Trevor Gordon Hall

Introduction to 'Fingerstyle Guitar for Beginners'

Trevor Gordon Hall introduces us to 'Fingerstyle Guitar for Beginners'

Getting to Know Your Guitar

Let's begin our journey as Trevor discusses the name and purpose of various parts of the acoustic guitar.

String Names and Tuning

Let's continue covering the basics. Here, Trevor will discuss each of the strings and how to tune them properly using a digital tuner.

Putting Your Hands on the Guitar

Holding your guitar incorrectly while playing can increase the chance of injury and frustrate a new player to the point of quitting before they've even gotten started. In this lesson, Trevor will discuss the importance of proper and ergonomic posture while playing.

Reading Tablature and Basic Notation

Few things are more daunting for a new guitar player than learning to read notation. 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.

Picking Individual Notes with Index and Middle

Let's make some noise! In this lesson, we'll dip our toes into the PIMA method as Trevor demonstrates the proper picking technique using the index and middle fingers.

Playing patterns with PIMA

Time to take our PIMA method to the next level! Here, Trevor will expand our picking ability to include the remaining digits of our picking hand as we learn our first picking pattern.

'In the Bleak Midwinter' A-section Melody

Ok, we've got our tools, now it's time to put them to use! In this lesson, Trevor will start us out with the A-section melody to the familiar holiday standard, 'In the Bleak Midwinter'.

'In the Bleak Midwinter' A-Section Chords

Now that we've got the melody to committed to muscle memory let's get the chord progression for the A-section of 'In the Bleak Midwinter' under our fingers!

'In the Bleak Midwinter' A-Section Single Note Bass with Melody

We've got our melody. We've got our chords. But something is still missing, right? In this lesson, Trevor will show us how to merge two voices by incorporating our melody into the bass lines!

'In the Bleak Midwinter' B-Section Melody

Alright, we've got the full A-section committed to muscle memory. Now it's time to move on to the B-section melody of 'In the Bleak Midwinter'.

In the Bleak Midwinter B Section New Chords

Moving along. Now let's cover the B-section chords of 'In the Bleak Midwinter'.

Moving a Bass Line

Now we've come to the bass notes of the B-section of 'In the Bleak Midwinter'. This section will require a new skill using our independent thumb to manipulate the bass notes while maintaining the melody and chords of the song with the remaining PIMA digits.

Rolling Strum Picking Technique

In this lesson, Trevor will provide us with another useful tool that we can use immediately for our upcoming full arrangement of "In the Bleak Midwinter' - the rolling strum technique.

'In the Bleak Midwinter' Full Arrangement

We've come a long way with our new fingerstyle skills! Now it's time to tie it all together to play the full final arrangement of 'In the Bleak Midwinter'.

Charting out the Melody to 'Oh Shenandoah'

Here, Trevor turns the page to focus on our second song of the course using the same methodology as our previous song. In this lesson, we'll chart out the melody of 'Oh Shenandoah'.

Introduction to Ear Training

One of the most important skills that we can develop as a guitar player is an accurate ear. Here, Trevor will discuss the necessity for this tool, as well as his method of finding the correct "colors" for his chords.

Adding Chords to Melody: 'Oh Shenandoah'

In this lesson, we'll continue our work on the song 'Oh Shenandoah' as Trevor uses the melody to determine the chords to the tune.

Chords in the Key of G

Each key has a family of chords that can be used within the said key. Here, Trevor will cover the familial chords in the key of G.

Fingerpicking Pattern in G

Now it's time to take things up a notch with this short excerpt that utilizes various staggered fingerpicking patterns.

Filling in the Melody

We've got the melody and chords to 'Oh Shenandoah' under our fingers but still sounds a bit utilitarian. In this lesson, Trevor will show us some useful techniques to help fill out our sound to create a more complex composition by simply adding a few key notes.

G Major Scale in Thirds

Let's take a break from 'Oh Shenandoah' to focus on a few really useful techniques that will help fill out our sound while adding a level of complexity to our sound. Here, we'll be harmonizing using the thirds of the G-Major Scale.

Independent Thumb: Hopping Strings

Our next useful technique will allow us to add some depth to our bass notes by "hopping" between our lower strings to produce a familiar pedaling bass accent.

Adding Embellishments for Expression

Our final useful technique before we tackle our full arrangement of 'Oh Shenandoah' is truly the icing on the cake. In this lesson, Trevor will cover a few of his favorite embellishment techniques.

'Oh Shenandoah': Full Arrangement

Congratulations! You have arrived at the final lesson of the course. Here, Trevor will utilize all of the skills that we've learned so far to play the full arrangement of 'Oh Shenandoah'!

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Moving Arpeggio Chords: A Major - F# Dominant

Let's expand again! On to the A Major and F# Dominant shapes.

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. "

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.

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.

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.

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.

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!

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.

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!

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.

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

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.

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.

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.

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!

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!

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.

Modulating Melody Etude - Part 2

Now, the next section of the Modulating Melody Etude.

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.

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.

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!

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!

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.

The Meeting at the Window - Song Lesson, Part 2

Now, the middle section of Trevor's song, "The Meeting at the Window".

The Meeting at the Window - Song Lesson, Part 3

Trevor wraps up the teaching of his song, "The Meeting at the Window".

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!

That Old Familiar Pain - Song Lesson, Part 2

Trevor teaches us the middle section of his song "That Old Familiar Pain".

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!

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!

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!

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.

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.

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.

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.

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!

Adding Extensions for Color

Adding extensions is the next piece of the colorful chords puzzle. Trevor starts by adding 6ths and 7ths.

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.

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!

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.

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.

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.

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!

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.

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."

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.

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.

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.

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.

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.

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".

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.

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!

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.

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.

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!

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.

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.

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.

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.

Natural Harmonic Melody

The first lick in this pack is a natural harmonic melody using the 5th, 7th and 12th fret harmonics.

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.

Pentatonics and Harmonics

Try out this harmonic fingerstyle lick that incorporates the pentatonic scale.

Natural Harmonics with Strumming

Lick 4 is all about strumming and ringing those natural harmonics.

Natural Harmonics and Moving Harmony

In lick 5, you'll be using harmonics as the melody and changing the harmony underneath them.

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.

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.

Artificial Harmonics Beyond the C

Using artificial harmonics, you'll be outlining the C major scale and also utilizing hammer-ons and pull-offs.

E-Minor Slap Harmonics

In lick 9 you'll be using the slap harmonic technique in the key of E minor.

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.

Outlining Chords with Harmonics

Lick 11 will use artificial harmonics to outline chords and create a lick.

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.

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!

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.

12th and 19th Fret Over a Static Chord

This lick will use a single chord and the harmonics at the 12 and 19th frets.

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.

Mixing Fretted and Harmonic Notes

In lick 17, you'll be using a mix of fretted notes and harmonics.

Mixing Natural and Artificial Harmonics

This lick is a little more complex, mixing both artificial and natural harmonics.

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.

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.

Trickle Down Harmonics

Using harmonics, fretted notes and pull-offs, you'll create a trickling type sound in this lick.

Pulling Off to a Harmonic

Here's a neat trick built into a lick. You'll be performing a pull-off to a harmonic.

Strumming Harmonics

Here's another great lick that includes strums to create harmonics.

Outlining A Traditional Melody

This lick takes a traditional melody and outlines it using harmonics.

Bridging the Gaps with Harmonics

In this lick you'll be using harmonics to sustain between fretted notes.

Accenting Chords with Harmonics

This chordal based lick will have you accenting those chords with harmonics.

Rising and Falling Harmonics

This lick will use fretted notes and 12th fret harmonics to create a melody.

Shifting Harmonic Passage

This lick uses the low fretted notes with 19th fret harmonics to create a sonic spread in the melody.

Cascading Across the Fretboard

This lick will have you playing harmonics across the fretboard.

Modulating Harmonic Lick

This lick modulates keys with ringing harmonics at the 19th fret.

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.

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.

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.

Alice's Bistro

Here is a classic Travis style pattern reminiscent of 60's folk. The chord progression centers around the key of C.

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.

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!

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!

Legato in G Major

This lick uses the three note per string patterns common to most legato playing.

Slip Slidin' G-A

Here's a sliding riff that spans the neck of the guitar in 3 different octaves.

Three Notes Ascending Pattern

Trevor shows us a three note per string ascending pattern that allows for fast and clean articulation across the fretboard.

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.

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.

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!

Fluid Percussion Lick

In this lick Trevor introduces some percussion hits played with the thumb while the other fingers are plucking chords.

Ghost Notes With Percussion

Now let's take the previous lick and add some percussive sounding ghost notes to give it even more groove.

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.

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.

Rake and Pluck

This lick employs lots of percussive hits, ghost notes and chord plucks, along with left hand movement.

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.

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!

Percussion and Ghost Strum Chill

Here's a laid back strumming riff that uses ghost strums and percussion to create a very chill vibe.

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.

Reggae Percussion Groove

Let's take that consistent percussion groove, combine it with barre chords and ghost strums, and make a reggae feel!

Push and Pull

Ghost strums, ghost notes and percussion are combined to make this lick come alive!

Playing Behind the Nut

This lick utilizes a note played behind the nut as a unique triangle-like percussion effect.

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.

Laid Back Harmonics

Now Trevor integrates some harmonics into this lick to accentuate the melodic line that is played over chords.

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.

Melody with a Groove

This melody incorporates harmonics as an accent, while the groove is held down by basic percussion elements.

Modulating with Harmonics

Here is a harmonic highlighted lick that takes advantage of the sonic space to achieve it's unique sound.

A-Minor Percussion Jam

This A-minor percussion jam utilizes spacious jumps up and down the fretboard, while maintaining a clearly defined melodic sense.

Introduction to the 'The Fingerpicking Practice Plan'.

Trevor Gordon Hall introduces us to the 'Fingerpicking Practice Plan'.

Finger Intuition Exercise 1

Finger intuition relates to having comfortable confidence in your finger positioning and string assignments. In this first exercise, Trevor will discuss the Triangle Position, Staccato vs. Free Stroke picking, and will cover a 'C Maj 7 to D sus to E Min add 9 to D sus' picking pattern that will help us foster proper finger intuition.

Finger Intuition Exercise 1: Practice Session

Ok. Now it's time to practice our 'C Maj 7 to D sus to E Min add 9 to D sus' picking pattern.

Finger Intuition: Exercise 2

Here, Trevor will help us to continue working on our finger intuition with this two-finger, ascending and descending, A-Minor to E-Minor picking pattern.

Finger Intuition Exercise 2: Practice Session

Alright, now let's practice our A-Minor to E-Minor picking pattern presented in the previous lesson.

Finger Intuition Etude

Here, Trevor will provide us with an E-Major Etude that will utilize the finger intuition skills that we've learned thus far.

Finger Intuition Etude: Practice Session

Let's close out Section 1 of our course by practicing the E-Major Etude provided in the previous lesson.

PIMA Exercise 1

"PIMA" ((P = pulgar (thumb), I = indice (index finger), M = medio (middle finger), A = anular (ring finger)) is an acronym originating from classical guitar notation which assigns a name for each digit of the picking hand for use in fingerpicking assignments. In this lesson, Trevor will play a few 'Cmaj 7 - Dsus - Em9' combinations out of order using the PIMA finger positioning to help us commit the acronym and finger assignments to muscle memory.

PIMA Exercise 1: Practice Session

Now it's time to practice the PIMA-centric picking pattern provided by Trevor in the previous lesson.

PIMA: Exercise 2

In this next lesson, Trevor will provide us with an 'E - C#m - A - B' exercise intended to help with adding bass notes to a stationary chord while utilizing a combination of high fretted notes and open strings.

PIMA Exercise 2: Practice Session

Ok let's commit this pattern to muscle memory and put our 'E - C#m - A - B' into practice.

PIMA Etude

Let's close out Section 2 with an etude aimed at helping you gain comfort playing various PIMA patterns with a P-and-A pinch between the D and high E strings that accents the root and melody note of a chord.

PIMA Etude: Practice Session

Now let's practice the etude provided by Trevor in the previous lesson.

Independent Thumb: Exercise 1

Moving on to Section 3, curating the ability to manipulate your thumb independently from the rest of your fretting digits while chording allows for a myriad of sounds and textures in your playing. In this lesson, Trevor provides an E-major independent thumb exercise that shifts to A-minor using varying PIMA patterns.

Independent Thumb Exercise 1: Practice Session

Alright! Now it's time to put our independent thumb into practice!

Independent Thumb: Exercise 2

Let's continue with our work on an independent thumb with this next lesson which provides an exercise utilizing one, two, and three-finger chords - interspersed with an open-thumb hop between the D and G strings.

Independent Thumb Exercise 2: Practice Session

You know the drill! Let's put the previous exercise into practice, and commit our independent thumb to muscle memory!

Independent Thumb Etude

Let's close out Section 3 with this awesome etude that incorporates moveable 3rds, pinched notes, and our independent thumb. We'll also have the opportunity to use an open G to shift to the next chord, which can be useful for making quick chord changes sound fluid and effortless!

Independent Thumb Etude: Practice Session

It's time to practice the previous etude and try to commit the multiple skills to muscle memory!

Independent Lines: Exercise 1

We've arrived at the fourth and final section of our course! In this lesson, Trevor provides us with an exercise geared toward alternating the 'I' and 'M' strings while simultaneously playing lead lines. He'll also cover crossing strings, and even introduce us to "banjo-style" playing which makes use of open ringing strings.

Independent Lines Exercise 1: Practice Session

Ok! Let's put everything that we've learned from the previous lesson into practice.

Independent Lines: Exercise 2

Continuing with our work on independent lines, here Trevor covers a technique that utilizes basic chords, but with alternate fingerings which allow us to maintain a moving bass line during the progression.

Independent Lines Exercise 2: Practice Session

Time to commit our moving bass line technique to muscle memory!

Independent Lines Etude

Let's close out the course with this amazing etude that leaves us with a key exercise to work on 'I' and 'M' string crossing, outlining chords with single notes, and even playing at a standard tempo over a half-time backing track!

Independent Lines Etude: Practice Scene

Congratulations on your progress! It's time to close out the course with our final practice session!

Introduction to 'The Melodic Picking Practice Plan'

Trevor Gordon Hall introduces us to 'The Melodic Picking Practice Plan'.

Alternate Picking Exercise

Let's get underway in Section 1 with some specific focus on the right-hand. In this first lesson of the series, Trevor provides some tips to help with accurate picking before diving into a great alternate picking exercise.

Alternate Picking Exercise: Practice Session

Now it's time to get some repetitions in so we can commit this alternate picking exercise to muscle memory at three different tempos.

Economy/Legato Picking Exercise

Sticking with our work on the right-hand, here Trevor covers a great economy picking exercise that will help increase our picking speed and efficiency.

Economy/Legato Picking Exercise: Practice Session

Time to get our repetitions in and get this economy-picking exercise committed to muscle memory!

Picking Technique Etude

Alright, now let's apply the picking skills that we've learned so far to a musical setting with this awesome etude!

Picking Technique Etude: Practice Session

We've got the previous etude somewhat our fingers. Now let's practice it at multiple tempos!

3 Note Per String Pattern Lick

To start Section 2, we will cover the 3-note per string method, which is a great way to ascend the fretboard horizontally. Here, Trevor will highlight a fun cascading lick using this method.

3 Note Per String Pattern Lick: Practice Session

Melodic Interval Exercise

Now it's time to revisit some of our previous patterns, but through the lens of different intervals with this fun melodic interval exercise!

Melodic Interval Exercise: Practice Session

That one was a bit of a finger twister. Let's put in some repetitions at a few different tempos to make sure we've got it down.

Major Scale Patterns Etude

In this lesson, we'll be transposing our familiar shapes to the key of E in this challenging etude based on the Major Scale.

Major Scale Patterns Etude: Practice Session

Alright, now let's run through the previous solo in E at a few different tempos to make sure that we've really got it under our fingers. Be sure to use the backing track to write your own!

3-4 Note Sequence Exercise

Pentatonic boxes can be a great base for building more melodic sounding runs. Let's kick off Section 3 with a cool exercise that expands on Box 4 and Box 5 of the G Major Pentatonic Scale.

3-4 Note Sequence Exercise: Practice Session

Ok, now let's put in some repetitions of that exercise at different tempos to make sure that we're really able to connect Box 4 and Box 5.

3 Octave Sliding Shape Exercise

Time to leave the safety on the Pentatonic boxes and open up the full fretboard with this sliding G-Major exercise!

3 Octave Sliding Shape Exercise: Practice Session

We covered a lot of real estate with that last exercise. Let's put in some repetitions in different tempos to make sure we've really got it.

Pentatonic Licks Etude

Now it's time to tie all of the pentatonic skills that we've learned in the last few lessons together with this satisfying etude in the key of D.

Pentatonic Licks Etude: Practice Session

Ok, you know the drill! Let's commit the previous etude in the key of D to muscle memory by playing it at a few different tempos.

3 Octave G Maj7 to D Exercise

Section 4 starts with another three-octave exercise that will really help us cover some ground on the fretboard! This time we'll be traveling from G Maj7 to D.

3 Octave G Maj7 to D Exercise: Practice Session

Alright, let's get our repetitions in on the previous 3 octave exercise, but this time in a few different tempos.

Major/Minor/Dom 9 Exercise

Major/Minor/Dom 9 Exercise: Practice Session

Now let's practice the previous melodic sweeping method with some repetitions at three different tempos!

Arpeggio Etude

Congratulations! You've arrived at the end of the course, and we've saved the best etude for last. In this final lesson of the series, Trevor presents us with a challenging arpeggio-based etude that will utilize all of the skills from the previous few lessons.

Arpeggio Etude: Practice Session

One last practice before we go! Once again, let's put in some repetitions of the previous arpeggio etude at a few different tempos.