord and the harmonics at the 12 and 19th frets.
5:26 Runtime
3.0 Difficulty
Outlining a Minor Progression
With a nod to lick 11, we again look at outlining a progression with harmonics. This time it's a minor progression.
6:36 Runtime
3.0 Difficulty
Mixing Fretted and Harmonic Notes
In lick 17, you'll be using a mix of fretted notes and harmonics.
6:36 Runtime
3.0 Difficulty
Mixing Natural and Artificial Harmonics
This lick is a little more complex, mixing both artificial and natural harmonics.
5:06 Runtime
0.0 Difficulty
Harp-like Harmonics
This lick is all about sounding like a harp. You'll be mixing harmonics and fretted notes at the same time to create this sound.
6:03 Runtime
3.5 Difficulty
Artificial and Natural Harmonics with Open Strings
We're getting a bit more complex now by adding artificial and natural harmonics, with open ringing strings.
6:05 Runtime
3.0 Difficulty
Trickle Down Harmonics
Using harmonics, fretted notes and pull-offs, you'll create a trickling type sound in this lick.
5:56 Runtime
3.0 Difficulty
Pulling Off to a Harmonic
Here's a neat trick built into a lick. You'll be performing a pull-off to a harmonic.
6:00 Runtime
3.5 Difficulty
Strumming Harmonics
Here's another great lick that includes strums to create harmonics.
5:41 Runtime
3.0 Difficulty
Outlining A Traditional Melody
This lick takes a traditional melody and outlines it using harmonics.
6:00 Runtime
3.5 Difficulty
Bridging the Gaps with Harmonics
In this lick you'll be using harmonics to sustain between fretted notes.
6:19 Runtime
3.5 Difficulty
Accenting Chords with Harmonics
This chordal based lick will have you accenting those chords with harmonics.
5:09 Runtime
3.0 Difficulty
Rising and Falling Harmonics
This lick will use fretted notes and 12th fret harmonics to create a melody.
3:34 Runtime
3.0 Difficulty
Shifting Harmonic Passage
This lick uses the low fretted notes with 19th fret harmonics to create a sonic spread in the melody.
4:19 Runtime
3.0 Difficulty
Cascading Across the Fretboard
This lick will have you playing harmonics across the fretboard.
4:54 Runtime
3.0 Difficulty
Modulating Harmonic Lick
This lick modulates keys with ringing harmonics at the 19th fret.
4:17 Runtime
3.0 Difficulty
30 Fingerstyle Licks You Must Know
30 Fingerstyle Licks You Must Know. This course is designed to explore the various techniques needed to play contemporary fingerstyle guitar. There are 5 different areas of study each containing 6 exercises. This course covers a wide range of techniques meant to introduce as well as refine your playing in short single riff-style pieces.
30 Fingerstyle Licks You Must Know
To get you started, Trevor provides a brief introduction on what will be covered in this fingerstyle lick pack and what it's designed to help you accomplish.
4:02 Runtime
0.0 Difficulty
Floating Gmaj7 Pattern
Trevor kicks of these must know licks with a Gmaj7 type of picking pattern that has a nice flow and roll to the pattern.
5:35 Runtime
3.0 Difficulty
Independent Thumb in G
This lick hops back and forth on the upper strings, while keeping a steady beat with your thumb. The tonality is centered around a C add 9 and a G Maj 9.
5:56 Runtime
3.0 Difficulty
Alice's Bistro
Here is a classic Travis style pattern reminiscent of 60's folk. The chord progression centers around the key of C.
5:52 Runtime
3.0 Difficulty
Alternating Open Strings
Now let's make use of the open strings on our guitar, while syncing our other fingers on a back and forth type movement.
6:01 Runtime
3.0 Difficulty
Hammering Through
This lick uses hammer-ons to extend the line and increase the number and availability of notes. Even though the picking hand is only plucking 4 notes, using hammer-ons makes it sound like much more!
5:28 Runtime
3.0 Difficulty
Hammering Up the Neck
Trevor shows us a lick here that ascends the neck, all the while hammering on notes from open strings. This is a great way to get some good hammer on 'target practice' in!
5:48 Runtime
3.0 Difficulty
Legato in G Major
This lick uses the three note per string patterns common to most legato playing.
4:15 Runtime
3.0 Difficulty
Slip Slidin' G-A
Here's a sliding riff that spans the neck of the guitar in 3 different octaves.
4:03 Runtime
3.0 Difficulty
Three Notes Ascending Pattern
Trevor shows us a three note per string ascending pattern that allows for fast and clean articulation across the fretboard.
5:14 Runtime
3.0 Difficulty
D Major Lift
This pentatonic lick in D covers a lot of territory on the fretboard, resolving to a hammered on chord at the end.
4:55 Runtime
3.0 Difficulty
Banjo Roll in E Minor
Now let's look at employing a banjo roll style technique across the fretboard. This E minor lick benefits from the consistency of this technique.
5:21 Runtime
3.0 Difficulty
Open String Banjo Roll
Again let's try the banjo roll technique, this time using it on a G major scale. The thing that makes this scale sound great is all the open strings we can find along the way!
6:29 Runtime
3.0 Difficulty
Fluid Percussion Lick
In this lick Trevor introduces some percussion hits played with the thumb while the other fingers are plucking chords.
5:53 Runtime
3.0 Difficulty
Ghost Notes With Percussion
Now let's take the previous lick and add some percussive sounding ghost notes to give it even more groove.
5:24 Runtime
3.0 Difficulty
Sparse Percussion in D
Here's another lick that adds percussion. The difference here is that the percussive hit is more sparse, giving the lick a laid back feel.
4:28 Runtime
3.0 Difficulty
Relaxing the Wrist in G
The thumb hits continue there, but this time the left hand is moving up the neck more; in the bassline and in the chords.
6:11 Runtime
3.0 Difficulty
Rake and Pluck
This lick employs lots of percussive hits, ghost notes and chord plucks, along with left hand movement.
6:45 Runtime
3.0 Difficulty
Adding a Kick Drum
Now that we've added basic 'snare' drum type patterns, let's look at adding a 'kick' drum to this next lick.
7:51 Runtime
3.0 Difficulty
Kick Hammer Snare
This lick takes us in a different direction, with an isolated hammer on lick on the left hand, all the while creating a kick and snare groove with the right hand. A challenge for sure!
9:21 Runtime
3.5 Difficulty
Percussion and Ghost Strum Chill
Here's a laid back strumming riff that uses ghost strums and percussion to create a very chill vibe.
6:48 Runtime
3.5 Difficulty
Straight Percussion Groove in D
Trevor has created this lick to be all about the groove. This employs percussion and strumming with a straight feel. Consistency between strum and percussion is the goal here.
7:50 Runtime
3.0 Difficulty
Reggae Percussion Groove
Let's take that consistent percussion groove, combine it with barre chords and ghost strums, and make a reggae feel!
6:45 Runtime
3.0 Difficulty
Push and Pull
Ghost strums, ghost notes and percussion are combined to make this lick come alive!
7:15 Runtime
3.0 Difficulty
Playing Behind the Nut
This lick utilizes a note played behind the nut as a unique triangle-like percussion effect.
8:48 Runtime
4.0 Difficulty
Free Flowing and Connected
Open strings are used in this lick to connect different parts of the fretboard. This gives the lick a smooth and congruent sound, and allows the different elements to flow seamlessly.
5:21 Runtime
3.0 Difficulty
Laid Back Harmonics
Now Trevor integrates some harmonics into this lick to accentuate the melodic line that is played over chords.
6:44 Runtime
3.0 Difficulty
Melody on Top
The hopping thumb and open strings really set this lick apart. The thumb keeps the pulse, and the open strings allow for smooth melodic transitions.
6:26 Runtime
3.0 Difficulty
Melody with a Groove
This melody incorporates harmonics as an accent, while the groove is held down by basic percussion elements.
5:31 Runtime
3.0 Difficulty
Modulating with Harmonics
Here is a harmonic highlighted lick that takes advantage of the sonic space to achieve it's unique sound.
0:00 Runtime
0.0 Difficulty
A-Minor Percussion Jam
This A-minor percussion jam utilizes spacious jumps up and down the fretboard, while maintaining a clearly defined melodic sense.
0:00 Runtime
0.0 Difficulty
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