Generated by All in One SEO Pro v5.0.1.1, this is an llms-full.txt file, used by LLMs to index the site. # ArtistWorks Blog Learn From Masters ## Posts ### [Music Meaning & AI: What Musicians Actually Discovered Is Spectacular](https://blog.artistworks.com/music-meaning-ai-working-musicians/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Questioning the relationship of music, meaning & AI has attracted a lot of loud opinions. Most of them arrived before anyone did much listening. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 12 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Questioning the relationship of music, meaning & AI has attracted a lot of loud opinions. Most of them arrived before anyone did much listening. So this series tried something different: it went looking for people who actually work in this space, sat them down, and asked direct questions. Seven musicians and subject-matter experts were interviewed. They each saw this topic through different lenses. The range of differing opinions gives you a meaningful contrast to learn from. What follows is a map of the whole project. Each section below summarizes one major theme from the series and links into the post that covers it in depth. Some themes produced near-consensus. Others produced four completely different answers that still haven’t resolved. The series does not pretend otherwise. It reports what was found, names the open questions, and trusts you to sit with the ambiguity. If you want the full picture, read through this post first. It will orient you to the seven guests, the structure of the series, and the editorial choices made along the way. Then follow the links that pull hardest. Not every section will matter equally to every reader, and that is fine. Start where your own questions lead you. **Plain-English takeaway —** Seven working musicians and AI-related industry experts were asked what AI actually means for music, they disagreed on almost everything, and this series reports every angle honestly.## Music, Meaning & AI: Meet the Seven Voices Behind the Series Before diving into the themes, it helps to know who was in the room. The seven guests were chosen deliberately. None of them occupy the same corner of the music world. That variety was the point. The guests include top-tier performing musicians who also teach at ArtistWorks. One has spent decades building a studio career. One works primarily in live performance and has recently started integrating AI composition tools into pre-production. A third guest is a music educator focused on early learning and cognitive development. A fourth works in music licensing and publishing in addition to performing and teaching, which gave the series its sharpest perspective on ownership and consent. A fifth is a researcher who studies how listeners perceive and respond to generated audio. The final two are music technologists: one builds tools for working artists, and the other studies how AI systems process and reproduce musical style. Together, they represent practice, research, commerce, and education. No single guest has the full picture. In fact, several of them openly acknowledged the limits of their own vantage point. That kind of honesty made the conversations all the more useful to help understand the topic. ## What AI Is Changing and How Fast The first major theme of the series was scale and speed. Every guest acknowledged that something significant is happening. However, they varied significantly on how to characterize it. The comparison that came up most often was the arrival of the internet. That parallel is worth examining carefully, because it cuts both ways. The internet did not destroy music. It did, however, fundamentally restructure who gets paid, how audiences form, and what counts as a release. Several guests argued that AI is operating on a similar axis, and that the transition period is the hardest part. Others pushed back, saying the analogy understates the specificity of what AI can now do with sound and style. What no one was willing to claim is a reliable map of where this leads. The honest position, shared by multiple guests, is that the speed of change makes confident prediction look foolish. For the full breakdown of this debate, [see how experts are framing the scope of the shift](https://blog.artistworks.com/ai-changing-music-internet-revolution/). The stakes are high enough that you should read that piece before forming a firm opinion. ## Why Learning an Instrument Still Has Real Weight One of the deeper findings in the series came from the music educator and cognitive researcher. The cognitive benefits of musical training are well documented. However, those benefits attach to a specific activity: the act of learning, not simply the act of listening or even playing something you already know. This distinction matters more as AI tools become capable of generating music on demand. If a tool can produce a convincing track in seconds, the value proposition of sitting down to practice shifts. But the research suggests it does not disappear. The mental work of acquiring a skill, the trial and error, the slow building of ear-hand coordination, produces changes in perception and cognition that passive consumption does not. For example, a guitarist who has spent years developing a trained ear hears a recording differently than a casual listener does. That perceptual capacity is itself a form of literacy. It has real-world implications for how you work with any tool, AI or otherwise. The learning benefit comes from the process, not the output. [Explore why the learning process matters more than just playing](https://blog.artistworks.com/learning-an-instrument-brain-benefits/). This point is easy to underestimate. ## Where the Creativity Line Actually Falls The most contested territory in the entire series was creative agency. Specifically: when you use an AI tool to generate music, who is being creative? The guests landed in several different places. However, a useful frame emerged across multiple conversations. The dividing line is not human versus machine. Instead, it falls between active and passive engagement with a tool. A guitarist who uses an AI system to test harmonic ideas, rejects most of what it produces. Builds from what survives is engaging actively. Someone who accepts the first output and calls it done is engaging passively. The distinction sounds simple, but in practice it is surprisingly hard to hold. Several guests pointed out that this same tension exists with every creative tool. A loop library, a preset, a backing track: all of them can be used actively or passively. AI raises the stakes because the output is more convincing and the temptation to stop early is stronger. [Get into the specifics of active versus passive creative engagement](https://blog.artistworks.com/creative-engagement-ai-active-passive/). The practical implications for your own workflow are worth thinking through carefully. ## What Audiences Notice and What They Don’t The researcher who studies listener perception brought the most uncomfortable finding to the series. Audiences are not reliably good at detecting AI-generated music. In controlled conditions, detection rates fall well below what most musicians assume. That result, however, is only the beginning of the question. What matters more is what happens when listeners find out after the fact. The emotional response shifts. Trust changes. The relationship between listener and source is different once the origin is disclosed. So even if detection is unreliable, disclosure still carries weight. That asymmetry has real implications for how musicians position their work and how the industry handles transparency. The follow-on question, one the series did not fully resolve, is whether most listeners will come to care at all. Some won’t. Others will care deeply. The market may segment around that divide in ways nobody has mapped yet. [Read how audiences are actually responding to AI-generated music](https://blog.artistworks.com/ai-generated-music-audience-reaction/). This is the terrain where business decisions are already being made. ## Pressure on the Next Generation of Musicians The music licensing expert and one of the performing musicians had the most to say about career pressure on younger players. The picture they painted was not catastrophic, but it was not comfortable either. The traditional career ladder for a working musician involves a sequence: develop skills, find venues, build a local audience, record, license, tour, repeat. AI tools are compressing or bypassing several of those rungs. Session work, a reliable income source for skilled players, is already contracting in some markets. Jingle and production music revenue, another entry-level opportunity, is under significant pressure. Meanwhile, the upper rungs of the career ladder, live performance, fan relationships, distinctive artistic identity, remain relatively resilient. The problem is that the upper rungs used to be reached by climbing the lower ones. If those early-career opportunities contract before young musicians have built enough skill and identity to compete at the top, the ladder itself breaks. [Look at what this means for the next generation trying to build a music career](https://blog.artistworks.com/next-generation-music-careers-ai/). The people who should have solutions are still working it out. ## Identity, Lineage, and Artistic Voice Six of the seven guests were asked the same question: at what point does imitation become a problem? Four of them, independently and without prompting, landed on the same answer. The problem is not imitation. The problem is misrepresentation. Learning by copying is how every musician develops. Style, vocabulary, and technique move through generations by direct absorption. No one owns a chord voicing or a rhythmic feel in isolation. What crosses a line, according to these four guests, is claiming origin you don’t have or using someone’s recognizable signature in a context they would reject. That frame has interesting implications for AI. A model trained on a living artist’s recordings can reproduce stylistic elements without attribution. Whether that constitutes misrepresentation depends on context, framing, and intent. The answers varied from there. [See what musicians are actually saying about identity and artistic voice in the AI era](https://blog.artistworks.com/artistic-voice-ai-clone-protect/). The conversation is more layered than the headline debates suggest. ## Control, Consent, and Compensation The ownership question produced the most direct disagreement in the entire series. Four guests were asked the same follow-up: what would a fair system look like? Four different answers came back. One guest argued for a compulsory licensing model similar to what exists in radio. Another proposed opt-in training data sets with artist control over participation. A third suggested the ship has already sailed and that the priority should be forward-looking revenue sharing rather than retroactive consent. The fourth was skeptical that any framework would hold given the speed of development and the international nature of the technology. What they agreed on was the diagnosis. Musicians whose recordings were used to train AI models did not consent, and in most cases were not compensated. That fact is not in dispute. What to do about it is. [Read what musicians and experts are saying about consent and compensation](https://blog.artistworks.com/consent-and-compensation-ai-music-training/). This is where the policy conversation will land, whether musicians participate or not. ## What a Trained Musical Ear Hears The music educator brought a perspective that the series had not explicitly set out to explore but that kept surfacing: the role of perception in music education. Specifically, what a trained ear actually does that an untrained one does not. This matters for the music meaning & ai question in a direct way. AI tools process pattern. A trained musician processes meaning. The difference is not mystical. It is the result of years of building a perceptual framework that assigns context, history, and intention to sound. That framework is what makes a great teacher’s feedback useful and what makes a trained player’s choices intentional rather than accidental. As a result, music education is not simply about technique delivery. It is about perception building. And that has real implications for how AI fits into the teaching relationship. A tool that can generate exercises or respond to a student’s playing is useful. However, it cannot yet replicate the perceptual modeling that happens when an experienced teacher hears what a student is actually doing versus what the student thinks they are doing. [Explore what a trained musical ear hears that most listeners miss](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/). That perceptual gap is where the real value of human instruction still lives. ## What Shifted the Skeptics’ Thinking Several guests came into their interview skeptical of AI as a musical force. Not uniformly hostile, but unconvinced. What made those conversations especially useful is that some of them left with a specific thing changed. Not a general reassurance. Not abstract possibility. A particular moment, a specific tool, a concrete experience that moved the needle. For one guest, it was hearing a generated arrangement of their own composition and recognizing something they had not intended but that worked. For another, it was seeing a student use a generative tool to break a creative block that traditional practice had not resolved. These are not arguments for AI as a replacement for anything. They are honest reports of something unexpected. The music meaning & ai question benefits from this kind of specificity. General anxiety and general optimism are both useless. Specific observations, even ones that don’t generalize, are far more useful for thinking clearly. [Read what actually surprised the skeptical musicians](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/). Those specific moments are where the most honest thinking in the series happened. ## What Is Actually Known and Unknown At this point in the pillar, it is worth being direct about what the series resolved and what it did not. The series found reasonable consensus on a few things. Learning an instrument produces cognitive benefits that passive music consumption does not. The active-versus-passive frame is more useful than the human-versus-machine frame when thinking about creative tools. Misrepresentation is a clearer ethical line than imitation. Listeners’ detection of AI-generated music is less reliable than most musicians assume. The series found genuine, unresolved disagreement on other things. The appropriate policy response to training data consent. Whether the generational career ladder for musicians will repair itself or stay broken. How quickly the technology will develop relative to the cultural and legal frameworks trying to respond to it. How much any of this will matter to the median listener in five years. Reporting that disagreement honestly is the whole point of the music meaning & ai project. The series does not flatten the debate into a position. It maps the terrain as it was found. ## Practical Next Steps for Working Musicians The final post in the series was intentionally practical. Given everything above, what can you actually do? The answer the series landed on is not a prescription. It is a posture. Experiment with tools actively, not passively. Test what they produce against your own aesthetic judgment. Use them to move faster on things that don’t require your specific voice. Be more deliberate about the things that do. Develop your ear alongside any tool use, because perception is what keeps your choices intentional. None of that requires a position on AI as a cultural force. It just requires paying attention to the difference between what a tool adds to your practice and what it substitutes for. [Get the practical framework for experimenting with AI without losing your artistic identity](https://blog.artistworks.com/experiment-with-ai-authentic-sound/). That is where the series becomes immediately useful to your actual work. ## Continue Learning The series covers nine distinct themes across ten posts. Read them in the order that pulls hardest for you, but the list below is organized as a logical journey from the broadest questions to the most immediately practical. 1. [How experts are comparing AI to the internet’s arrival in music](https://blog.artistworks.com/ai-changing-music-internet-revolution/) 2. [Why the act of learning an instrument matters for your brain more than just playing](https://blog.artistworks.com/learning-an-instrument-brain-benefits/) 3. [Where the active-versus-passive creative line actually falls with AI tools](https://blog.artistworks.com/creative-engagement-ai-active-passive/) 4. [How audiences are reacting to AI-generated music, and what changes when they find out](https://blog.artistworks.com/ai-generated-music-audience-reaction/) 5. [What AI means for the career path of the next generation of musicians](https://blog.artistworks.com/next-generation-music-careers-ai/) 6. [What musicians are saying about identity, influence, and artistic voice in the AI era](https://blog.artistworks.com/artistic-voice-ai-clone-protect/) 7. [Who owns the training data and what fair consent and compensation might look like](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) 8. [What a trained musical ear hears that untrained listeners miss, and why it matters](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/) 9. [Specific moments that shifted skeptical musicians’ thinking about AI](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/) 10. [How to experiment with AI tools without losing what makes you worth listening to](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) ## Final Thought The series found disagreements, not answers, and the most honest thing to do is report them all. Music meaning & AI is not a debate that resolves into a clear winner. It is a set of real tensions between creative ownership and technological possibility, between the value of hard-won skill and the accessibility of generated output, between what listeners care about and what musicians need. Every guest in this series is still working through these questions. So are we. The work is in staying honest about what is known, curious about what isn’t. Deliberate about every choice you make with the tools in front of you. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI consent and compensation, AI music, AI-generated music detection, ArtistWorks, creative agency with AI tools, music meaning & ai, musical training cognitive benefits, patricia butler --- ### [Know the Hidden Reasons AI Changing Music Feels Revolutionary](https://blog.artistworks.com/ai-changing-music-internet-revolution/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Is AI changing music at the same scale the internet once did? That question sits at the center of a series TrueFire built around seven conversations with working musicians, neuroscientists, and AI researchers. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Is AI changing music at the same scale the internet once did? That question sits at the center of a series built around seven conversations Patricia Butler had with working musicians, neuroscientists, and AI researchers. The short answer is: nobody fully agrees. The longer answer is that the disagreement itself is the most useful thing to sit with. Some guests see a civilizational shift already underway. Others see a modest disruption hitting certain corners of music while leaving others largely untouched. What this series kept finding is that the most informed people in the room are still working with incomplete data. This article introduces the shape of that disagreement. Then you can follow the specific debates in each post that follows. [The full picture of who was interviewed and what each conversation covered lives in the main series overview](https://blog.artistworks.com/music-meaning-ai-working-musicians/). **Plain-English takeaway —** Even the most informed musicians, researchers, and AI experts interviewed for this series disagree significantly on how AI is changing music, and that disagreement is the honest starting point.## How AI Changing Music Compares to the Internet’s Disruption Elijah Mayfield is an AI researcher who is also a working musician. That dual position gives him a useful vantage point. He sees this moment as something genuinely large, not incremental. “Music, and more broadly all of the fields impacted by AI, are now in another moment like that — as large as the introduction of the internet. Saying: we had a way of doing things, and now we don’t get to assume that the world is just going to be like that moving forward.”, Elijah Mayfield That framing is significant because the internet comparison is not casual. The internet restructured how music was distributed, discovered, monetized, and consumed. It eliminated entire business models and invented new ones. Mayfield is suggesting that AI changing music carries equivalent structural weight. Not just for distribution, but for creation itself. Tools can now generate music and imitate styles. They can assist composition in ways that were not practically available even a few years ago. The question is whether that changes the underlying human experience of making and hearing music. Or does it only change the machinery around it? ## Why the Most Credentialed Voices Are Still Guessing One of the more grounding moments in the series came from neuroscientist Dr. Andrew Carlson. He was asked to speak to what brain science tells us about AI’s effect on musical creativity and learning. “This is all in the context of that we don’t have good neuroimaging studies that look specifically at music creation during AI. So it’s a bit of trying to extrapolate based on what we do know from the literature.”, Dr. Andrew Carlson That honesty reframes the whole conversation. Even rigorous science is working from inference here, not direct evidence. As a result, confident-sounding claims about what AI does or does not do to musical cognition are built on extrapolation. This is worth keeping in mind as you read strong opinions anywhere in this space, including this series. The neuroimaging studies that would settle some of these questions simply have not been done yet. [What we do know about music’s effects on the brain is worth understanding on its own terms](https://blog.artistworks.com/learning-an-instrument-brain-benefits/). ## The Human Element That May Not Be Replicable Bryan Sutton is a Grammy-winning flatpicking guitarist. His genre, rooted in acoustic tradition and live performance, has so far felt relatively little pressure from AI tools. However, he is not indifferent to the broader question of AI changing music. “I hope that the human desire for something moving and heartfelt — a human communicating to another human — is something that can’t be recreated within the AI.”, Bryan Sutton Sutton does not claim this as a fact. He frames it as a hope, which is both more honest and more interesting. The question of whether AI can replicate emotionally resonant, person-to-person communication in music is one this series keeps returning to without resolving. It comes up in discussions about [how audiences respond when they discover a track was AI-generated](https://blog.artistworks.com/ai-generated-music-audience-reaction/). It surfaces again in conversations about [what makes a musician’s artistic voice genuinely their own](https://blog.artistworks.com/artistic-voice-ai-clone-protect/). The fact that Sutton holds this as an open question says something important about where the conversation actually is. ## Practical Responses When the Tide Won’t Turn Not every guest approached this as primarily a philosophical debate. Samuel Smith offered a more operational framing. His position holds two things at once. “We can’t turn the tide, so let’s point the tide in the right direction as much as we humanly can — and at the same time hold these companies to account on IP and ownership. In parallel. Both are possible.”, Samuel Smith This is a useful corrective to conversations that collapse into uncritical enthusiasm or resigned fatalism. Smith’s position is that adaptation and accountability are not in conflict. You can engage with AI tools pragmatically. You can also insist on fair treatment of the musicians whose work trained these systems. That tension runs through multiple posts in this series. In particular, see the ones on [consent and compensation for training data](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) and on [whether the next generation of musicians faces a harder path](https://blog.artistworks.com/next-generation-music-careers-ai/). ## Where AI Changing Music Shows Up Differently for Different Players The clearest finding from seven individual interviews is that AI’s long term role in the music world is yet to be defined universally. A classical guitarist described his genre as largely untouched. An AI researcher described structural change at internet scale. A neuroscientist said the evidence base is thinner than the discourse suggests. These are not minor differences in emphasis. They reflect genuinely different experiences of what is actually happening right now. That disagreement extends to the practical level too. [What skeptical musicians actually found surprising about AI](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/) is often different from what they predicted they would find. And [how musicians can experiment with these tools without compromising what makes them worth hearing](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) remains a live question. For those concerned about [how AI engages or disengages the creative mind](https://blog.artistworks.com/creative-engagement-ai-active-passive/), the research is similarly unsettled. ## Arguing Your Way to Clarity on AI Changing Music Elijah Mayfield closed one of his conversations with a point about how shared understanding actually develops. “Five years from now, we will all have a shared vocabulary of what these tools are for and what we can do with them and what we can call our own. But you can only get there by disagreeing and by arguing with one another.”, Elijah Mayfield That framing is worth taking seriously. The series did not go looking for a fight. However, it found that honest disagreement is more useful than premature consensus. Five years from now, musicians and listeners will likely have a clearer picture of AI changing music. They will know which roles AI genuinely fills. They will also know what it cannot touch. For now, the honest position is that you are working with incomplete information. So is everyone else in this conversation. The best way to use this blog series is to notice where the guests diverge to help you draw your own conclusions. Notice where a point from one interview complicates something another guest said. That friction is where the real thinking happens. [The full introduction to this series, including all seven guests and the questions that guided each conversation, is the right place to start if you have not been there yet](https://blog.artistworks.com/music-meaning-ai-working-musicians/). [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI and music, ai changing music, AI music, AI tools for musicians, human creativity vs AI, music and artificial intelligence, music industry disruption, patricia butler --- ### [Unlock the Many Hidden Ways That AI Reshapes Creative Engagement](https://blog.artistworks.com/unlock-the-many-hidden-ways-that-ai-reshapes-creative-engagement/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Creative engagement is the phrase that keeps coming up when musicians and researchers try to draw the line between meaningful and hollow interaction with AI tools. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 5 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Creative engagement is the phrase that keeps coming up when musicians and researchers try to draw the line between meaningful and hollow interaction with AI tools. Most people assume that line runs between human-made music and AI-generated output. After interviewing seven working musicians and experts for the [Music, Meaning & AI series](https://blog.artistworks.com/music-meaning-ai-working-musicians/), that assumption turned out to be the wrong place to look. The more honest divide runs somewhere else entirely. It cuts right through AI use itself, not around it. Where you land on that divide depends less on which tools you use and more on what your brain is actually doing while you use them. That distinction is uncomfortable, and it matters. **Plain-English takeaway —** The real divide isn’t between human creativity and AI output, it’s between passive consumption and genuine creative engagement, and that line runs straight through how you use AI, not whether you use it.## The Assumption That Turned Out to Be Wrong About Creative Engagement The natural instinct is to treat AI music generation as a passive act. You type something in, something comes out, and you didn’t really make it. That framing feels reasonable. However, it collapses quickly once you look at what the brain is doing across different levels of engagement with these tools. Dr. Andrew Carlson, who studies music and neuroscience, pushes back on this directly. As he puts it: “It seems as if generating music through something like AI would be just a passive input, and not really have a lot of brain activation. And it turns out that that’s probably not correct.” That matters because the passive/active divide most people assume is not the divide that research actually supports. Instead, the more useful question is how much of your cognitive machinery is engaged. The tool is almost incidental to that question. ## What Separates a Prompt from Genuine Creative Engagement Dr. Carlson draws a more granular distinction. Not all AI interaction is created equal. He is specific about where the meaningful difference sits: “A simple prompt might involve brain engagement very similar to just requesting a tune on your favourite streaming service… On the other hand, for people engaged in refinement and correction and adjustment, it may really activate some of the same creative pathways.” That comparison to requesting a streaming track is worth sitting with. Picking a song to play in the background is not nothing. However, most musicians would not call it a creative act. So if a single unconsidered prompt produces roughly the same level of neural activity, it probably isn’t one either. Iterative refinement is different. Listening critically, adjusting, rejecting, and trying again starts to look a lot more like genuine composing. In addition, comparing results forces you to articulate what you actually want. The process, not the tool, is doing the work of making it creative engagement. ## A Practical Self-Check for Creative Engagement This points toward a concrete test you can run on yourself. Before you accept a generated output, count the decisions you made to get there. How many times did you reject something? What specific qualities were you listening for? How precisely could you articulate what was wrong with the last version? The number and depth of those decisions is a rough proxy for how much of the work is genuinely yours. ## The Neurology Behind Expert Creative Engagement There is a parallel in how expert musicians interact with their own playing. It sharpens this picture considerably. Dr. Carlson describes what happens in the brain of a highly trained performer: “In really expert musicians there’s fascinating data showing that pianists can demonstrate they’re about to make a mistake on EEG recordings. Their brain knows milliseconds ahead of the mistake actually happening.” That is a remarkable level of predictive self-monitoring. The brain runs a continuous model of what correct playing feels and sounds like. It then compares incoming data against that model in real time. Finally, it flags deviations before they fully materialize. This is not passive listening. Instead, it is active, anticipatory, deeply engaged processing. This is also what happens when a skilled musician uses any tool with genuine intention. They are not just reacting to output. They run that same internal model, measure what they hear against what they intended, and iterate from the gap. For more on how trained musical perception differs from casual listening, [what a trained ear actually hears](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/) is worth reading alongside this piece. ## Two Musicians, Two Honest Positions on Creative Engagement This is where the conversation gets more complicated. Two musicians in the series reached different conclusions from their own experience. Both, however, are credible. Alison Brown’s position is that the process of getting to a song is itself the irreplaceable thing. She says: “It’s about the journey, not the destination. The destination is the song — but the journey to getting to that song, that’s the intoxicating moment of creation. And that’s what you don’t have if you are just a prompter.” That framing is hard to argue with on its own terms. The discipline of working through a song involves hitting walls, making risky choices, and discovering something you didn’t plan to find. For many musicians, that sequence is the point. Specifically, it is the part of the work that changes you as a player and a writer. If a tool removes that sequence entirely, it may also remove the most valuable thing. ## A Different Perspective: Distance as a Creative Tool Samuel Smith arrives at a different conclusion. He is equally honest about it. He describes a distinct benefit from hearing his own ideas played back through an AI at a remove: “Hearing it back, almost as if being played by someone else, gives me a creative distance. So bizarrely I find it’s enabled my songwriting even more than it shuts it down.” That creative distance is real. Producers and engineers have long understood that hearing a rough mix on different speakers can reveal things that proximity hides. Smith is describing something similar. The tool functions less as a replacement for his creative judgment and more as a way to access it from a new angle. As a result, the creative engagement is still his. It is just structured differently. ## Where This Leaves the Question These two positions sit unresolved. The series found no clean answer about which experience represents deeper creative engagement. What both positions share, however, is that the musicians involved are engaged. They are listening critically, making decisions, and pushing toward something specific. The divide is not between using AI and not using it. Instead, it is between using any tool, including AI, with genuine attention or without it. That tension plays out across the broader series. [How musicians can experiment with AI without losing what makes them worth listening to](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) extends this directly. Similarly, the question of how audiences respond when they discover a track was AI-generated, covered in [what happens when listeners find out](https://blog.artistworks.com/ai-generated-music-audience-reaction/), adds another layer to why the quality of engagement matters beyond the studio. Return to the [Music, Meaning & AI overview](https://blog.artistworks.com/music-meaning-ai-working-musicians/) to see how this question sits alongside everything else the series surfaced. The answers are not tidy. But the right question has never been “human or AI?” It has always been: how much of you actually showed up? [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** active versus passive creativity, AI music tools, creative engagement, creativity, iterative music creation, musical decision-making, patricia butler --- ### [Learning an Instrument Is the Best Thing You Can Do for Your Brain](https://blog.artistworks.com/learning-an-instrument-brain-benefits/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Learning an instrument is one of the most demanding things you can ask your brain to do. Most players already sense this, but the research makes it specific. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 5 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Learning an instrument is one of the most demanding things you can ask your brain to do. Most players already sense this, but the research makes it specific. That specificity changes how you should think about your practice time. The benefit does not come from playing. It comes from learning. That distinction sounds small. It reshapes everything, from how you structure your sessions to what role AI tools play in your musical life. The experts and working musicians who spoke for [the Music, Meaning & AI series](https://blog.artistworks.com/music-meaning-ai-working-musicians/) kept circling this idea from different angles. What they said adds up to something worth sitting with carefully. **Plain-English takeaway —** The neurological and social benefits of music are tied specifically to the act of learning something new, not to performing something you have already mastered.## Learning an Instrument Grows Your Brain, Literally The mechanism is not metaphorical. When you engage with unfamiliar musical material, your brain forms new neural connections. When you repeat something you already know, it largely does not. Alison Brown puts it plainly, and the plainness is part of why it lands: “It’s about that act of creation, that act of learning a new thing, and those neurons firing and making new connections… Your brain is growing. It’s good for you. It’s health food.” Brown is not speaking loosely. The research backs up the framing. What she describes is neuroplasticity in a very direct form. Your brain physically changes in response to the struggle of acquiring a new skill. Routine, however satisfying, does not produce the same effect. So if you have been running through the same songs for months, you are not getting the full cognitive return on your practice time. ## What the Science Actually Says About Playing vs. Learning an Instrument Dr. Andrew Carlson brings the clinical precision that completes the picture. His phrasing is careful, and the carefulness is the point: “Population studies suggest that by continuing to learn to play an instrument — again, not just play an instrument, but that engagement of learning to play an instrument — those cognitive pathways are enhanced.” Notice how deliberately he separates “play” from “learn to play.” He is not describing a casual distinction. In population-level research, that gap produces measurable differences in cognitive outcomes over time. The implication for your practice is direct. If you want the brain benefits associated with music, you need genuine acquisition, not consolidation. Consolidation matters for performance. However, it does not appear to drive the same neurological payoff. ## Why Learning an Instrument Also Opens Social Doors The benefits of learning an instrument are not only cognitive. Sierra Hull points to something just as important. It is often overlooked in conversations about music and well-being: “There’s a community that music gives you, that actually learning how to play an instrument gives you… You have to learn to play an instrument, at least on a very basic level, to be able to participate in that.” This is a threshold argument. The community that forms around shared instruments and genres is not fully accessible to someone who only listens. There is a level of real skill required before you can sit in, contribute, respond, and be understood. Hull is not being elitist about it. She is being accurate. The communal dimension of music turns strangers into bandmates. Learning an instrument is how you earn that language. ## Not Every Genre Demands an Ensemble, But Some Are Built on It Elijah Mayfield adds a genre-specific angle that sharpens the community point considerably: “There’s not a ton of genres where playing with other musicians is the point, and it’s the whole reason to do it.” Most music exists on a spectrum between solo practice and pure ensemble performance. However, certain traditions sit completely at the ensemble end. In those genres, playing alone is almost beside the point. The form only fully exists when people are in the room together, responding in real time. For players in those traditions, the social and cognitive benefits are inseparable. Learning an instrument well enough to function in that context becomes the whole goal. The more communal the genre, the more skill the community demands before it lets you fully in. If you want to go deeper on how active music-making differs from passive listening, [the third post in this series](https://blog.artistworks.com/creative-engagement-ai-active-passive/) draws that line more carefully. And if you are curious about how trained musicians hear music differently than casual listeners, [that angle is covered in full here](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/). ## The Tension That AI Tools Create Here is where the series gets genuinely unresolved. This is also where [the central question of the cluster](https://blog.artistworks.com/music-meaning-ai-working-musicians/) sharpens into something uncomfortable. The neurological benefit of music is tied to the struggle of learning. It is not tied to the performance of something already mastered. So any tool that removes that struggle may also remove the source of the benefit. AI practice tools, generative backing tracks, and automated arrangement aids can all lower the barrier to sounding good quickly. In some contexts, that is purely useful. But if you short-circuit the discomfort of genuine acquisition, you may also short-circuit what makes learning an instrument good for your brain. This is not a reason to reject those tools entirely. However, it is a reason to ask what role you are letting them play in your practice. Are they helping you reach something you could not access otherwise? Or are they helping you avoid the part that actually does the work? ## What to Do with This Idea Right Now The practical application is simple, even if following through is not. Identify one piece, one technique, or one concept that is genuinely beyond your current ability. Not slightly uncomfortable. Actually out of reach. Then treat the discomfort of working toward it as the point. It is not an obstacle to get through on the way to playing it clean. That friction is the mechanism. The struggle is not incidental to the benefit. It is the benefit. For related thinking on staying artistically grounded while experimenting with new tools, [this post on maintaining artistic identity](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) is worth reading alongside this one. ## What Music Has Meant to One Player The research on learning an instrument and brain health is compelling on its own terms. However, it abstracts something that is also deeply personal. Samuel Smith speaks to that directly. These words close this post because nothing added after them would improve on them: “I cannot imagine going on this journey without music. It has this extraordinary ability, particularly for me, to confront this condition… not just confront it, but overcome it — to process what I’m going through, to order it, to shape it, and to transcend it.” That is what is at stake in every conversation about how we learn, what tools we use. What we let technology do for us versus what we insist on doing for ourselves. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** ArtistWorks, brain health, cognitive benefits of music, learning an instrument, mental health, music and mental health, music lessons, music practice and brain health, musical skill acquisition, neuroplasticity, neuroplasticity and music, patricia butler, your brain --- ### [The Startling Truth About How Audiences Really Hear AI-Generated Music](https://blog.artistworks.com/ai-generated-music-audience-reaction/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** AI-generated music is arriving in playlists, sync libraries, and social feeds faster than most listeners can process what they're hearing. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- AI-generated music is arriving in playlists, sync libraries, and social feeds faster than most listeners can process what they’re hearing. So what actually happens when an audience encounters it? And what happens to their experience once they learn what made it? These are not purely technical questions. They sit at the intersection of perception, trust, and what music is actually for. The answers, as several working musicians and educators have pointed out, are more complicated than either enthusiasts or critics tend to acknowledge. This piece is part of a larger conversation about [music, meaning, and what AI actually changes](https://blog.artistworks.com/music-meaning-ai-working-musicians/). The focus here is narrower: listener reaction, the psychology of disclosure, and what the range of responses tells us about why different people listen in the first place. **Plain-English takeaway —** Learning that a piece was AI-generated can retroactively change how a listener feels about it, even when the music itself hasn’t changed at all.## What AI-Generated Music Actually Sounds Like to Most Listeners The question of whether listeners can detect ai-generated music is less settled than the debate usually suggests. Proponents of AI tools tend to argue that most people can’t tell the difference. Critics argue that trained ears can spot it immediately. Both positions contain truth, but neither tells the whole story. Elijah Mayfield offered a precise description of where ai-generated music tends to land. “You end up with an output that’s sort of straight down the middle — good, but not great — where everyone listening says, ‘yeah, that is bluegrass. It sounds like bluegrass. You’re right, you did it.'” That competence ceiling is significant. AI-generated output in a specific genre tends to read as genre-correct without being genre-distinctive. It passes the identification test. It does not, however, pass the memorability test. For casual listeners, that may be enough. For listeners who know a genre deeply, the flatness becomes audible. The music lands in a recognizable category, but it doesn’t go anywhere surprising inside that category. That gap between genre recognition and artistic distinction is where most listener disagreement actually lives. ## The Disclosure Effect: When Knowing Changes Hearing There is a specific psychological phenomenon worth naming here. When a listener learns that music was ai-generated after already enjoying it, the experience can shift dramatically, even though nothing about the audio has changed. This is not irrational. Music carries meaning partly because of what we believe about its origin. Bryan Sutton captured this precisely. “It’s almost like it’s spoiled now. It’s like a piece of food that looked good from 10 feet away, but once we get a little closer, we see that it’s got mold on it, and our stomachs are turned.” The food metaphor is useful because it describes a real perceptual shift, not a snob’s complaint. You were not wrong to find the food appealing. But new information changed your relationship to it. This matters practically. Disclosure at the point of release is increasingly common, both voluntarily and through platform labeling. For some audiences, that disclosure arrives before they’ve formed any opinion. For others, it arrives after. The timing changes everything about how the reaction forms. ## The Collateral Damage to Human Artists One consequence of the ai-generated music conversation that gets less attention is what it does to artists who have nothing to do with AI. When skepticism about authenticity enters the room, it doesn’t always land only on AI output. Sierra Hull named this directly. “You could have a body of work, something that you’ve really worked hard on and poured your whole heart and soul into. And it might even get dismissed because somebody doesn’t know what to think about it.” That ambiguity is a real cost. An artist’s catalog doesn’t automatically come labeled. If a listener has been burned by undisclosed AI content, their suspicion can spill onto work that deserves none of it. This is one reason the consent and compensation questions explored in [the ownership and training data conversation](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) matter beyond the legal dimension. Doubt is contagious, and it doesn’t discriminate. For artists building a career, this is especially significant. The [next generation of working musicians](https://blog.artistworks.com/next-generation-music-careers-ai/) faces a landscape where that ambient doubt is already present. That is a different environment than any previous generation of musicians navigated. ## Not Every Listener Is Looking for the Same Thing Here is where the conversation gets uncomfortable for some musicians. A significant portion of any audience has never been primarily interested in whether the music is distinguished. They are interested in whether it does something for them in the moment. Alison Brown put it plainly. “There’s a lot of people who eat McDonald’s hamburgers and it makes them full. If you listen to an AI generated song and it makes you bop your head, maybe the job’s done.” That framing is not cynical. It is accurate. For certain contexts and certain listeners, the bar is functional. The music works if it produces the intended response. Asking those listeners to care about provenance may simply be asking the wrong question of them. This doesn’t settle the artistic or ethical debate. However, it does complicate the assumption that audiences who don’t detect ai-generated music are somehow being deceived. Some of them are satisfied by a standard that is genuinely different from yours. That difference is worth taking seriously rather than dismissing. The active vs. passive listening distinction covered in [the engagement and creativity discussion](https://blog.artistworks.com/creative-engagement-ai-active-passive/) is directly relevant here. ## What the Classical World Reveals About All of This Jason Vieaux raised a point that reframes the entire conversation. “Eighty-five percent of the audience — they don’t really know the difference between a great classical guitarist and a good one… They’re not music nerds like we are.” He was speaking specifically about classical music, which has so far remained largely insulated from the ai-generated music conversation in a way that other genres have not. That insulation raises its own questions. Is it because the genre is genuinely harder to replicate? Because the audience is more specialized? Because the output hasn’t reached distribution scale yet? The answer is probably some combination, and it won’t hold indefinitely. What Vieaux’s observation clarifies is that the expert-versus-general-listener gap exists independent of AI. AI simply makes it more visible, and raises the stakes around it. If most audience members can’t distinguish great from good in a highly technical genre without AI in the picture, the arrival of ai-generated music doesn’t create that gap. It just gives us new reasons to care about it. For a deeper look at what trained ears actually detect that general listeners miss, [the musical ear and education piece](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/) covers that ground directly. ## The Question That Doesn’t Resolve Cleanly The honest position is that listener reaction to ai-generated music is not uniform. The disclosure effect is real but not universal. Some listeners care deeply about origin. Others care about function. Some will feel retroactively deceived. Others will feel fine. The artistic stakes, explored fully in [the conversation about voice and identity](https://blog.artistworks.com/artistic-voice-ai-clone-protect/), are real. So is the legitimate question about what music is actually for. The [broader framework this cluster builds](https://blog.artistworks.com/music-meaning-ai-working-musicians/) returns again and again to the same tension: the things that matter most to working musicians are not always the things that matter most to the audiences those musicians are trying to reach. That gap is uncomfortable. It doesn’t go away just because we name it. Sierra Hull’s concern stands. Bryan Sutton’s gut reaction stands. And Alison Brown’s observation stands right alongside them. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI music, ai-generated music, ArtistWorks, audience reaction AI, disclosure effect music, listener perception authenticity, listening, music origin trust, patricia butler --- ### [The Next Generation: The Emerging Truth About AI and Music Careers](https://blog.artistworks.com/next-generation-music-careers-ai/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** The next generation of musicians is walking into a professional world that didn't exist when their teachers were coming up. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 5 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- The next generation of musicians is walking into a professional world that didn’t exist when their teachers were coming up. That’s not an exaggeration or a scare tactic. It’s what working musicians and educators are saying openly, in conversations that are becoming harder to ignore. This piece sits inside a larger look at [how seven working musicians and experts are actually navigating AI](https://blog.artistworks.com/music-meaning-ai-working-musicians/). It focuses specifically on career: the entry-level work that doesn’t exist anymore, the mentors who don’t have answers. The genuine disagreement about what any of this means long-term. The picture is complicated, and this article won’t pretend otherwise. **Plain-English takeaway —** The deepest threat AI poses to young musicians isn’t about taste or technology, it’s about whether the entry-level work that builds real careers still exists at all.## The Next Generation Nobody Prepared For Elijah Mayfield puts the situation plainly, and it’s worth sitting with what he’s describing. “There is a whole wave of people that were in high school during COVID and that now went to college during AI, and that are now trying to make it in this entirely rewritten world… Their elders, the people they should be looking up to, do not have answers for them.” That’s a significant observation. This is a generation that lost formative years of live performance, in-person mentorship, and normal creative development during the pandemic. Then, before they could recover that ground, the professional landscape shifted again. The people with experience and credibility in this industry are being asked questions they genuinely cannot answer. If you are a teacher or mentor, the most honest thing you can say to a student asking about AI and career right now is: I don’t fully know. That honesty is more useful than false confidence. ## When Hit Songwriters Stop Recommending Their Own Path One of the clearest signals that something structural has changed comes from the people who built careers doing exactly what young musicians want to do. Alison Brown reports a pattern that is hard to dismiss. “I’ve had a lot of hit songwriters tell me they would never say to a young person, ‘you should make a life as a songwriter,’ because it’s an incredible threat to their livelihood that you can write these songs so easily using AI.” Think about what that represents. These are people who love their craft enough to have spent decades doing it. They are not pessimists. They are not technophobes. And yet they are advising young people away from the exact path they built for themselves. That is not a fringe position. That is experienced professionals reading their own industry clearly. The next generation deserves to hear this honestly, not softened. ## The Appeal of Instant Output and the Cost of Skipping the Hard Part Sierra Hull raises a concern that is separate from the economic threat, and it deserves its own space. “The authenticity, and the will to sit in a room and really learn to play an instrument, and the focus and the dedication of that, may become less appealing to a younger generation because of all the things that are just there.” This is not a complaint about young people. Instead, it’s an observation about incentive structures. When instant, polished-sounding output is available, the case for sitting with discomfort becomes harder to make. That’s especially true before someone has experienced what real skill actually makes possible. The problem is that the reward of deep musical ability is mostly invisible until you’re far enough inside it to feel it. [What that kind of deep engagement actually does to a player’s brain and creative capacity](https://blog.artistworks.com/learning-an-instrument-brain-benefits/) is worth understanding. It’s the argument Hull is implicitly making. The next generation may need to hear that argument explicitly, from people who have lived it. ## Access Is Not a Simple Question Here is where the conversation gets more complicated. Restricting AI tools has real costs, and Samuel Smith makes the case clearly. “The idea of telling millions of people with arthritis, MND, Parkinson’s — ‘no, sorry, you can’t use this technology in order to access creativity’ — is a dangerous step. Dictating the terms of access to creativity is a dangerous place to be.” Smith is talking about people living with conditions that make conventional instrument playing impossible or extremely difficult. For those individuals, AI tools are not a shortcut. They are the only available path to musical expression. Any serious conversation about limiting AI in music has to account for this. The next generation includes people with disabilities. A framework that protects career musicians while closing off creative access for people who need these tools most would be a poor trade. [How audiences respond to AI-generated music](https://blog.artistworks.com/ai-generated-music-audience-reaction/) is one part of this conversation. Who gets to make music at all is another, and equally important. ## The Dissent the Next Generation Should Also Hear Not everyone in this conversation is worried, and that position also deserves a fair hearing. Jason Vieaux offers a direct counter. “The more it’s pushed onto us, the more people are going to crave it. I honestly think we’re going to be OK.” Vieaux’s argument rests on a real historical pattern. Cultural appetite for authenticity tends to sharpen when something threatens it. In other words, the more artificial the landscape becomes, the more valuable genuine human skill may feel to audiences. This doesn’t resolve the economic problem Alison Brown is describing. However, it does suggest that the next generation of musicians who commit to real craft may find that commitment matters more, not less, as AI-generated content becomes ubiquitous. [What skeptical musicians actually found when they engaged with AI directly](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/) adds some texture to this optimism. ## What This Means If You’re Teaching or Mentoring So where does this leave the people responsible for the next generation of musicians? A few things seem clear. First, the entry-level work that has historically built careers is under genuine pressure. That’s not a hypothetical. Second, the pull toward instant output is real. It will affect some young musicians before they understand what they’re trading away. Third, access is not a monolithic question. For some people, AI tools are not a luxury but a necessity. Furthermore, the disagreement among experienced, thoughtful people in this field is itself meaningful. When Vieaux says things will be OK and experienced songwriters say they wouldn’t recommend the profession, both views are being held simultaneously. The next generation needs mentors who can hold that tension honestly. Resolving it prematurely in either direction doesn’t serve anyone. [How musicians protect and develop their creative voice inside all of this](https://blog.artistworks.com/artistic-voice-ai-clone-protect/) is the practical question that follows from everything discussed here. ## Staying Honest Inside the Uncertainty The broader conversation about [music, meaning, and AI](https://blog.artistworks.com/music-meaning-ai-working-musicians/) doesn’t resolve into a single conclusion, and this article won’t pretend the career question does either. The counter-argument about access is still on the table. Vieaux’s dissent is still on the table. Both matter. What is clear is that the next generation is navigating something genuinely new, often without adequate guidance. The most useful thing any mentor, teacher, or working musician can offer right now is honesty about that. Not reassurance. Not alarm. Just an accurate account of what is known, what is unknown, and what is worth paying attention to. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI and songwriting, AI music, AI training, ArtistWorks, entry-level music work, mentoring young musicians, music and AI, music careers, music careers and AI, next generation, patricia butler --- ### [The Powerful Truth Most People Miss About Artistic Voice](https://blog.artistworks.com/artistic-voice-ai-clone-protect/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Your artistic voice is the thing you spent years building, often without knowing you were building it. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Your artistic voice is the thing you spent years building, often without knowing you were building it. Now AI tools can generate music in the style of virtually any living player. The question feels urgent: is that voice safe? Four working musicians and researchers tackled this directly, and what they found is more nuanced than either the panic or the reassurance suggests. The short version is that individual artistic voice may be harder to replicate than you think. The real ethical line is not where most people draw it. This piece pulls together their thinking on influence, identity, and where imitation becomes something worth actually worrying about. For the full picture of who contributed and how this conversation started, the [series overview covers all seven voices](https://blog.artistworks.com/music-meaning-ai-working-musicians/). **Plain-English takeaway —** Your artistic voice is mathematically difficult to clone, and the real ethical problem is deliberate misattribution, not stylistic borrowing.## The Tension That Predates Your Artistic Voice Every serious player knows the pull of a hero. You absorb their phrasing, their tone, their timing. Then, at some point, you realize you want to sound like yourself. Bryan Sutton, one of the most respected flatpickers in acoustic music, put the tension plainly. “I love Tony Rice, and I want to be informed and inspired by him — but I don’t wanna hear him come out in me. I wanna hear me come out of me.” That desire is not new. It has always been the central project of musical development. AI, however, sharpens it. Because the tools make stylistic borrowing faster, easier, and more explicit, the question of where influence ends and artistic voice begins becomes harder to set aside. The important thing to notice is that this tension already existed before any algorithm was involved. The [question of how musicians develop creative identity](https://blog.artistworks.com/creative-engagement-ai-active-passive/) is worth exploring on its own terms, separate from the technology. AI simply forces the conversation into the open. ## Why Your Artistic Voice Is Harder to Steal Than It Feels Here is where the conversation shifts. Most players assume that if a model is trained on their recordings, something essential gets taken. Elijah Mayfield, who works in AI research, pushed back on that assumption directly. “If you want to create art that doesn’t sound like everyone else, that sounds like only you — it’s actually very hard, bordering on impossible mathematically, to build a model that can do that… That is something that is uniquely human.” This is a structural point, not a reassurance. These models work by finding patterns across large populations of input. The more specific and singular your sound, the less data exists to generalize from. Therefore, the idiosyncratic elements of your playing, the quirks and tendencies that make you recognizable, are precisely the parts that resist compression into a generalizable model. Your artistic voice, in other words, is protected partly by its own distinctiveness. That does not mean your influences are protected. General stylistic territory, the broad vocabulary of a genre or a school of playing, is exactly what these models capture well. So the threat, to the extent there is one, lands more on the general than the specific. ## Where the Ethical Line Around Artistic Voice Actually Falls Four contributors, independently and in different conversations, landed on the same ethical boundary. The line is not at imitation. Instead, it falls at misrepresentation. Bryan Sutton drew it precisely. “If it’s marketed, or somebody’s trying to say this is me, and I know that it’s not me, then there’s a problem there. If somebody’s just using the AI tool to say ‘here’s this song in the style of’ — I could do that if I were sitting with the guitar right now.” That second sentence matters as much as the first. Stylistic imitation is something musicians do constantly, in practice rooms, in session work, in tribute bands. The act itself is not the problem. The problem, specifically, is claiming the output is someone it is not. Deliberate misattribution is the specific, solvable issue. Conflating it with ordinary influence or stylistic borrowing makes the problem harder to address, not easier. For a deeper look at the consent and compensation side of this, the [discussion of who owns the music that trained these models](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) goes further. ## The Feedback Loop Is Already Running Alison Brown offered the most striking observation in the entire conversation on this topic. The feedback loop between AI tools and human musicians is not one-directional. In fact, it runs both ways, and it is already producing strange results. “Producers saying, ‘can you play that solo?’ So it’s like the human imitating the AI that was trained on the hybrid population of humans.” Read that slowly. A human performer is being asked to reproduce a sound that an AI generated from a model trained on human performers. The artistic voice being imitated, at that point, is a statistical aggregate. It does not belong to any one player. As a result, the implications for how we think about originality and identity are genuinely unsettled. This is not a crisis, but it is a new kind of question. The [series on how audiences respond to AI-generated music](https://blog.artistworks.com/ai-generated-music-audience-reaction/) touches on the listener’s side of this, which is a related but distinct problem. ## AI as Access, Not a Threat to Artistic Voice Not everyone in this conversation experienced AI as a threat to artistic voice. Samuel Smith framed it from a different angle entirely, one that reorients the whole discussion. “Technology offers — not a replacement, it offers an enablement. An ability to get the songs out of my head into the world for real musicians to then play. So: not replacement. Enablement and access.” For musicians who have ideas that outpace their technical execution, or who face physical limitations, or who simply lack access to a full ensemble, AI tools can serve the artistic voice rather than compete with it. The voice is still the origin point. The tools, in that case, just reduce the distance between the idea and the recorded reality. The question is not whether AI threatens your sound. Instead, it is whether you are using it in service of what you actually want to say. ## The Exercise That Reveals What You’ve Actually Built Here is something practical. Sit with your playing and try to trace where each habit came from. Identify the specific influences behind your phrasing, your note choices, your rhythmic tendencies. Then ask what remains when you subtract those. The gap between what you borrowed and what you have genuinely made your own is where your artistic voice actually lives. This exercise is clarifying for two reasons. First, it shows you that artistic voice is not pristine or uninfluenced. It is assembled, deliberately or not, from everything you have absorbed. Second, it shows you what is actually yours, specifically and individually. Therefore what is hardest for any model to replicate. For more on how to keep that voice intact while experimenting with new tools, the [practical guide to using AI without losing what makes you worth listening to](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) covers the working method. ## Where the Question Stays Open The contributors in this series did not resolve the question of where influence ends and identity begins. That question has no clean answer, and the [pillar piece makes no attempt to manufacture one](https://blog.artistworks.com/music-meaning-ai-working-musicians/). What the conversation did produce is a more useful frame: individual artistic voice is mathematically difficult to clone, stylistic borrowing is not inherently theft. Misattribution is the specific problem worth naming and addressing. Those three things together make the conversation more tractable. The panic tends to conflate all three into one undifferentiated threat. The goal here, instead, is to separate them so you can think about each clearly and keep making music that sounds like only you. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI and originality, AI in music, AI music, AI music imitation, artistic voice, ArtistWorks, musical identity development, stylistic borrowing musicians --- ### [Stopping the Greedy Plunder of AI-Trained Music Now](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** Consent and compensation are at the center of the most consequential legal and ethical fight in music right now. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Consent and compensation are at the center of the most consequential legal and ethical fight in music right now. If you have heard that AI music tools are trained on existing recordings, you may have wondered: who gave permission for that. Did anyone get paid? The answer, in most cases, is that nobody asked and nobody paid. That is not a fringe complaint from a handful of unhappy artists. It is the documented position of rights holders, academic researchers. Working musicians across genres, and it is driving active litigation and legislative debate. This article draws on four voices who addressed these questions directly. Their views are different from each other, and that disagreement is itself the point. For a fuller picture of who these voices are and what the broader conversation looks like, start with the [cluster overview that introduces all seven interview subjects](https://blog.artistworks.com/music-meaning-ai-working-musicians/). **Plain-English takeaway —** Consent and compensation for AI music training data are legally unresolved, actively contested, and complex enough that four informed voices propose four different solutions without agreeing on any of them.## What “Training Data” Means and Why It Matters for Consent and Compensation Most music listeners have never had to think about what training data is. Here is the plain version. An AI music tool learns by processing enormous quantities of existing recorded music. The system analyzes patterns in that audio, and those patterns become the model’s capabilities. When you ask the tool to generate something in a particular style, it draws on everything it absorbed during training. The music that taught the tool is called training data. The question of consent and compensation asks: did the creators of that music agree to have their work used this way. Were they paid for it? In almost every case so far, the answer to both questions is no. That is the core of the dispute. The companies building these tools have generally proceeded without licensing the underlying recordings, often arguing that training falls under fair use doctrine. Rights holders dispute that interpretation. The courts have not yet settled it. Meanwhile, the training has already happened, and the commercial products built on it are already generating revenue. ## What Rights Holders Are Actually Experiencing The label and publishing world has been direct about what they have observed. Alison Brown, a working musician and record label founder, frames it in concrete terms. “The main concern right now in the label world is the use of copyrighted material that platforms like Suno are training their AI on — and copyright holders and creators aren’t getting any compensation for it.” That sentence describes a structural problem, not an edge case. Brown is not talking about a single artist whose song was borrowed without credit. She is describing an industry-wide pattern in which entire catalogues have been ingested into commercial systems. The rights holders received no licensing fee. The creators received no royalty. For context on how this affects individual artists specifically trying to build and protect a career, the [piece on AI and music career economics](https://blog.artistworks.com/next-generation-music-careers-ai/) goes deeper on that dimension. ## The “Carefully Planned Unknowing” and What It Signals One of the more striking observations in this conversation came from Elijah Mayfield, a researcher who studies AI systems. He identified a pattern in how some developers have structured their data sourcing, and he put a precise name on it. “The ones that are thoughtful about this have resorted to a very carefully planned unknowing — not being sure precisely where their data came from, finding it through third parties… That sort of almost laundering of the process.” – Elijah Mayfield That phrase, “carefully planned unknowing,” describes something more deliberate than ignorance. It describes a posture. If a company does not know exactly where its training data came from, it becomes harder to make a specific legal claim against them. Because the uncertainty is engineered rather than accidental, it functions as a shield. Mayfield connects this to a longer strategic bet that some developers appear to be making about the timeline of legal consequences. ## Consent and Compensation: Betting That the Law Will Catch Up Later Mayfield sees a calculated logic behind the speed at which some AI music platforms have moved. “They’re hoping they can proceed very far along until the models are so good and so built into the fabric of our society that we rewrite the laws — redefine what it means to have been OK in the first place, and retroactively forgive and forget all of that.” That is a significant claim. It suggests that some developers are not simply acting in a legal gray area by accident. Instead, they may be making a deliberate bet that widespread adoption creates its own political and legal momentum. However, that strategy has historical precedent in tech. Platforms have moved fast, embedded themselves deeply, and then watched legislators struggle to regulate what already exists. Whether that outcome repeats in music remains genuinely uncertain. ## Why Legislation May Be the Only Real Solution Jason Vieaux, a guitarist and educator, is direct about where he thinks this ends up. “They have to legislate that at some point. It’s just like in sports — like NIL. There has to be something mandated by Congress to make sure the artist is compensated.” The NIL analogy is worth unpacking. For decades, college athletes generated enormous revenue for universities and broadcasters. However, the athletes themselves received nothing, because existing rules prohibited it. The system did not reform itself voluntarily. Eventually, a combination of court decisions and legislative action forced a new framework into existence. Vieaux’s argument is that artist compensation for AI training data will likely follow the same path. The economics will not self-correct. Consent and compensation will need a mandate, not a handshake. ## Consent and Compensation: A Direct Challenge to the Platforms Themselves Samuel Smith takes a different angle. Rather than focusing primarily on what the platforms have taken, he asks what they are giving back. “My message to Suno and the other platforms is: step up. What are you doing to scale music therapy? What are you doing to help music access for disadvantaged communities — for those with barriers of age, illness, confidence? Show that you really mean it.” That challenge reframes the consent and compensation debate in terms of stated values versus demonstrated ones. It asks whether the companies that benefit most from this technology are using it to serve communities that lack access, or simply to generate profit. For the question of how AI shapes who gets to make music in the first place, the [discussion of AI and creative access](https://blog.artistworks.com/creative-engagement-ai-active-passive/) is directly relevant here. ## What Working Musicians Can Do Right Now Collective advocacy is the most accessible lever most individuals have. If you are a working musician, the Recording Academy, the International Bluegrass Music Association. Folk Alliance are all actively engaged on consent and compensation policy. Their positions inform legislative conversations. Individual membership and participation in those organizations is one concrete way to add weight to the effort. Beyond that, staying informed matters. The [piece on AI and artistic identity](https://blog.artistworks.com/artistic-voice-ai-clone-protect/) covers the closely related question of whether AI can replicate a specific artist’s sound, which feeds directly into the same legal debates. Similarly, the [broader overview of how audiences respond to AI-generated music](https://blog.artistworks.com/ai-generated-music-audience-reaction/) provides context for why these conversations are accelerating now rather than later. ## Four Views, No Consensus The picture that emerges from these four voices is not a unified position. Brown focuses on the absence of licensing and compensation as the central harm. Mayfield focuses on the structural opacity that makes accountability harder. Vieaux argues that only legislation will produce a durable solution. Smith argues that platforms should demonstrate values through action, not just words. None of them fully agree, and that disagreement is an accurate picture of where the conversation stands. The question of consent and compensation in AI music training is genuinely unresolved. The legal framework that will eventually govern it does not yet exist. The [full cluster overview](https://blog.artistworks.com/music-meaning-ai-working-musicians/) maps all of these threads together and connects you to each piece in the series. The debate is moving fast. Understanding what is actually at stake is the first step to participating in it usefully. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI music, AI music training data, artist rights AI, ArtistWorks, consent and compensation, ear training, fair use music recordings, listening, music copyright AI, music lessons, online music lessons, patricia butler --- ### [Unlock the Stunning Musical Nuances Most Listeners Miss](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** What a trained musical ear hears that most listeners miss is not a matter of taste or talent. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- What a trained musical ear hears that most listeners miss is not a matter of taste or talent. It is a matter of perception, built through deliberate practice over time. Two people can sit in the same room and hear the same recording. One person experiences it emotionally. The other experiences it emotionally and structurally, catching details the first person’s brain simply does not register as meaningful. That gap is not fixed. It is teachable. Understanding how that gap forms and closes is, arguably, a key purpose of music education. For a broader look at how working musicians and researchers are thinking about perception, creativity and technology right now, start with the [full cluster overview on music, meaning, and AI](https://blog.artistworks.com/music-meaning-ai-working-musicians/). **Plain-English takeaway —** A trained ear is not a gift, it is a skill built through structured practice, and developing it changes not just how you play but how you hear everything around you.## The Difference Between Hearing and Listening That Most Listeners Miss Most listeners process music as a stream. Melody, rhythm, and mood arrive together as a single experience. A trained ear breaks that stream into layers. It hears the relationship between what a player did and what the underlying harmony expected. It notices the small gap before a phrase resolves. It catches the moment a player leans slightly on a note that most listeners miss entirely. This is not a passive ability. Instead, it is built through thousands of hours of deliberate listening and playing. The ear learns to expect, and then to notice when expectation is met, stretched, or broken. That noticing is what separates musical perception from musical enjoyment. Both matter, but only one can be systematically developed through education. So the framing of music education as purely a cultural or emotional endeavor misses something practical. The emotional response follows the perception. Train the perception, and the emotional experience becomes richer, not more clinical. ## How One Idea Becomes a Hundred One of the clearest signs of a trained musical mind is the ability to take a single idea and multiply it. This is what most listeners miss when watching an experienced improviser: the underlying logic that makes variation feel inevitable rather than random. Bryan Sutton addresses this directly. “How can one thing turn into 100 things is a question I like to ask when we’re talking about improvisation. It’s not just some limited lick unto itself — it’s a concept and an essence that can be applied in a lot of different ways.” That conceptual shift is not an advanced technique. Instead, it is a change in how a player understands what they are doing. When a phrase stops being a sequence of memorized notes and becomes a moveable idea, the player’s entire relationship to the fretboard changes. For more on how active engagement with music differs from passive exposure, the [post on creative engagement and the active vs. passive divide](https://blog.artistworks.com/creative-engagement-ai-active-passive/) covers that distinction in detail. ## The Neuroscience of Playing Correctly Versus Playing Freely The brain does not treat all playing the same. Research into musical cognition reveals a meaningful difference between two mental states. One is required for precise, rule-following performance. The other is required for open-ended improvisation. These are not just different moods. They involve different neural processes. Dr. Andrew Carlson explains the mechanism: “There are regions of the frontal lobe more activated during deliberate, playing-the-correct-music sessions, that actually have to get down-regulated in improvisational music — to allow you to get out of your head, so to speak.” In other words, the discipline required to play something correctly and the freedom required to generate something new actually compete at the neurological level. Structured practice builds the former. Deliberate creative relaxation builds the latter. Both, therefore, require intentional cultivation. Neither happens automatically. This is one reason why players who have spent years on technical precision sometimes struggle to improvise. Similarly, natural improvisers sometimes resist the focused work that builds a more reliable foundation. The two modes are real. They require different training approaches. ## The Two Feedback Loops That Build Musical Intelligence Playing well and hearing your own playing clearly are not the same skill. Most students conflate them. However, the ability to evaluate your performance from a slight distance is a separate capacity. It may, in fact, be the more transferable one. Dr. Carlson identifies both components: “Both components are important for a musician to generate good music: that immediate correction — expecting a note and then playing it — and then having this broad feedback of, OK, when I separate myself out from it a little bit, what’s missing?” The first loop is local. It fires in real time, correcting small errors note by note. The second loop is broader. It requires you to listen to yourself as if you were listening to someone else. You notice not just errors but absences. What a teacher hears when a student plays is not just what is there. It is what is missing. And learning to hear absence is most of the work of musical development. For context on what the brain is actually doing during these different modes of engagement, the [article on instrument learning and brain function](https://blog.artistworks.com/learning-an-instrument-brain-benefits/) goes deeper into the cognitive science. ## What Most Listeners Miss in AI Audio A trained ear does not only hear more in live performance. It also hears more in recorded audio, including audio that most listeners accept without question. This has become practically relevant as AI-generated music has become more common. Sierra Hull makes the distinction concrete: “You listen closer and you hear the little pops and clicks — the little digital artifacts. Most of the AI music right now, if you really listen to it with headphones, there’s enough digital artifacts that you can really tell it’s not actually being played.” This is a direct and practical illustration of what trained perception actually provides. The artifacts Hull describes are inaudible to most casual listeners. They are present in the signal, but the untrained ear does not flag them as meaningful. A trained ear does. It has developed expectations about what real instrument sound looks like at the micro level. That gap between the two experiences is measurable. It is, as a result, a direct product of ear training. For a fuller picture of how audiences respond to AI-generated music, the [article on audience reaction to AI music](https://blog.artistworks.com/ai-generated-music-audience-reaction/) covers that terrain. ## Internalization Is What Most Listeners Miss Most Information is not the same as perception. A player can memorize scales and understand chord relationships. They can recite music theory correctly. None of that automatically changes how they hear. The goal of serious music education is, therefore, to move knowledge from recall into perception. From something you think, to something you hear. Alison Brown puts it plainly: “Making that information a part of you — that’s the money goal. That’s where you really are benefiting.” That internalization is not a shortcut process. It requires repetition and structured listening. In addition, it demands the kind of deliberate practice that gradually closes the gap between intellectual knowledge and automatic perception. When knowledge internalizes, it stops being effortful. It becomes, instead, the baseline from which you operate. ## Putting Your Ear to Work Here is a practical exercise that makes all of this tangible. Find a piece of AI-generated music and listen through headphones. Note every moment that sounds slightly wrong, mechanical, or hollow. Then do the same with a recording you genuinely love. Compare the two lists. The gap between them is a direct measure of what your ear already knows. It also shows what your ear has learned to expect from real music. That gap is also a map of what your ear training can still develop. Because the point of building a trained ear is not to become a critic. It is, instead, to become a better player, a better listener, and eventually a better teacher. This kind of deep perceptual work is precisely what most listeners miss when they assume musical ability is fixed or innate. The [main cluster article](https://blog.artistworks.com/music-meaning-ai-working-musicians/) connects all of these threads for anyone ready to go deeper. If you want to understand how musicians can engage with AI tools without compromising what makes them distinctive, the [post on experimenting with AI without losing your voice](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) is a practical next step. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** ArtistWorks, deliberate listening practice, ear training for guitarists, most listeners miss, musical perception development, online music lessons, patricia butler, trained musical ear --- ### [Asking Musicians About AI: What Skeptics Found in Real Practice](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** What musicians about AI actually think is rarely as simple as the headlines suggest. Most of the seven guests in this series arrived at their conversations carrying real reservations, and that matters. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- Asking musicians about AI to actually think is rarely as simple as the headlines suggest. Most of the seven guests in this series arrived at their conversations carrying real reservations, and that matters. Surprises from skeptics carry weight that enthusiasm from early adopters simply does not. This post collects the specific moments where guests said something shifted for them. Not a general warming to the technology, but a distinct, named realization they hadn’t brought into the room with them. None of these moments resolve the larger debate. However, they point toward questions worth sitting with seriously, especially if you’ve already spent time with [the full series overview and what all seven guests actually found](https://blog.artistworks.com/music-meaning-ai-working-musicians/). The pattern across these moments is more interesting than any single data point. **Plain-English takeaway —** The guests who came in skeptical about AI reported specific, concrete surprises, about history, about new audiences, about imperfection, and about access, that are worth examining precisely because they weren’t predicted.## What Musicians About AI Tend to Expect, and Why the Surprises Matter The default conversation about musicians about AI tends to run along predictable lines. Someone defends the technology, someone warns against it. Both sides rehearse positions they held before the discussion began. The more interesting data comes from moments when a guest said something they hadn’t planned to say. That is what this post is about: specific inflection points in the conversations, not the settled opinions. Because these guests were largely skeptical coming in, their surprises deserve more scrutiny. A confirmed enthusiast noticing something positive proves little. A skeptic noticing something they hadn’t considered is different evidence entirely. ## The Historical Pattern That One Guest Found Reassuring Several guests touched on technology’s history in music. Jason Vieaux put the point most directly. His argument wasn’t that AI is harmless. Instead, it was that the pattern of disruption followed by adaptation has repeated often enough to be informative. “I just don’t worry about it, because we’ve already had all these iterations where the sky was falling and it doesn’t really ever… It just keeps going, and so it goes.”, Jason Vieaux What makes this observation useful is its specificity. Vieaux isn’t claiming the outcome will definitely be fine. He’s pointing to a repeated historical structure: dire predictions, disruption, then continuation in a changed form. That pattern doesn’t guarantee the same result this time. However, it does suggest that the complete-collapse scenario has been predicted before and hasn’t materialized. For working musicians about AI anxiety, that distinction matters. The question worth asking isn’t “will music survive?” but rather “what specifically changes, and for whom?” ## The New Audience That Most Guests Hadn’t Fully Thought About This was arguably the biggest collective surprise across the series. Several guests arrived thinking about AI as a competitive threat to working musicians. They left thinking about a population they had largely ignored: people who love music deeply but have never made it. Were never going to. Elijah Mayfield put this most precisely. His framing reoriented the conversation significantly. “There are a huge number of people that love music but haven’t dedicated the time and energy to creating it… They were never going to go out and track a record. That is not a competition. That is an all-new use of music.”, Elijah Mayfield This distinction between competition and expansion is the key move in his argument. If someone who was never going to record an album now uses a tool to make something musical, that person isn’t replacing a working musician’s output. They’re doing something that didn’t exist before. Whether that is straightforwardly good, or whether it changes what creation means, remained a live question in the series. But the guests who leaned more skeptical largely acknowledged this framing as something they hadn’t fully worked through before. ## What Musicians About AI Hear Differently in Flawed Output Sierra Hull’s surprise came from a direction most listeners wouldn’t expect: the imperfections in AI-generated music rather than its competence. Hull noticed that certain strange or flawed qualities in AI output had an unexpected effect on her as a listener and player. “Some of those weird, flawed, imperfection things can actually make you feel like you’re hearing something a little bit new… It makes you want to pick up your instrument and think about it differently.”, Sierra Hull This is worth unpacking carefully. Hull isn’t praising the flaws. She’s describing a specific listener response: encountering something slightly uncanny can reactivate curiosity. For a trained musician, hearing something that almost makes sense but doesn’t quite can prompt active listening. It can also spark a renewed desire to engage with the instrument. That’s essentially the opposite of the passive-replacement fear. The connection between what trained ears hear and what AI currently produces is worth exploring further in [our piece on what a trained musical ear actually catches that most listeners miss](https://blog.artistworks.com/most-listeners-miss-musical-details-trained-ear/). ## The Access Case That Changed the Conversation for Musicians About AI Samuel Smith raised a scenario that stopped several guests in place. The conversation about musicians about AI tends to center on professionals and aspiring ones. However, there’s a population that rarely enters this discussion: people who have lost physical access to making music through illness, injury, or age. “Here’s potentially the first use of AI that a lot of them have heard that really feels good. It feels good for the soul, not bad.”, Samuel Smith Smith was describing the response of people in this situation when they encounter tools that let them participate in musical creation again. This isn’t about competition or democratization in the abstract. It’s about a specific, concrete use case where the emotional stakes are high. For these people, the alternative is simply silence. Several guests named this as something they genuinely hadn’t considered before the series began. It doesn’t resolve every concern. However, it complicates the straightforward opposition frame in a way that’s hard to dismiss. ## What Musicians About AI Still Disagree On: The Democratization Question Even among guests who found reasons to think more carefully about AI’s potential, the democratization question stayed unresolved. Alison Brown named the tension directly. Her framing is useful precisely because she doesn’t pretend to settle it. “This idea of the democratization of music creation — it’s something that we shouldn’t be afraid of. Maybe there is a place for anyone who wants to exercise their creativity.”, Alison Brown Brown’s use of “maybe” is not a hedge. It’s an honest position. Wider access to creative tools could mean more people engaging genuinely with music. Alternatively, it could dilute what the word “creation” means in practice. Both possibilities are live. The guests who engaged most seriously with this question were also the most reluctant to declare the matter settled. For more on where the real line falls between active and passive creative engagement, [this piece on AI and creative engagement](https://blog.artistworks.com/creative-engagement-ai-active-passive/) is the right next stop. ## How to Approach AI Tools If You’re Still Skeptical One pattern emerged clearly across the guests who found AI tools genuinely useful: they came with a specific problem, not a general curiosity. Exploring a tool without a defined purpose tends to produce vague impressions. However, arriving with a concrete creative gap to fill tends to produce more useful results. A question to test gives you actual evidence. Testing against nothing in particular gives you very little. This is practical advice, not a philosophical position. If you’re skeptical, that skepticism is worth keeping. Use it as a filter, not a wall. ## The Possibility No One Anticipated When the Tools Were Built The most honest note to end on is also the least resolved. Across all seven conversations, the most interesting moments were the ones no one had scripted. The new-audience framing, the imperfection response, the access case: none of these were anticipated talking points. They surfaced because the conversations went somewhere the guests hadn’t planned. That pattern suggests something worth sitting with. What musicians about AI find most useful is probably not what the tools were originally designed to produce. Instead, it’s what emerges when specific people bring specific problems to the technology. The full shape of what that could mean is still being worked out. [The series as a whole](https://blog.artistworks.com/music-meaning-ai-working-musicians/) stays honest about that uncertainty. For practical guidance on experimenting without losing your own voice, [this piece on how musicians can engage with AI on their own terms](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) picks up where this one leaves off. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI and music, AI in music practice, AI skeptics, AI-generated music imperfection, ArtistWorks, ask musicians, music creation access AI, musicians about ai, skeptical musicians AI --- ### [Experiment with AI Without Losing Your Authentic Sound](https://blog.artistworks.com/experiment-with-ai-authentic-sound/) **Published:** September 13, 2026 **Author:** ArtistWorks **Excerpt:** You can experiment with AI starting today, using material you already have, without handing your voice over to a machine. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 12, 2026 · Updated Sep 12, 2026 · 6 min read PBFeatured in this articlePatricia Butler · ArtistWorks Co-Founder --- You can experiment with AI starting today, using material you already have, without handing your voice over to a machine. That is the core promise this series has been building toward. Across nine posts, working musicians and researchers examined AI from nearly every angle. They explored its creative potential, its ethical complications, its effect on audiences, its threat to emerging careers, and the genuine surprise it produced even in skeptics. If you have read through the [full series overview](https://blog.artistworks.com/music-meaning-ai-working-musicians/), you already have the map. This final post is about what to do with it. Not a verdict on AI, not a prediction about where the industry lands. Instead, it is a practical framework for any guitarist or songwriter who wants to engage honestly, stay oriented. Keep their own voice at the center of everything they make. **Plain-English takeaway —** Treat AI output as scaffolding you build from and eventually remove, and your existing musical knowledge becomes your most valuable asset in any experiment you run.## How to Experiment with AI Using What You Already Know The most common mistake musicians make when they experiment with AI is starting from a blank prompt. That approach puts the machine in the driver’s seat immediately. Instead, bring your own material: a melody you have been developing, a chord sequence you keep returning to, a lyric that is almost there. Your existing instincts and musical knowledge are not obstacles to using AI well. In fact, they are the entire point. Samuel Smith made this clear when he quoted producer Jerry Douglas directly: “You don’t get good outputs if you don’t get good inputs. So it all depends on good melodies and great lyrics.” That principle applies whether you are working with a melody generator, a lyric assistant, or an arrangement tool. The quality of your musical thinking shapes the quality of what comes back. Bring weak raw material, and you get polished weakness. Bring something genuinely musical, and you give the tool something real to work with. This reframes what musical knowledge is for. It is not the thing AI replaces. It is the thing that makes your AI experiments worth running. ## The Scaffolding Principle: Build From It, Then Remove It Smith also described a workflow that clarifies exactly how useful AI output can be. He was specific about its limits, too. “Once it is right, you can download the stems, strip off the AI voice and put my voice onto it… What starts as AI-enabled slowly becomes stripped away. It gives you the scaffolding.” That image is worth sitting with. Scaffolding is essential during construction. However, you do not live inside the scaffolding. It comes down when the real structure is ready. Applied to your own practice: an AI-generated arrangement or lyric draft serves the work while you are building. Eventually, your actual voice and your actual choices replace what the tool produced. If you never reach that point, the scaffolding has become the house. That is a different problem. The distinction matters because it determines whether you are using AI as a creative aid or outsourcing the creative act entirely. ## Studying Other Players Without Just Copying Them One of the more nuanced applications that surfaced across the series was using AI tools to examine how other musicians make decisions. The goal is not to reproduce their sound. The goal is to understand it. Bryan Sutton described this aim precisely: “The overarching spirit would be an effort to find more of your authentic voice — how can we study and understand the essence of some other player’s decisions and instincts? How does that prompt things in you to help you hear things that are new?” That framing shifts the study relationship of how you experiment with AI entirely. Instead of trying to sound like someone, you are asking what their choices reveal about musical thinking. For example, you might use an analysis tool to look at how a player navigates a particular chord type. Then ask what that reveals about their instincts. The goal is not imitation. The goal is the question it prompts in you. This connects directly to the broader point raised in the post on [artistic voice and musical identity](https://blog.artistworks.com/artistic-voice-ai-clone-protect/): influence absorbed consciously tends to expand your vocabulary rather than swallow it. ## The Party-Trick Test: Does This Actually Enrich Your Work? Before you build anything meaningful on a generated output, there is one question worth asking first. Alison Brown put it plainly: “It depends on what your goal is. One thing’s a party trick, and one thing actually enriches your life.” That test is simple and ruthless. A party trick impresses in the room, then fades. It generates a reaction, but it does not deepen your playing, your writing, or your relationship to music. Something that genuinely enriches is different. It changes how you hear. It adds a technique, an idea, or a perspective that stays with you. So when you experiment with AI and generate something interesting, pause before you post it or build on it. Ask whether this actually adds something to your musical life. Or are you simply excited because the machine did something surprising? Surprise and enrichment are not the same thing. ## When You Would Rather Push Back Than Experiment with AI Not every musician wants to engage with AI tools, and that is a legitimate position. If your instinct is to resist rather than explore, the most direct individual action available is collective. Alison Brown was specific: “The best thing to do is to become a member — to be a joiner. Because then we’re stronger. We’re stronger standing together.” She named concrete organizations: the Recording Academy, the International Bluegrass Music Association, and Folk Alliance. Joining any of them connects you to the musicians, advocates, and policymakers working on consent and compensation questions the industry has not resolved yet. The issues around ownership and training data are real and ongoing. The post on [consent, compensation, and who owns the music that trained AI](https://blog.artistworks.com/consent-and-compensation-ai-music-training/) covers that ground in detail. Advocacy and experimentation are not opposites. Many musicians do both. ## How to Experiment with AI in Your Next Session Start your next session by opening something you have already made. A partial melody, a chord progression, an unfinished lyric. Use that as your input, not a blank text field. This one adjustment keeps your voice in the room from the first step. After you generate something, apply the scaffolding check. Is what came back something you could build on and eventually replace with your own performance and choices? Or is it already finished in a way that leaves no room for you? If it is the latter, it may not be the right starting point. Finally, apply the party-trick test before you commit to anything further. The combination of those two filters will catch most of the situations where AI is working against you rather than for you. ## What the Series Adds Up To This series covered nine distinct angles on AI and music. It looked at [whether AI represents a shift as large as the internet](https://blog.artistworks.com/ai-changing-music-internet-revolution/), examined [how active engagement differs from passive consumption](https://blog.artistworks.com/creative-engagement-ai-active-passive/), tracked [how audiences respond when they learn something was generated](https://blog.artistworks.com/ai-generated-music-audience-reaction/), considered [what the next generation of musicians faces](https://blog.artistworks.com/next-generation-music-careers-ai/), and reported on [what genuinely surprised skeptical musicians](https://blog.artistworks.com/musicians-about-ai-skeptics-surprises/). None of that adds up to a verdict. The technology is moving, the industry is unsettled, and the ethical frameworks are still forming. However, the practical question underneath all of it has stayed consistent. What is your goal? Is this tool actually serving it? That question cuts through the noise every time you sit down to experiment with AI. It is the clearest filter the series offers. Applying it requires no expertise in machine learning. It requires only that you know what you are after as a musician. If you have gotten this far, you probably already do. Return to the [full series overview](https://blog.artistworks.com/music-meaning-ai-working-musicians/) anytime you need to reorient around the bigger picture. [Learn from master musicians at ArtistWorks – 7 day FREE trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor PBPatricia Butler Co-Founder of ArtistWorks ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** AI music tools for guitarists, ArtistWorks, authentic musical voice, experiment with ai, musical identity and technology, patricia butler, scaffolding principle songwriting --- ### [Guitar Posture: How to Play Comfortably Sitting or Standing](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Bad guitar posture doesn't announce itself with a warning label. Instead, it shows up as tension in your picking arm, a phrase you can't quite get clean, or a wrist that starts aching twenty minutes into a session. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 8 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Bad guitar posture doesn’t announce itself with a warning label. Instead, it shows up as tension in your picking arm, a phrase you can’t quite get clean, or a wrist that starts aching twenty minutes into a session. Most players chase technique fixes for months before realizing the actual problem started before their fingers touched the strings. Guitar posture is the foundation underneath everything else. It shapes your sound, your speed, your endurance, and your long-term health as a player. This guide covers five checkpoints that apply whether you’re sitting in a practice chair or standing on a stage. They are head position, shoulders, hand and arm placement, hips and core, and feet. None of them require perfect ergonomics or a specialized setup. They require awareness, a few adjustments, and a little consistency. ArtistWorks educator Dave Isaacs has built a reputation for cutting straight to what actually moves the needle for guitar players, and posture sits near the top of that list. Work through each section here, then follow the links into each deep-dive to get the full picture on every checkpoint. **Plain-English takeaway —** Fix your guitar posture at five key points, from head to feet, and your technique problems become much easier to solve.## Why Guitar Posture Is a Playing Problem, Not Just a Comfort Problem Most players think of posture as a health topic. They connect it to back pain, wrist injuries, and the kind of warnings a physical therapist gives. Those concerns are real. However, posture is also a direct technical problem. When your body is braced, compressed, or fighting gravity, your muscles cannot respond quickly or precisely. You lose fine motor control. Your tone gets rigid. Think about what it takes to execute a smooth bend, a fast run, or a gentle fingerpicking phrase. Each of those skills depends on relaxed, accurate movement in your hands, arms, and shoulders. For that relaxation to exist, the parts upstream must be balanced and free. A compressed shoulder limits your arm. A craned neck pulls your shoulder. A collapsed core pushes everything else out of alignment. The chain runs from the ground to your fingertips. This is why Dave Isaacs frames posture not as a warmup ritual, but as a playing position. You are setting your body up to play well. Every checkpoint in this guide solves a specific problem that players often blame on technique instead of setup. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## Head Position: The First Domino in Guitar Posture Where your head goes, the rest of your spine follows. A head that tips forward or drops down toward the neck of your guitar pulls the cervical spine out of neutral, and that tension travels straight down into the shoulders and upper back. Players who look down constantly while playing often end up with chronic tightness in the upper trapezius, the muscles that run from the base of your skull out toward your shoulders. That tightness eventually reaches the picking arm and the fretting hand. The fix is not to stare at the ceiling. A neutral head position means your ears sit roughly over your shoulders, your gaze is level or only slightly angled downward. Nothing in your neck is actively pulling. It helps to remember that you can feel the strings well enough to navigate without looking directly at your hands. Over time, you develop a physical map of the instrument. That map gets built faster when you are not straining to see it. If this is a habit you have been fighting, the full breakdown on [why looking down is limiting your playing](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/) will give you a concrete plan for correcting it. ## Shoulder Posture: Relaxed Is the Goal, Not Perfect Tense, raised shoulders are one of the most common guitar posture problems. They are also one of the hardest to notice in the moment. You can spend an entire practice session with your shoulders hiked halfway to your ears without ever registering it consciously. Meanwhile, your arms are working against a locked base, your picking motion loses fluidity. Your fretting hand has less reach and flexibility than it should. Relaxed shoulders are not a passive state. They are something you actively choose and then re-choose throughout a session. Before you play, drop your shoulders deliberately. Breathe out and let them fall. Notice where they settle. That lower position is where you want them to stay. If they creep back up, you are probably holding tension somewhere else, often in the jaw, neck, or picking arm. Sitting and standing each create slightly different shoulder challenges. Standing with a strap that hangs too low pushes the picking shoulder forward and up. Sitting with the guitar resting in the wrong position can cause the same problem in the opposite direction. For a complete look at [keeping your shoulders relaxed in both positions](https://blog.artistworks.com/shoulder-posture-guitar-playing/), the dedicated guide covers both scenarios in depth. [Get personalized video coaching and feedback from Dave Isaacs at ArtistWorks*Start →*](www.artistworks.com/dave-isaacs) ## Hand and Arm Placement: Understanding the Asymmetry of Guitar Posture Guitar is an asymmetrical instrument. Your picking hand stays relatively close to your body, positioned over the soundhole or pickups, while your fretting hand extends in front of you to reach the neck. That asymmetry is not a flaw in how the instrument was designed. It is a feature, and understanding it removes a lot of the guesswork about where your arms should be. The picking arm rests against the body of the guitar and pivots from the elbow. The fretting arm reaches forward, and the elbow hangs below the neck rather than flaring outward. Many players raise their fretting elbow out to the side, which compresses the wrist and limits how far the fingers can reach across the neck. Dropping that elbow down opens up the wrist angle and gives the fingers more freedom. Both hands also need to operate without grip tension. The fretting hand presses notes with fingertip pressure, not a squeeze from the whole hand. The picking hand holds the pick or fingers with the minimum force required for control. Grip tension is one of the most common sources of playing fatigue. It usually starts in a poor arm position. The full article on [how arm posture shapes your left- and right-hand technique](https://blog.artistworks.com/arm-posture-guitar-technique/) unpacks this connection in practical detail. ## Core Posture: Your Center Is a Platform Your core is the platform your upper body rises from. When it is balanced and engaged, your shoulders sit freely over your hips, your breathing stays natural. Your arms can move without your torso compensating for an unstable base. When your core is collapsed or braced, something else has to pick up the slack. That something is usually your shoulders or your lower back. This checkpoint matters differently depending on whether you sit or stand. Sitting creates a specific challenge: the temptation to slouch backward into a chair or hunch forward toward the guitar. Both of those positions collapse the lower back and shorten the front of the torso, which in turn pushes the shoulders into a compromised position. Standing removes that particular trap but introduces others, especially if your weight shifts unevenly over time during a long set. A balanced core does not mean a rigid or flexed core. Think of it as a neutral base, neither collapsed nor braced. Your breathing should stay relaxed and full. Dave Isaacs points out that players often hold their breath during difficult passages, which instantly locks the core and upper body and makes the passage harder, not easier. If you want to understand [how a balanced core translates directly into better playing](https://blog.artistworks.com/core-posture-guitar-balance/), that article covers both the mechanics and the practice habits. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](www.artistworks.com/dave-isaacs) ## Foot Posture: The Foundation That Players Overlook Feet are almost never mentioned in guitar instruction, which is precisely why they are worth mentioning here. Your feet are your connection to the ground. They set the base of your stance, distribute your weight, and either help or hinder everything stacked above them. In seated playing, foot position affects how your hips sit, which affects how the guitar rests on your leg, which affects your fretting arm angle. In standing playing, foot placement determines balance, weight distribution, and how easily you can move on stage. The most common problem is planting your feet too close together, which narrows the base and makes the whole stack less stable. A shoulder-width stance, with feet roughly parallel and weight evenly distributed, gives the body a solid platform. From there, a slight flex in the knees keeps the stance active rather than locked. A locked stance, especially when standing for a full set, creates fatigue faster because your muscles are working harder to maintain balance. Classical guitar tradition uses a footstool to raise the fretting-side knee, which brings the guitar into a higher position without changing the spine. That solution works well for some players and not for others. What matters more than any particular method is that your feet are relaxed, grounded, and supporting even weight. The detailed breakdown on [why your feet affect your guitar posture more than you expect](https://blog.artistworks.com/foot-posture-guitar-foundation/) explores both seated and standing variations. ## Running the Five Guitar Posture Checkpoints Before You Play The real power of this framework is in its repeatability. Five checkpoints, in order, before you pick up a phrase or a scale or a song. Head level and neutral. Shoulders dropped and relaxed. Arms in position, elbows down, hands loose. Core balanced and breathing full. Feet grounded and weight even. That sequence takes about thirty seconds. Over time, it becomes automatic. Dave Isaacs describes this kind of pre-play scan as building a physical vocabulary for your instrument. The more consistently you return to these positions, the faster your body learns to find them on its own. You stop having to think about guitar posture, because your body already knows what right feels like. At that point, you are no longer fighting your setup. You are just playing. ## Continue Learning Each checkpoint in this guide has a full deep-dive of its own. Work through them in order for the most complete picture of what balanced guitar posture looks and feels like. 1. [Stop looking down and start playing freely](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/) 2. [Keep your shoulders relaxed in every playing position](https://blog.artistworks.com/shoulder-posture-guitar-playing/) 3. [How your arm position shapes both hands’ technique](https://blog.artistworks.com/arm-posture-guitar-technique/) 4. [Why a balanced core makes you a more fluid player](https://blog.artistworks.com/core-posture-guitar-balance/) 5. [Why your feet matter more than you think for posture](https://blog.artistworks.com/foot-posture-guitar-foundation/) ## Final Thought Guitar posture is not a warmup topic or an injury-prevention sidebar. It is the physical foundation that every technique you ever practice sits on top of. Get it right, and your body stops fighting the music. Get it wrong, and no amount of practice time will fully compensate. Start with these five checkpoints. Run them before every session. Then head into the video lessons knowing that your body is already out of its own way. [*Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** acoustic guitar, ArtistWorks, electric guitar, fretting hand wrist angle, guitar playing tension, guitar posture, picking arm placement, seated guitar position --- ### [Neck Posture: How to Stop Looking Down and Play Better](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Neck posture is one of those things most guitarists never think about until something starts to hurt. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 6 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Neck posture is one of those things most guitarists never think about until something starts to hurt. You pick up the guitar, you look down at your fretting hand, and that’s just how it goes. But that habit, looking down constantly, is quietly working against you. It pulls your head forward, loads your cervical spine, and sends tension radiating down through your shoulders and into your arms before you play a single note. The payoff for fixing it is real: less fatigue, more fluidity, and a physical setup that actually supports the technique you’re trying to build. This article is one piece of a larger picture. If you want the full framework, start with the [complete guide to guitar posture](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) and come back here for the deep dive on your head and neck. **Plain-English takeaway —** Keeping your head neutral instead of craning down to watch your fretting hand reduces tension throughout your entire body and helps you build the muscle memory your playing actually depends on.## Why Neck Posture Gets Ignored (Until It Causes Problems) Most guitarists develop the head-down habit early, and it makes intuitive sense. You are learning where things are. You want to confirm that your fingers landed in the right place. So you look. The problem is that the habit sticks long after it stops being necessary, and by then it feels completely normal. Dave Isaacs, a Nashville-based guitarist and educator, points to this kind of unconscious tension as one of the most common obstacles he sees in students at every level. The body adapts to whatever position you repeat, and not always in ways that serve you. When looking down becomes automatic, the tension it creates becomes automatic too. Furthermore, the issue is not just muscular. A head that tilts forward shifts your center of gravity. Consequently, your shoulders compensate, your upper back tightens, and your arms are already working from a compromised position before your technique even enters the picture. ## How a Dropped Head Travels Down Your Spine Your head weighs roughly ten to twelve pounds. When it sits directly over your spine, that weight is supported efficiently. However, for every inch it tilts forward, the effective load on your neck and upper back multiplies. Guitarists who crane down to watch their fretting hand are essentially holding that weight in a cantilevered position for the entire duration of their practice session. The tension does not stay in your neck. Instead, it travels. Your trapezius muscles engage to stabilize the head. Your shoulder blades pull up and in. Your upper arms lose their freedom of movement. In short, a neck posture problem becomes a shoulder problem, then an arm problem, then a technique problem. This is especially significant when you consider the [role your shoulder posture plays](https://blog.artistworks.com/shoulder-posture-guitar-playing/) and the [way arm position affects your fretting and picking hand mechanics](https://blog.artistworks.com/arm-posture-guitar-technique/). Those things are all downstream of your head position. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## Sitting vs. Standing: The Same Problem, Different Triggers Seated players tend to tilt the guitar neck downward, particularly when using a casual leg position. Because the headstock drops, the natural sightline to the fretboard requires more head tilt. As a result, seated players often have a more pronounced head-down habit than standing players. Standing players carry the guitar at a height determined by their strap, and a well-adjusted strap keeps the neck in a more natural position. That said, the looking-down habit shows up in both contexts. It is behavioral as much as mechanical. The fix is the same either way. Before you start playing, take a moment to find neutral. Imagine your head floating gently upward, balanced on top of your spine rather than pushed forward or pulled down. Let your gaze soften. You do not need to stare at the ceiling. Your default eye level should be roughly horizontal, not aimed at your fretboard. ## Your Fingers Know More Than You Think Here is the reframe that changes how you practice: your fingers find their positions through touch and muscle memory, not through sight. When you watch your fretting hand constantly, you are not actually helping your fingers get it right. Instead, you are interrupting the proprioceptive feedback loop that builds accuracy over time. Proprioception is your body’s internal sense of position and movement. It is what allows a trained guitarist to navigate the neck without looking. Every time you look down to confirm where your fingers landed, you are choosing visual feedback over physical feedback. For beginners, some visual reference is reasonable. However, as a habit at any level, it works against you. The goal is to trust your hands. That trust is built by feel, not by sight. The more you practice navigating by touch, the faster your muscle memory develops. ## A Simple Practice Tool: Eyes Up Try this during your next session. Choose a short passage or a simple exercise you already know reasonably well. Then play it with your gaze held at eye level, or close your eyes entirely. Notice what happens. Most players feel a slight hesitation at first, because the visual crutch is suddenly gone. However, pay attention to your neck posture and shoulders. When your head stays balanced, those areas relax. The physical feedback from your fretting hand becomes clearer. Your sense of the neck becomes more reliable, not less. In addition, notice whether your playing becomes more or less accurate. Most players are surprised to find it does not fall apart the way they feared. That surprise is useful. It tells you that your hands already know more than you were giving them credit for. ## Building Better Neck Posture Into Your Routine Good neck posture is not something you set once and forget. It needs to be part of your warm-up awareness, the same way you might check your strap height or tune up before playing. Specifically, try making a brief body scan the first thing you do before picking up the guitar. Start at the top: is your head balanced over your spine? Are your shoulders down and back rather than creeping up toward your ears? This connects directly to [how your core supports the rest of your posture](https://blog.artistworks.com/core-posture-guitar-balance/) and even [the role your feet play in your overall physical setup](https://blog.artistworks.com/foot-posture-guitar-foundation/). Once you start playing, it helps to use natural stopping points in your practice as check-in moments. Finish a phrase, pause, and notice where your head is. If it has drifted forward and down, reset before continuing. Over time, neutral becomes the default rather than something you have to consciously pursue. ## The Correct Neck Posture Payoff Is Bigger Than Comfort Neutral neck posture is not just about preventing soreness. Of course, the physical benefits are real, and they matter for the long game. But the more immediate payoff is what it does to your playing. When your head is balanced and your neck is relaxed, your shoulders drop. Your arms move more freely. Your picking hand becomes more responsive, and your fretting hand has more reach and flexibility. The whole chain works better because the top of the chain is in the right place. That is why Dave Isaacs and educators like him consistently return to posture as a foundational topic, not a remedial one. Getting your [overall guitar posture right](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) from the ground up is how you build a practice that keeps paying off, not one you eventually have to rebuild after an injury forces you to stop. Your head position is a small adjustment. The results are not. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, dave isaacs, good posture, guitar lessons, guitar posture, head position while playing guitar, muscle memory guitar, neck posture, neck tension, playing posture, playing tension, proprioception guitar playing --- ### [Shoulder Posture: How to Stay Relaxed While Playing Guitar](https://blog.artistworks.com/shoulder-posture-guitar-playing/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Shoulder posture is one of the most overlooked variables in how a guitarist holds the instrument. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Shoulder posture is one of the most overlooked variables in how a guitarist holds the instrument. You can spend hours working on your picking technique or left-hand position. But if your shoulders are hiked up or uneven, you are fighting your own anatomy every time you play. Most players don’t notice the tension until it becomes discomfort. By then, it has already been slowing them down. This article breaks down why shoulder posture matters, what goes wrong sitting versus standing, and how to reset it fast. For the full picture of how this fits into your overall setup, start with [the complete guide to playing comfortably](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) and then come back here for the shoulder-specific deep dive. **Plain-English takeaway —** Raised or uneven shoulders restrict your arm movement and create tension that works against your technique, keeping both shoulders low and level is the mechanical starting point for playing freely.## Why Shoulder Posture Affects More Than Just Comfort When one shoulder rises, it shortens the muscles along that side of your neck and upper back. That shortening then pulls on the arm. As a result, the arm can no longer swing or rotate as freely. For your strumming hand, this matters because loose, fluid movement depends on the entire arm working together. For your fretting hand, a raised shoulder tightens the path from your shoulder through your elbow and into your fingers. You end up working harder for less return. The deeper problem is that tension compounds. A raised shoulder doesn’t just create local stiffness. Instead, it sends tension downstream through the arm, into the wrist, and eventually into the fingers. Dave Isaacs, a Nashville-based guitarist and educator, focuses his TrueFire work on playing efficiently and sustainably. He consistently points to the shoulder as a root cause of technique problems that players mistakenly read as hand issues. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## The Seated Position: Where Shoulder Posture Gets Trapped Sitting is where shoulder posture problems show up most often. Specifically, the right shoulder tends to hike upward when the guitar is held away from the body. When the instrument sits too far out, your right arm has to reach over a wider gap. The shoulder naturally rises to bridge that distance. The guitar’s position is effectively pulling the shoulder up. The fix is simpler than most players expect. Bring the guitar closer to your right side. Let the body of the instrument rest snugly against you. When the guitar is close, your arm doesn’t have to reach. The shoulder can settle into a lower, more natural position. In contrast, when the instrument floats away from your torso, the shoulder works continuously just to maintain contact. Also check your seated posture overall. If you are hunched or leaning heavily to one side, your shoulders will follow. Sitting tall with your weight balanced helps both shoulders stay even. This connects directly to what [your core position does for your overall setup](https://blog.artistworks.com/core-posture-guitar-balance/). A stable trunk gives your shoulders a neutral platform to rest on. ## The Standing Position: Easier to Balance, Still Worth Checking Shoulder Posture Standing is generally more forgiving for shoulder posture. Because your weight is distributed across your feet, your upper body tends to stay looser. However, that doesn’t mean the problem disappears. It simply becomes less obvious. When you stand with a strap adjusted too short or at an awkward angle, the guitar can tilt in ways that force one shoulder forward or upward. Additionally, players who grip the neck tightly while standing often hike the left shoulder without realizing it. The arm extends toward the headstock. If the strap isn’t supporting the guitar’s weight properly, the fretting arm compensates by carrying it. Before you start playing while standing, take a moment to check the level of both shoulders. Then look at where the guitar sits without you consciously adjusting it. If one shoulder is noticeably higher, trace the reason back to the instrument’s position. Don’t reach for a hand-position fix first. [How your feet are planted also plays a role here](https://blog.artistworks.com/foot-posture-guitar-foundation/). A stable, balanced stance gives your whole upper body, including your shoulders, room to stay level. ## The Shoulder Posture Trap: Compensating in the Wrong Place One of the most common mistakes players make is adjusting their hand or arm angle to work around a raised shoulder. Instead of correcting the shoulder itself, they fix what they can feel most directly. For example, if the right shoulder is hiked up and the arm feels restricted, a player might tilt the wrist or change the pick angle. That feels like a solution in the short term. In reality, it layers one tension on top of another. This is also why shoulder problems are hard to self-diagnose. The discomfort often shows up in the hand or wrist. Because of that, the shoulder never gets identified as the source. Dave Isaacs addresses exactly this pattern with his students. The fix has to happen at the origin point, not at the symptom. Similarly, [neck posture affects this chain too](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/). A dropped head pulls the whole upper body forward. That can push the shoulders out of alignment in a completely separate way. ## A Simple Reset to Find Your Natural Shoulder Position Here is a reliable way to recalibrate. Let both arms drop completely to your sides. Shake them out gently, releasing any grip or tension. Then slowly bring your hands back up to the instrument. Don’t think about where they’re supposed to go. Notice where your shoulders settle. That position, low and level, is your reference point. Most players are surprised by how much lower their shoulders land compared to where they hold them while playing. Furthermore, that drop often happens alongside a noticeable release in the chest and neck. Use that natural drop as your starting point. Work to maintain it as soon as you make contact with the guitar. If you feel the shoulder rising again as you begin to play, stop and reset before continuing. [Get personalized video coaching and feedback from Dave Isaacs at ArtistWorks*Start →*](www.artistworks.com/dave-isaacs) ## Level Shoulders as a Mechanical Requirement Level, relaxed shoulder posture isn’t just about avoiding soreness after a long session. It is the mechanical condition that lets your arms move freely enough to play the way you want. [Your arm posture and technique](https://blog.artistworks.com/arm-posture-guitar-technique/) depend on the shoulder being in a neutral position first. Everything that happens from the elbow down starts upstream. The broader point Dave Isaacs makes across his teaching is that guitar technique is a whole-body conversation. Fixing a small postural detail at the shoulder level can unlock movement you didn’t know you were blocking. For a complete view of all the posture variables that interact with your shoulder position, return to [the full posture guide](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) and work through each element systematically. The shoulder is one piece of that picture. But it is often the piece that unlocks everything else. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, avoiding tension, dave isaacs, guitar lessons, guitar playing posture, playing posture, posture, relaxed guitar technique, seated guitar position, shoulder pain, shoulder posture, shoulder tension, tension-free playing --- ### [Arm Posture for Guitar: How to Free Both Arms](https://blog.artistworks.com/arm-posture-guitar-technique/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Arm posture is one of those things most players never consciously think about, until something starts to hurt, or a technique that should be simple refuses to click. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 6 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Arm posture is one of those things most players never consciously think about, until something starts to hurt, or a technique that should be simple refuses to click. You might be hitting the right notes and using a reasonable grip. But if each arm isn’t positioned to move freely, you’re working against yourself from the start. This article focuses on the separate demands each arm places on your body. It explains why being mindful of your symmetry can set you up to avoid tension. For the broader framework connecting posture across your whole body, the [complete guide to comfortable guitar posture](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) is worth reading first. Here, though, we’re zeroing in on what your arms actually need and why getting that right transforms how every technique feels. **Plain-English takeaway —** Your picking arm and fretting arm have completely different spatial needs, and arm posture is about giving each one room to do its job, not forcing them into a matched, symmetrical position.## Why Arm Posture Starts With the Guitar’s Natural Position Before your arms can settle into a good position, you need an honest picture of where the guitar actually sits on your body. When seated, the instrument rests on your right leg and leans against your right side. It is not centered directly in front of you. That sounds obvious, but many players carry a mental image of the guitar as something centered and symmetrical, like a steering wheel. Because of that, they compensate by twisting their torso or pulling the neck inward. Both arms pay the price. Dave Isaacs is a guitarist and educator who has spent years working with students on foundational issues like these. He frames the solution clearly. Let your arms drop naturally to your sides. Then bend from the elbows to bring them up, and meet the instrument at that neutral point. Instead of reshaping your arms around a fixed guitar position, you’re finding the position where the guitar meets your neutral arms. That single shift dissolves a lot of unnecessary muscular effort. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## Picking Hand Arm Posture: The Need for a Free Arc Your picking or strumming hand needs a clear, unobstructed arc of motion. Because the guitar sits to your right side when seated, the picking arm is well-placed to swing freely from that angle. However, when players mentally try to center the guitar, the picking arm ends up angled awkwardly inward. That pinches at the elbow or shoulder. The result is a muted, weak attack rather than a clean, percussive one. For strumming styles, keeping the guitar resting naturally to the right side gives your picking arm the most efficient path through the strings. Your forearm can rest lightly on the body of the guitar. Your wrist can hang in a relaxed curve. In contrast, an arm forced to work from an unnatural angle creates micro-tension. That tension shortens your endurance and muddies your tone. The tone of a strum is largely a product of how freely that arm can move. Arm posture is a direct tonal concern, not just a comfort one. ## Fingerstyle and the Elevated Neck Position Fingerstyle players often find that angling the neck upward slightly brings the picking hand into a better arc. You can achieve this by crossing your legs or using a footstool. That elevated neck position also opens space between the guitar body and the forearm. Fingerstyle technique frequently requires that clearance. So the picking hand’s needs can actually influence how you choose to seat the guitar in the first place. ## Fretting Hand Arm Posture: Extending Out Rather Than Pulling In The fretting hand tells a different story. Because the neck extends away from the body to the left, the fretting arm naturally reaches out in front of you. This is where arm posture becomes genuinely asymmetrical by design. Your fretting arm extends further forward than your picking arm. Many players respond to that reach by twisting their torso to the left. They’re trying to bring the neck closer. That twisting is the problem. Instead, let the fretting arm extend. Your shoulder stays square and relaxed, and the arm reaches. The elbow should swing slightly forward and away from your body, not tucked in tight. When the elbow comes forward, the wrist naturally straightens. Then the fingers arch over the strings more cleanly. As a result, wider reaches across the neck become more manageable. You’re not fighting the geometry. You’re working with it. This is also why [shoulder posture and arm posture are closely linked](https://blog.artistworks.com/shoulder-posture-guitar-playing/). The moment your fretting shoulder begins to creep upward or forward in compensation, that tension travels down the arm. It tightens the hand. The fretting arm and the shoulder are essentially one continuous chain. ## Standing Up: How Strap Height Governs Both Arms When you stand, the guitar’s position is no longer determined by where it balances on your leg. Instead, your strap height controls everything. That makes strap height one of the most consequential arm posture decisions you can make. Extremes in either direction cause real problems. Too low, and the picking wrist has to bend sharply upward to reach the strings. Meanwhile, the fretting wrist collapses into an angle that restricts your reach. That angle also strains the tendons over time. Too high, and the fretting elbow has nowhere to swing forward. It gets pinned against your body. In both cases, arm posture suffers because the instrument pulls both arms away from their natural resting angle. ## Finding Your Neutral Strap Height A practical approach: while standing, let your arms hang relaxed at your sides. Then bend both elbows, bringing your forearms up to a roughly horizontal position. Notice where your hands land in that neutral state. That’s approximately where the guitar’s body and neck should meet your hands when the strap is set correctly. It won’t look like the rock-star low sling. It may not look as formal as the classical seated position either. But it’s the position where both arms have the most freedom. Dave Isaacs puts it simply: experiment with strap height while standing and pay attention to where your arms feel least effortful. That feeling is the signal. When both arms feel settled rather than strained, you’ve found your neutral. Return to it whenever something starts feeling off. For related ideas about how your lower body supports all of this while standing, the article on [how your feet influence your guitar posture](https://blog.artistworks.com/foot-posture-guitar-foundation/) is a useful companion. Additionally, [keeping a balanced core while you play](https://blog.artistworks.com/core-posture-guitar-balance/) connects directly to how freely your arms can move without compensating through the torso. [Get personalized video coaching and feedback from Dave Isaacs at ArtistWorks*Start →*](www.artistworks.com/dave-isaacs) ## Finding the Position Where Both Arms Can Do Their Jobs Getting both arms in the right place isn’t about copying a look. Plenty of great players have unconventional postures that work beautifully for them. However, the underlying logic is consistent: each arm needs a neutral angle and room to move. No twisting, no pinching, no forcing a reach that isn’t there. The asymmetry is intentional and useful. Once you accept that the picking arm and fretting arm operate in genuinely different spatial zones, you stop trying to impose a symmetry that was never there. Your picking arm swings freely from the right side. Your fretting arm extends out in front. The guitar sits where it naturally rests, not where you imagine it should be centered. For everything that ties this back into the full picture, the [complete guide to guitar posture](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) covers how arm position fits alongside neck, shoulder, core, and foot posture as a unified system. Start there, then come back here. After that, go experiment with your strap height or seating position. You’ll hear and feel the difference quickly. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** arm position, arm posture, ArtistWorks, dave isaacs, fretting arm extension, guitar lessons, guitar technique posture, picking arm position, playing comfort, posture, strap height guitar, tension --- ### [Core Posture: How to Play Guitar With Better Balance](https://blog.artistworks.com/core-posture-guitar-balance/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Core posture is the missing piece in most conversations about guitar technique. Players spend real time thinking about their shoulders, their wrists, their picking angle, all legitimate concerns. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Core posture is the missing piece in most conversations about guitar technique. Players spend real time thinking about their shoulders, their wrists, their picking angle, all legitimate concerns. But the hips and core sit underneath all of that, and when that foundation is unstable, everything above it pays the price. This article is about that foundation: what core posture does, why it breaks down. How to rebuild it so your upper body has nothing to fight against. For the full picture of how this fits into your playing, the [complete guide to guitar posture](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) is a good place to start. But if your hands feel tight and you can’t figure out why, core posture is where to look first. **Plain-English takeaway —** Your hips and core are the foundation your entire playing posture is built on, and if that base is unstable, tension works its way up through your arms and into your hands.## Why Core Posture Is the Real Source of Upper-Body Tension Most guitarists think of posture as a shoulders-and-back issue. That framing isn’t wrong, but it’s incomplete. The spine doesn’t float in space. It rises out of the pelvis, and the pelvis sits on whatever is supporting it. When your core posture is poor, whether from an unengaged core or hips tilted forward or slumped backward, the spine has no stable base to rise from. So the upper body compensates. It braces itself. That bracing is exactly the tension you feel in your forearms, your shoulders, and eventually your hands. The mechanism is straightforward. A collapsed lower back changes the angle of your arms relative to the guitar. Your muscles then work harder just to hold a position that should require almost no effort. You might adjust your grip, raise your shoulder, or crane your neck forward, all trying to solve a problem that actually lives several inches lower. Understanding core posture means recognizing that tension rarely starts where you feel it. Dave Isaacs, a TrueFire educator with decades of experience teaching technique and body mechanics, puts a lot of focus on this exact issue. He consistently points players toward the base of the spine rather than the hands when they report tightness or fatigue. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## The Sitting Trap: What Leaning Back Does to Your Core Posture Sitting looks passive. For most of us, leaning back into a chair feels like relaxing. In practice, however, leaning back collapses the lower back and lets the spine sag. The curve of the lumbar region flattens or even reverses. As a result, the upper back rounds forward to compensate, the shoulders roll in, and your arms are now working uphill. The fix is simpler than it sounds. Shift forward to the edge of the seat. Let your feet land flat on the floor. Feel what happens. Your weight now distributes between your seat and your feet, and the spine naturally finds a more upright position without any conscious effort to “sit up straight.” That’s the point: good seated core posture shouldn’t feel like work. There’s also a bonus that most players don’t expect. In this position, you can actually move with the music. You can rock slightly, shift weight, express the rhythm physically. That freedom is both expressive and diagnostic. If you feel locked in place, that’s a sign something is still bracing. A genuinely relaxed, centered position allows natural movement rather than restricting it. ## Standing With Your Hips, Not Your Upper Back Standing introduces a different challenge. When you strap on a guitar and stand, the temptation is to twist from the upper back to adjust your playing angle. In contrast, the movement should come from the hips. Hips centered over your legs create a stable, grounded platform. Moving from that center keeps the entire mechanism free. Try this as a simple reset. Stand with your guitar and sway gently side to side, shifting your weight from foot to foot. Slowly reduce the size of the movement. Eventually, you’ll land at a point where you feel equally balanced and the swaying naturally stops. That’s your home base. Notice how little effort it takes to stand there. Notice, too, that your upper body hasn’t had to do anything except ride along. For more on how the lower body supports all of this from the ground up, the piece on [why your feet matter more than you think](https://blog.artistworks.com/foot-posture-guitar-foundation/) covers the standing foundation in depth. ## The Over-Correction Trap: Rigid Core Posture Is Still Bad Posture Here’s the catch. When people hear “engage your core” or “sit up straight,” they often snap into a stiff, military-straight position. That is just a different kind of tension. Your spine has a natural curve. Your muscles are meant to work with that curve, not flatten it. Locking yourself into rigid alignment is exhausting and counterproductive. The goal is balanced and easy, not braced and locked. Think of it as finding a position where your muscles have just enough engagement to keep you upright, and no more. Your core posture should support the spine the way a good chair supports a sitter: present, but not intrusive. When you find that, you’ll notice your breathing deepens, your shoulders drop. Your hands feel more connected to what they’re doing. Dave Isaacs emphasizes this distinction consistently. The body’s natural resting alignment, when you’re not fighting against bad habits, is already close to correct. The job is to stop interfering with it. ## Practical Core Posture: Two Simple Resets You don’t need a yoga mat or a posture coach. These two resets take about thirty seconds each. Seated reset: Sit on the edge of your chair. Put both feet flat on the floor. Feel the weight spread between your feet and your seat. Don’t try to sit up straight. Instead, just let the spine find its position with that weight distribution beneath it. That’s it. Notice how your arms feel now compared to before. Standing reset: Sway gently from side to side, shifting weight foot to foot. Slowly shrink the movement until you settle at center. Take a breath. That’s your balanced standing base. Everything above the hips should feel easy. Both of these resets connect directly to what’s covered in the [complete guitar posture guide](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/). They also work as a starting point before you think about your [shoulders](https://blog.artistworks.com/shoulder-posture-guitar-playing/) or your [arm position](https://blog.artistworks.com/arm-posture-guitar-technique/). Those adjustments tend to fall into place more naturally once the base is right. ## Core Posture as the Foundation for Everything Else A grounded, centered core posture isn’t about perfection. It’s about creating conditions where your upper body has nothing to fight against. When the hips are stable and the spine rises naturally from that base, your arms move more freely and your hands relax more easily. Your neck isn’t craning forward to compensate for a slouch you didn’t know you had. For context on how this connects upward to your neck and head position, the article on [why looking down is holding you back](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/) is worth reading next. And if you want the full framework in one place, the [complete guitar posture guide](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) ties all five principles together. Start with the base. The rest follows. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator. He’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, core posture, dave isaacs, guitar lessons, guitar posture, guitar posture foundation, posture, reduce guitar tension, seated guitar position, spine alignment playing --- ### [Foot Posture: How Your Feet Shape Better Guitar Playing](https://blog.artistworks.com/foot-posture-guitar-foundation/) **Published:** September 6, 2026 **Author:** ArtistWorks **Excerpt:** Foot posture is the part of the guitar setup conversation that almost never happens. Players spend real time thinking about neck angle, shoulder tension, and arm position, yet the foundation, literally the ground beneath you, gets ignored. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Sep 6, 2026 · Updated Sep 6, 2026 · 6 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Foot posture is the part of the guitar setup conversation that almost never happens. Players spend real time thinking about neck angle, shoulder tension, and arm position. Yet the foundation, literally the ground beneath you, gets ignored. That is a problem. Everything above your feet depends on what your feet are doing. Whether you are seated or standing, your foundation determines how locked or how free the rest of your body can be. This article looks at why foot posture matters in both contexts. It gives you a practical way to locate your natural balanced position before you play a note. It also explains how a quick floor-level check at the start of every session sets up every other part of your posture. For a full picture of how this fits into your overall setup, start with the [complete guitar posture guide](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/). **Plain-English takeaway —** Good posture starts at the floor: getting your feet and foundation right first gives every part of your body above the waist the best possible chance to stay relaxed and play freely.## Foot Posture Is Your Foundation, Not an Afterthought Think about what posture actually is. It is a chain. Your hands connect to your arms. Your arms connect to your shoulders. Your shoulders connect to your spine. Your spine connects to your hips. And your hips connect to your feet. Break the chain anywhere and the stress redistributes upward. Most guitarists try to fix that stress at the shoulder or the wrist. That is like fixing a wobbling table by sanding the top instead of leveling the legs. Foot posture is the leveling of the legs. Because it is invisible while you play, it rarely gets addressed. That invisibility is exactly why it deserves deliberate attention. ## What Foot Posture Looks Like When You Are Seated Seated playing has a clear best-practice for the lower body. Both feet flat on the floor, weight distributed evenly through the seat bones and through the soles of both feet. That combination anchors the lower body. It makes the balanced, slightly-forward-of-center seated position sustainable over a long practice session, rather than something you have to consciously maintain. When one foot gets tucked under the chair, the pelvis tilts. The same thing happens when the feet are crossed at the ankle or lifted off the floor entirely. A tilted pelvis shifts the lumbar spine. That shift travels upward. The player then tries to compensate at the shoulder or the neck and wonders why things feel tight. In most cases, the answer is on the floor. Also worth noting: a footstool under one foot is a common classical setup. It is a deliberate break from flat-floor positioning and a tool for a specific purpose. If you are not using it intentionally, it is just asymmetry looking for somewhere to create tension. [Dave Isaac’s Session Player Toolkit at ArtistWorks: a complete video curriculum*Start →*](www.artistworks.com/dave-isaacs) ## The Standing Context: Balance as a Feature, Not a Challenge Standing is, in one sense, harder. You are actively balancing your whole body weight. However, that active balancing is also what makes standing feel looser for many players. The subtle, ongoing micro-adjustments your legs and feet make keep the whole body slightly in motion. As a result, nothing gets rigidly locked the way it can in a sustained seated position. Your feet need to be set up to support that dynamic balance, not fight it. Feet planted too close together create a narrow base. Therefore, small shifts in weight feel dramatic and destabilizing. Feet too far apart lock the hips. The goal is a shoulder-width stance, weight balanced evenly between both feet, knees easy rather than locked. Dave Isaacs, an educator with deep experience in guitar technique and performance, emphasizes that a relaxed, grounded foundation frees the upper body to respond to the music. Without that foundation, the upper body is managing instability instead. That idea starts at the floor. ## The Weight-Shift Exercise: Finding Center Before You Play Here is a practical technique worth making a habit. Before you pick up the guitar, stand with your feet roughly shoulder-width apart and your arms relaxed at your sides. Slowly shift your weight toward one foot, then back through center, then toward the other. Let the movement be obvious at first. Then gradually narrow the range. Eventually, settle where the movement becomes neutral and the effort disappears. That spot is your natural center of balance. Pick up the guitar from that position. Notice how the instrument settles differently against a body that is already grounded. In contrast, most players pick up the guitar first and then try to find their balance around it. Reversing the order is a small change with a noticeable effect. This same principle applies when you check your [core stability and balance](https://blog.artistworks.com/core-posture-guitar-balance/). The core can only do its job when the foundation beneath it is stable. ## The Strap Connection: How Foot Posture Changes When You Use One A strap does something useful even when you are seated. Because the strap is supporting part of the instrument’s weight, your legs and lap are no longer load-bearing surfaces for the guitar. That frees you to adjust your leg position for comfort rather than locking it into whatever position best cradles the body of the instrument. For players who find seated posture uncomfortable, adding a strap while seated opens up options. You can shift how your weight sits, reposition a foot, or change the angle of your knee. In each case, foot posture remains relevant. Because your legs are free to move, the temptation is to let them drift into whatever feels easy. Deliberate foot placement keeps you anchored even when the strap takes over support of the instrument. ## The “Rock Before You Rock” Principle Here is a simple test of good foot posture. Stand or sit in your playing position. Without adjusting anything, can you shift your weight a few inches in any direction and return to neutral without effort? If yes, your foundation is working. If a small shift throws off your whole setup, something is locked that should not be locked. Good foot posture does not mean standing or sitting like a statue. Instead, it means being so well-grounded that your body can move dynamically with the music. You should be able to return easily to a neutral position at any moment. Dave Isaacs puts it simply: a player who is truly relaxed can move. A player who is compensating for a bad foundation is always managing, never free. That freedom is worth chasing. You can see how arm and shoulder mobility also depend on this kind of baseline stability by checking out [how arm posture affects your technique](https://blog.artistworks.com/arm-posture-guitar-technique/). [Get personalized video coaching and feedback from Dave Isaacs at ArtistWorks*Start →*](www.artistworks.com/dave-isaacs) ## Make the Floor Check the First Step of Every Practice Session Ten seconds. That is all a floor check takes. Before you pick up the guitar, notice what your feet are doing. Stand, run the weight-shift exercise, find center, and then reach for the instrument. Or sit, place both feet flat, feel the weight distribute evenly, and then adjust everything above. This habit compounds quickly. In addition, it prevents the kind of session where you spend the first twenty minutes slowly accumulating tension without knowing why. By the time tension reaches your hands, it has usually been building from the ground up for a while. For everything above the floor, visit the [full posture overview](https://blog.artistworks.com/guitar-posture-sitting-standing-checkpoints/) or dig into [neck position and its downstream effects](https://blog.artistworks.com/neck-posture-guitar-stop-looking-down/) and [shoulder tension specifically](https://blog.artistworks.com/shoulder-posture-guitar-playing/). Good posture is a system. Foot posture is simply where the system begins. [Learn guitar with Dave Isaacs at ArtistWorks – Try a 7 day free trial!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator. He’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** acoustic, beginner, electric, foot posture, guitar lessons, guitar posture foundation, seated guitar position, standing guitar balance, weight shift exercise --- ### [Super Shuffle: How To Get Bigger Blues Sound Without Turning Up](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** The super shuffle is one of those ideas that sounds simple until you actually try it. Blues legends built room-filling sounds from a basic E shuffle. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 8 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The super shuffle is one of those ideas that sounds simple until you actually try it. Blues legends built room-filling sounds from a basic E shuffle. They weren’t doing it with louder amps or fancier gear. They were doing it with their hands. Keith Wyatt has spent decades studying exactly how players like B.B. King, Albert King, Freddy King, and Buddy Guy achieved that massive tone. His answer is a specific framework of picking-hand and fretting-hand techniques that transforms an ordinary shuffle into something that breathes, pulses, and fills a room. This article maps that entire framework. We’ll cover the big-sound philosophy first, then move through core shuffle mechanics, the A chord, the tricky B chord, and finally turnarounds and gear. By the end, you’ll understand why every technique in this system points toward the same truth: the upgrade you need isn’t on the amp. **Plain-English takeaway —** A bigger blues sound comes entirely from coordinated hand control, and Keith Wyatt’s super shuffle framework gives you a clear, step-by-step path to develop it.## What the Super Shuffle Actually Is Most guitarists chase tone through equipment. They swap pickups, buy new pedals, and crank the volume. However, the blues masters who built legendary sounds often played mid-size club amps at moderate volumes. The difference wasn’t wattage. It was hands. Keith Wyatt uses the term super shuffle to describe a complete technique system built around a single E blues shuffle. The goal is to extract every ounce of tone, feel, and groove from that one simple pattern. Specifically, the system targets the two biggest variables in your sound: how the picking hand attacks the strings. How the fretting hand shapes the notes underneath. What makes this framework useful is its modularity. Each technique area builds on the one before it. Therefore, you can learn them in sequence and hear your sound grow at every stage. The super shuffle isn’t a lick or a chord voicing. It’s a way of playing that changes everything. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() ## The Big-Sound Philosophy That Changes How You Hear the Blues Before touching any technique, it helps to understand what you’re listening for. Watch footage of Albert King or Buddy Guy up close. Notice how little effort they seem to use. In contrast, intermediate players often grip harder and attack louder, yet they sound smaller. The reason comes down to efficiency and dynamics. A well-placed, slightly palm-muted note with a confident pick attack carries farther than a hard-strummed chord played without control. Additionally, the dynamic range matters. When the quieter notes are quiet and the loud notes are loud, the loud moments feel enormous by comparison. [This deep dive into why the blues greats sound so big](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/) unpacks the specific physical habits that separate those players from everyone else. For now, hold onto the core idea: your ears need to be trained on feel and dynamics, not just pitch and rhythm. That shift in focus is the first step toward a genuine super shuffle sound. ## The Picking-Hand Thumb Mute That Drives the Shuffle Here is where the mechanics begin. The mechanical key to the super shuffle is a specific picking-hand move called the thumb mute. This is not palm muting. It is not fretting-hand muting. The fleshy base of your picking-hand thumb rests lightly against the low strings while you pick. As a result, you get a controlled thump on the bass notes that locks the groove in tight. The thumb mute creates two distinct sounds at once. First, the muted bass string gives you a percussive, punchy low end. Second, the open or fretted notes above ring clearly above it. Together, they produce the classic shuffle feel that sounds like a drummer and a bassist combined. Getting this right takes focused repetition. Start slow. Let the thumb contact stay consistent across both the E and A strings. Then, gradually increase tempo once the muting feels automatic. [This step-by-step guide to the thumb mute and picking motion](https://blog.artistworks.com/thumb-muting-blues-shuffle/) breaks the technique into exact hand positions and common mistakes to avoid. That’s the place to go when you want the full mechanical breakdown. ## Extending the Shuffle to the A Chord and Weaving In Fills Once the thumb mute feels solid on the E chord, the next step is carrying that same logic to the A chord. Fortunately, the move transfers almost directly. The thumb mute position shifts slightly, but the physical principle stays the same. Your picking hand stays in the groove. The bass notes stay controlled. The A chord section also introduces two embellishments that bring the shuffle to life. First, a triplet fill lands naturally on the beat before the chord change. Second, a simple pull-off lick adds a melodic moment without interrupting the rhythm. Both moves are small. However, they make the shuffle sound fully played rather than mechanical. [Join a supportive community of fellow blues guitar enthusiasts*Start →*]() The trick is to layer these fills in without rushing them. Most players speed up slightly when a fill appears. Instead, let the fill sit inside the existing tempo. Think of it as decoration on a steady frame, not a separate event. [Here’s the full breakdown of fills and the A chord approach](https://blog.artistworks.com/triplet-fills-blues-shuffle/), including how to practice the triplet and pull-off in context so they feel natural under your fingers. ## How to Play the B Chord Without Killing Your Groove The B chord is the hardest moment in an E blues shuffle. In fact, many otherwise solid players lose their groove completely the instant that V chord appears. The jump from A to B breaks the rhythm, causes hand tension, and disrupts the thumb mute position. It is the single biggest groove-breaker in the key of E. The super shuffle framework addresses this with three interchangeable chord solutions. Each one keeps your picking hand in the same groove-driving position. Therefore, you don’t have to stop the shuffle to accommodate the chord change. The first solution is a simplified two-note voicing. The second uses a barre approach that keeps the thumb mute active. The third is a single-string alternative for moments when the full chord feels forced. None of these solutions sounds like a compromise. In fact, each one fits the blues context perfectly. [This guide to surviving the B chord without losing your groove](https://blog.artistworks.com/v-chord-blues-shuffle-groove/) walks through all three options with the context you need to choose the right one for each musical situation. ## The Role of Dynamics in Making the Super Shuffle Sound Large At this point in the framework, the technique pieces are mostly in place. However, dynamics are the ingredient that ties everything together. A super shuffle played at one flat dynamic level sounds competent. Played with genuine push and pull, it sounds like music. Dynamics in a shuffle happen at the micro level. For example, the bass note on beat one can be slightly stronger than the bass note on beat two. Similarly, the chord hits on the off-beats can be slightly softer than the attack on beat one. These small variations give the groove a breathing quality. Work on dynamics separately from the other techniques at first. Record yourself playing a simple eight-bar shuffle. Then listen back with fresh ears. Notice where the sound feels flat. After that, return to those spots and add intentional variation. Even modest dynamic shaping will transform how the shuffle feels. ## Turnarounds, Walking Basslines, and Gear That Gets Out of Your Way The final section of the super shuffle framework brings three elements together. First, the turnaround. A well-timed turnaround is the punctuation at the end of each 12-bar phrase. It signals the repeat, lifts the energy, and sets up the next verse. Timing is everything. Play it too early and the groove stumbles. Play it too late and the momentum deflates. Second, the walking bassline variation. This replaces the static shuffle pattern with a moving bass line that walks from the tonic toward the IV chord and back. It adds harmonic motion without adding complexity. In addition, it gives the super shuffle a slightly different flavor that works well in slower tempos. Third, gear. The super shuffle framework doesn’t demand expensive equipment. However, the right setup does help. Specifically, you want a clean or lightly broken-up amp tone where the pick attack and thumb mute are clearly audible. A heavily distorted tone masks the very dynamics that make this technique work. [This guide to turnarounds, walking basslines, and a smart gear setup](https://blog.artistworks.com/blues-turnarounds-walking-basslines/) covers all three in detail and connects them back to the same hand-control philosophy at the heart of this entire system. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() ## Why This System Works Better Than Any Gear Upgrade Let’s be direct. Most guitarists improve their tone faster by improving their hands than by buying new equipment. The super shuffle framework is effective precisely because it targets the variables that matter most. Pick attack, thumb mute pressure, dynamic contrast, and groove timing are all under your control. They cost nothing to develop. Moreover, these skills transfer. Once you train your hands to produce a genuine super shuffle feel on a simple E blues, that same control shows up in every other context you play. Slow blues, fast shuffles, minor blues, and even jazz feel the benefit. The technique is specific, but the muscle memory it builds is universal. Every lesson in this system points back to the same north star: let the hands create the sound. That’s the whole framework. That’s the super shuffle. ## Continue Learning The five guides below follow the same sequence as this article. Work through them in order for the most connected learning experience. 1. [Discover why the blues masters sound so massive up close](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/) and train your ear to hear what they’re actually doing. 2. [Master the thumb mute and picking motion that drives the shuffle](https://blog.artistworks.com/thumb-muting-blues-shuffle/) with exact hand positions and focused practice drills. 3. [Add triplet fills and pull-off licks to the A chord](https://blog.artistworks.com/triplet-fills-blues-shuffle/) without losing the groove you’ve built. 4. [Learn three B chord solutions that keep your shuffle locked in](https://blog.artistworks.com/v-chord-blues-shuffle-groove/) through the trickiest moment in the key of E. 5. [Tie it all together with turnarounds, walking basslines, and the right gear](https://blog.artistworks.com/blues-turnarounds-walking-basslines/) so your hands can do the work without fighting your setup. ## Final Thought The blues guitarists who made single notes feel like a force of nature weren’t playing louder than everyone else, they were playing smarter. Keith Wyatt’s super shuffle framework hands you the same tools they used, organized into a sequence you can actually practice. Start with the thumb mute. Then build the groove, add the fills, and survive the B chord. Then step back and listen to what your hands have learned to do. ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues dynamics, blues guitar, blues guitar lesson, blues shuffle, blues shuffle technique, guitar lessons, Keith Wyatt, picking hand control, shuffle, SRV, super shuffle, the V chord, thumb mute guitar --- ### [How to Achieve Big Guitar Tone from Hand Control](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** Big guitar tone is not a volume knob problem. Watch Albert King fill a gymnasium with a single bent note, or B. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Big guitar tone is not a volume knob problem. Watch Albert King fill a gymnasium with a single bent note, or B.B. King silence a crowd with one slow vibrato, and something becomes obvious: the size of the sound is coming from their hands. It is not coming from a louder amp or a fancier pedal. This article unpacks exactly what those hands are doing, because most players leave that dynamic range sitting on the table. If you have been chasing a room-filling blues sound, [this is the framework that ties it all together](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/). Here, we go deeper on the one part that surprises most students: the hands themselves are the tone generator. **Plain-English takeaway —** Big guitar tone comes from how your hands control dynamics and muting, not from how loud your amp is.## What the Kings Were Actually Doing Up There Albert King, B.B. King, Freddy King, and Buddy Guy all shared one observable habit. They played with enormous physical commitment. Every note had weight behind it. That weight was not accidental bravado. It was deliberate control over how hard the pick contacted the string, how much flesh muted the neighboring strings. How the vibrato was shaped after the note spoke. In short, it was technique acting as a volume control at the source. Most players trying to sound like these legends reach for the volume knob first. That is understandable. However, turning up does not add dynamics. Instead, it flattens them. A loud amp makes everything sound roughly the same size. The legends sounded huge because they created contrast, and contrast requires control. ## Why Big Guitar Tone Starts in the Fretting Hand The fretting hand does more than press notes. It decides which strings ring and which strings die. That choice shapes everything the listener hears. When extra strings ring accidentally, the sound gets cluttered and small. When unwanted strings are silenced, the notes that do ring feel enormous in comparison. B.B. King was a master of this. He rarely played chords. Instead, he used single notes surrounded by near-silence. That silence made his notes pop forward in the mix. His fretting-hand muting kept the sonic space clean. In other words, he was editing the sound at the source before it ever reached the amp. Additionally, the fretting hand controls vibrato, and vibrato controls perceived volume. A wide, slow vibrato from Albert King could make a note swell into the room. A tight, controlled vibrato from B.B. kept tension without sacrificing pitch. Both are fretting-hand skills, and both contribute directly to big guitar tone. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() ## The Picking Hand Is Your Real Volume Knob If the fretting hand is the editor, the picking hand is the engine. Pick attack is the single biggest factor in how large a note sounds in real time. A pick that drags through the string slowly produces a warm, round sound. A pick that snaps through quickly produces a bright, aggressive spike. Buddy Guy used both on the same note, sometimes starting gentle and then digging in mid-phrase. Therefore, the first thing to examine in your own playing is how you are holding the pick. A death grip transfers tension into the attack and makes dynamics inconsistent. A relaxed grip lets the pick respond like a shock absorber. As a result, the dynamic range between a gentle passage and a hard attack becomes much wider. Also, the angle of the pick matters. A flat pick attack gives maximum surface area against the string and creates a thicker sound. Slightly rotating the pick so the edge leads produces a brighter, more cutting attack. Experimenting with both is one of the fastest ways to expand your tonal vocabulary without touching a single knob. ## Muting and Attack Work Together, Not Separately Here is where it gets specific. Big guitar tone is not just about a great fretting hand or a great picking hand in isolation. It is the combination. Precise muting from the fretting hand clears space. Then a deliberate pick attack from the picking hand fills that space with exactly as much or as little volume as the phrase needs. For example, in a shuffle pattern, you are moving between bass notes and chord fragments. If the bass notes ring into the chord fragments, the rhythm gets muddy. However, if you control which strings ring at each moment, the shuffle breathes. [The specifics of thumb muting and the right picking motion](https://blog.artistworks.com/thumb-muting-blues-shuffle/) for a shuffle pattern are worth studying closely. That is where the theory becomes tangible movement in the hands. This is also why the “super shuffle” concept is not just a shuffle technique. It is a general principle. The same muting and dynamic control that creates a clean, powerful shuffle also works in slow blues, fast boogies, and chord-melody playing. The technique scales across every situation you will encounter. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() ## Practicing the Hand Partnership at Home The gap for most students is simple: they have never practiced muting and attack together deliberately. They have practiced notes. They have practiced scales. However, they have not specifically drilled what happens in the gap between notes. Start with a single note. Play it softly, then play it hard, using the same fingering and the same string. Notice what your pick hand does differently. Next, mute the adjacent strings before picking, and notice how much cleaner the loud attack sounds without extra string noise blurring the edges. Then do it again, this time muting with both hands coordinated. That coordination is the skill. In addition, record yourself. A short phone recording is honest in a way that live playing is not. You will often hear extra string noise, inconsistent attack, or vibrato that fades too soon. These are all solvable problems. [Filling out the groove with triplet fills and pull-off licks](https://blog.artistworks.com/triplet-fills-blues-shuffle/) becomes much more achievable once the foundation of clean, dynamic single notes is in place. ## Bringing It Together for a Room-Filling Sound Turning up is the easy answer. Technique is the one that actually works. The blues legends understood that because they had to play in rooms with inconsistent PA systems and minimal monitoring. They could not rely on the gear. So they developed hands that did the work. Return to [the full super shuffle framework](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) after working through these hand fundamentals. You will hear it differently. The techniques there will make more sense physically, because you will understand that the goal was never volume. The goal was always control, and control is what makes a guitar sound truly big in any room. [Learn Blues Guitar with Keith Wyatt at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, big guitar tone, blues guitar, blues guitar hand control, blues guitar lessons, dynamics, fretting hand muting, guitar lessons, Keith Wyatt, pick attack dynamics, tone, vibrato technique blues --- ### [Thumb Muting Secrets for a Blues Shuffle That Grooves](https://blog.artistworks.com/thumb-muting-blues-shuffle/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** Thumb muting is one of those techniques that separates a shuffle that locks in from one that just sort of floats. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Thumb muting is one of those techniques that separates a shuffle that locks in from one that just sort of floats. If you have ever played through a 12-bar blues and noticed the open E string keeps ringing when it shouldn’t, you already know the problem. Fretting-hand muting helps a little. Picking tightly helps a little more. But neither fix gives you that clean, percussive chop that makes a great blues shuffle feel inevitable. This article is about the picking-hand solution: resting the side of your thumb against the strings right after the downstroke, then dragging the pick back on the upstroke to complete the rhythm. Once that motion clicks, the groove locks in on its own. For the bigger picture of how this fits into a room-filling shuffle sound, start with [the super shuffle framework Keith Wyatt builds from the ground up](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/). **Plain-English takeaway —** Resting the side of your picking-hand thumb against the strings right after each downstroke is the cleanest way to control open-string ring and make a blues shuffle actually groove.## Why Thumb Muting Solves What the Fretting Hand Cannot The open E string rings freely. That is its nature. When you play a shuffle on the low E, the string wants to sustain through every beat, blurring the rhythmic space between notes. Most players try to solve this with the fretting hand, by letting a finger fall across the string between hits. However, the fretting hand is already busy holding the power chord shape and tracking chord changes. Asking it to mute as well often slows your movement or kills the note before it speaks fully. Thumb muting works differently. Instead of stopping the string before it sounds, you let the note ring for its natural moment, then you touch the side of your picking-hand thumb to the string right after the downstroke lands. The note speaks, then it stops. That brief space between sound and silence is where the groove lives. Because the thumb is already in the neighborhood after the downstroke, the motion costs almost nothing extra once you have trained it. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() ## The Downstroke-Rest-Upstroke Motion in Detail Think of the full motion in three beats. First, the pick strikes down through the string. Next, the side of the thumb rests lightly against that string to cut the sustain. Then the pick drags back upward on the upstroke to catch the next note in the figure. That three-part sequence is the engine of the shuffle. The key word is “lightly.” Pressing the thumb into the string kills the tone before it develops. Instead, think of the thumb making contact the way a brake pad makes contact, just enough to stop movement, not enough to crush it. You want to hear the note, then hear silence, not just a muffled thud from the start. The upstroke matters as much as the downstroke. In fact, the upstroke is where most players lose the feel. When the pick drags back across the string, it catches the wound surface of the low E and produces a slightly softer, warmer hit. That contrast between a firm downstroke and a lighter upstroke is exactly what gives the shuffle its lopsided, triplet-based feel. For more on how picking dynamics shape your overall sound, check out [the hand-control principles behind a big blues tone](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/). ## Building the Full Shuffle Figure with Thumb Muting, Step by Step Once thumb muting feels stable on the open E string, it is time to add the rest of the pattern. The classic shuffle figure starts on the root with the power chord, which is the root plus the fifth. Then the third finger lands on the sixth degree of the scale, one fret above the fifth. That single added note transforms the power chord into the recognizable shuffle shape. Here is how to build it in order. First, just play the downstroke-mute sequence without the sixth. Get the thumb-rest feeling consistent before adding movement elsewhere. Next, add the sixth on the upstroke so you are alternating between the fifth and the sixth. Finally, let the thumb muting control the space between each pair of notes. The rhythm underneath all of this is a triplet feel. Two sixteenth notes replace what would be three triplet notes of equal length. The first note is long and the second is short. Therefore, your downstroke lands on the long note and your upstroke catches the short one. Tap your foot and feel the swing before you pick up the guitar. That internal pulse keeps the shuffle from going mechanical. ## Why Practicing Fast Trains the Wrong Thing Here is where most players lose weeks of progress. The shuffle figure looks simple, so they push the tempo early. However, if your thumb muting is not complete at a slow tempo, speeding up just trains the incomplete version faster. Your nervous system does not filter out mistakes when you play fast. Instead, it locks in whatever pattern you repeat most often. Slow practice is not cautious practice. It is precise practice. Start at a tempo where every note is clear and every thumb-mute is fully complete before the next downstroke lands. If a note rings through when it shouldn’t, that tempo is too fast. Slow down until the muting is clean, then hold that tempo for several minutes before moving up even slightly. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() A useful rule: never increase tempo until you can play eight consecutive bars with zero unintended sustain. That standard feels strict, but it works. When speed comes from clean slow practice, it arrives smoothly rather than in lurches. The groove becomes reliable because the motion is reliable. For context on how this same principle applies when the shuffle moves to the A chord with fills and pull-offs, [the next step covers that transition in detail](https://blog.artistworks.com/triplet-fills-blues-shuffle/). ## Putting Thumb Muting to Work Across the Whole 12-Bar The payoff for all of this work shows up when you play a full 12-bar progression. Thumb muting on the E string translates directly to the A and B strings when the shuffle changes chords. The motion is the same. Only the string changes. So the investment you make learning it on E pays dividends across the entire form. As you cycle through the progression, keep your focus on the feel of the thumb contact rather than on the notes themselves. The notes are simple. The muting is the craft. When the thumb-rest becomes second nature, your attention can move to dynamics, to space. To listening to the whole band, which is where the real groove comes from. This technique is one pillar of a larger approach to hand control. [The full super shuffle framework](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) ties thumb muting together with pick angle, downstroke weight. Several other elements that collectively build a sound bigger than the sum of its parts. Start here, get the muting clean, then zoom out and hear how it connects. [Learn Blues Guitar with Keith Wyatt at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues shuffle technique, guitar lessons, Keith Wyatt, open string muting, picking hand control, shuffle groove, thumb, thumb muting --- ### [How to Play Triplet Fills in the Blues Shuffle Groove](https://blog.artistworks.com/triplet-fills-blues-shuffle/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** Triplet fills can make or break a blues shuffle. Get them right, and your playing sounds full and alive. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Triplet fills can make or break a blues shuffle. Get them right, and your playing sounds full and alive. Get them wrong, and you’ll break the pocket you worked so hard to build. If you’ve been studying the super shuffle framework, you already know that [building a bigger sound starts with hand control, not volume](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/). Now it’s time to dig into one of the trickiest moments in the shuffle: what happens when you move to the A chord, add embellishments. Somehow keep the groove locked. The open sixth string becomes a problem. The muting strategy has to shift. And any fill you play must serve the rhythm first, always. This article walks through the specific hand mechanics and fill techniques that let you add interest without losing the pocket. **Plain-English takeaway —** Moving to the A chord changes your muting approach, and any triplet fill you add must be driven by continuous alternating strokes so the rhythmic pulse never stops.## Why the A Chord Changes Everything for Muting When you’re sitting on the E chord in a blues shuffle, thumb muting is relatively straightforward. You’re working on strings that sit right under your palm. But the moment you move to the A chord, the open sixth string enters the picture as an unwanted noise source. It rings freely unless you stop it deliberately. This is where many players get tangled. They try to adjust their picking hand or tighten their strumming to compensate. That’s the wrong move. Instead, the solution lives entirely in your fretting hand. Hang your thumb over the top of the neck. That single adjustment mutes the sixth string cleanly, without disrupting your picking hand at all. Then, curl your index finger back slightly so it grazes the first and second strings. Together, these two adjustments quiet the strings you don’t want while leaving the ones you need to ring completely open. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() ## The Division of Labor: Fretting Hand Mutes, Picking Hand Stays Loose Here’s the principle that ties all of this together: your fretting hand does all the muting work. Your picking hand does none of it. This division of labor is essential because as soon as you start tensing your picking hand to control string noise, you lose volume, tone. Feel all at once. In fact, the looser your picking hand, the bigger your sound. This connects directly to the [picking hand dynamics covered in the hand control article](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/). A relaxed pick attack lets the strings breathe. It also gives you the natural dynamic range that makes a shuffle feel human rather than mechanical. So practice the A chord grip with thumb-over and curled index finger first. Get the muting clean before you add any movement. Once it feels automatic, your picking hand can stay completely free to drive the groove. ## Building Triplet Fills With Continuous Alternating Strokes Now comes the embellishment. A triplet fill in a blues shuffle doesn’t interrupt the rhythm. It IS the rhythm, expressed with more notes for a moment. The key rule is simple: never play two downstrokes in a row. Always alternate, always keep the stroke motion continuous. Think of it this way. Your picking hand is like a pendulum. It swings down, it swings up, it swings down again. Triplet fills work because three notes per beat fits naturally into that alternating motion. The feel stays locked because the hand never stops its arc. Play through your shuffle pattern, then drop in the triplet embellishment on beat four. First, just practice the picking motion without worrying about the notes. Feel how the alternating stroke keeps you on the right side of the beat. Then add the notes back in. You’ll find the fill practically plays itself once the mechanics are right. This is the exact point where players go wrong. They stop the pendulum. They add a second downstroke. Suddenly the groove hiccups, and no amount of faster playing fixes it. Continuous alternating strokes solve this problem before it starts. ## Adding the Pull-Off Lick to Triplet Fills for a Second Optional Embellishment Once your triplet fill is sitting cleanly in the groove, you can explore a second option: the pull-off lick using open strings. This is a technique strongly associated with Stevie Ray Vaughan’s rhythm playing. It adds a stinging, vocal quality to the shuffle without asking your picking hand to do anything different. The pull-off happens on the open strings adjacent to your fretted notes. You’re pulling off to an open string rather than a fretted lower note, which gives the lick a snappier, looser feel. Because you’re using open strings, the mechanics are relatively simple. However, the timing has to be exact or the lick floats outside the pocket. Think of this lick as sitting on top of the groove, not replacing it. It’s decoration, not structure. For more ideas about how embellishments build without breaking the flow, check out [how walking basslines and turnarounds keep forward motion alive](https://blog.artistworks.com/blues-turnarounds-walking-basslines/). The same logic applies here: the groove is the foundation, and fills are guests. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() ## Rhythm Integrity Is the Non-Negotiable Rule Here’s the rule that governs all of it: rhythm integrity matters more than the specific notes you play. A fill that breaks the groove simply isn’t worth playing. No one in the audience will miss a triplet embellishment they never heard. But everyone will feel the pocket drop the moment you stumble. This is especially true in the context of the full I-IV-V shuffle. When you move from the A chord back to the E chord, or start approaching the V chord, the groove has to carry through. If you’re curious how muting strategy shifts further in that transition, [the V chord section of this series](https://blog.artistworks.com/v-chord-blues-shuffle-groove/) covers that specific challenge in depth. Similarly, [how thumb muting anchors the core shuffle feel](https://blog.artistworks.com/thumb-muting-blues-shuffle/) explains why the foundational muting technique matters so much before you add any fill at all. The practical test is simple. Record yourself. Play the shuffle with triplet fills. Then listen back and ask one question: did the groove move forward, or did it pause? If it paused, pull the fill back until the pocket feels locked again. Then slowly reintroduce the embellishment. Over time, the fill becomes part of the groove instead of a disruption to it. ## Putting It All Together Inside the Groove The A chord muting adjustment, the loose picking hand, the continuous alternating stroke, the optional pull-off lick: all of these elements work together only when you’ve practiced each one in isolation first. Don’t rush to combine them. Get the thumb-over muting clean. Get the alternating stroke automatic. Then layer in the triplet fill. This layered approach is exactly what the full [super shuffle framework](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) is built around: small, deliberate technique adjustments that combine into something that sounds much bigger than the sum of its parts. Triplet fills are one piece of that picture. Keep the groove first, and the fills will always land where they’re supposed to. [Learn Blues Guitar with Keith Wyatt at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** A chord muting, alternating picking strokes, ArtistWorks, blues guitar, blues shuffle groove, Keith Wyatt, pull off, pull-off lick technique, triplet fills, triplets --- ### [V Chord Blues Shuffle: Keep Your Groove Alive](https://blog.artistworks.com/v-chord-blues-shuffle-groove/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** The V chord is the one that breaks everything. You're rolling through a 12-bar shuffle in E, the groove is locked in. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The v chord is the one that breaks everything. You’re rolling through a 12-bar shuffle in E, the groove is locked in. Then B7 shows up and suddenly your fretting hand has nowhere comfortable to go. That awkward moment, that brief hesitation, is exactly what pops the bubble of an otherwise effortless feel. The good news is that you don’t need a perfect B chord to survive it. You need a practical solution that keeps the rhythmic drive alive. This article gives you three options, each one borrowed from working blues players who faced the same problem. Before diving in, read the [full super shuffle framework](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) so you understand why rhythm and feel always outrank chord accuracy in this style. **Plain-English takeaway —** The v chord doesn’t have to derail your groove, three simple approaches let you keep the rhythm locked in without fighting an uncomfortable chord shape.## Why the V Chord Breaks Your Blues Shuffle In the key of E, the v chord is B. The E and A shapes live right in open position. They’re easy. Meanwhile, B demands either a barre or an unfamiliar stretch. Most players learned those shapes in a clean practice context. They didn’t learn them mid-groove, at tempo, with a bass note running underneath. The problem isn’t really about the chord. It’s about timing. When your hand scrambles for a shape, the groove stutters. That stutter is far more noticeable than any voicing choice you make. So the real goal is simple: keep the rhythm moving, no matter what. ## Option One, Hit the V Chord and Move On The first approach is almost aggressive in its simplicity. You play a quick B power chord on beat one of the measure, then let the bassline carry the rest of it. First, fret a B5 at the second fret. Hit it once, hard. Then release it and keep your thumb-muted bass notes running. The chord registers to the listener’s ear. Your hand doesn’t stay in an awkward position. Additionally, the rhythmic drive never breaks because you never fully stop. This is sometimes called “hit it and quit it.” It works because the human ear fills in harmonic information when the rhythm stays consistent. For more on how your picking hand keeps the groove locked during moments like this, check out [how hand control shapes your overall sound](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/). The key is not to hesitate. Strike the chord with confidence, then move. A soft or tentative hit draws more attention than moving on quickly. ## Option Two, The V Chord Over an Open Bass Note The second approach is more harmonically interesting. Instead of moving fully to a B position, you keep an open A string ringing as your bass note. Then you fret a B-chord shape above it. This works because the open A string implies motion. Meanwhile, the shape on the upper strings supplies the B color. Your fretting hand stays close to its home position. You don’t need a full position shift. In other words, you’re implying the v chord without committing to it. The bass and treble together create the harmonic context. No single note has to carry the whole load. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() This technique takes some getting used to. However, once it clicks, it feels almost effortless. The trick is to keep your thumb working the bass side consistently. Stopping the bassline to focus on the chord shape is the one thing you want to avoid. If your thumb-muting technique needs work, the [thumb-muting secrets guide](https://blog.artistworks.com/thumb-muting-blues-shuffle/) covers that specific skill in depth. ## Option Three, Open B7 Is Already in Your Hands Here’s the option most players overlook. You already know an open-position B7 chord. You learned it in your first few months of guitar. Most players treat it as a static chord. In a shuffle context, however, it becomes a rhythmic tool. The shape itself is straightforward: index finger at the first fret of the D string, middle finger at the second fret of the A string, ring finger at the second fret of the high E string. That chord has B, D#, F#, and A all in it. It’s a genuine B dominant seventh chord. So instead of scrambling for a barre, simply drop into that shape and strum it with the same rhythmic motion you’ve been using on your E and A grooves. The character changes slightly. Nevertheless, the groove itself stays intact, and that’s exactly what you’re aiming for. ## Mixing the Three Options in a Real 12-Bar Here’s where things get fun. You don’t have to pick one option and stick with it forever. In fact, varying your v chord approach from chorus to chorus is exactly what experienced blues players do. For example, on a slow blues, the open B7 fills space beautifully. On a medium shuffle, the “hit it and quit it” keeps the momentum clean. On a fast groove, the B-over-A approach lets your hand stay relaxed without losing the bass motion. The underlying principle never changes. The specific v chord shape matters far less than what your picking hand is doing. Keep the triplet feel alive, keep the bass notes rolling, and the harmony takes care of itself. If you’re working on fills that connect your chord changes, the [triplet fills guide](https://blog.artistworks.com/triplet-fills-blues-shuffle/) shows how to keep the pocket locked through moments of transition. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() ## Putting the V Chord to Work Tonight Practice each option separately. Start at a slow tempo. Work the “hit it and quit it” first, because it’s the most forgiving. Next, add the B-over-A approach. Finally, bring in the open B7 and cycle through all three in a single 12-bar. Then do one more thing: stop thinking about the v chord and start listening to the whole groove. Record yourself. Notice whether the shuffle feels unbroken or whether it hiccups at bar nine. That hiccup is your teacher. For a complete picture of how these pieces connect, including walking basslines that make the whole 12-bar feel like one continuous statement, [the walking basslines guide](https://blog.artistworks.com/blues-turnarounds-walking-basslines/) is a natural next step. And for the full framework that ties everything together, return to the [super shuffle overview](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/). All the work you’re doing on individual moments like the v chord pays off when the whole groove finally clicks into place. [Learn Blues Guitar with Keith Wyatt at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 12-bar blues guitar, B7 chord shape, blues guitar, blues guitar lessons, blues shuffle rhythm, boogie shuffle, guitar lessons, Keith Wyatt, supper shuffle, thumb-muting technique, v chord --- ### [Blues Turnarounds and Walking Basslines Made Simple](https://blog.artistworks.com/blues-turnarounds-walking-basslines/) **Published:** August 29, 2026 **Author:** ArtistWorks **Excerpt:** Blues turnarounds are the moment most players either nail the feel or accidentally telegraph that they haven't quite locked the progression down yet. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 29, 2026 · Updated Aug 29, 2026 · 4 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Blues turnarounds are the moment most players either nail the feel or accidentally telegraph that they haven’t quite locked the progression down yet. If you’ve been working through the super shuffle framework, you already know how much the hands control the sound. But the turnaround and the walking bassline are two places where specific, learnable details separate a smooth performance from a clunky one. This article covers both, plus the gear side of the equation. Because the right setup doesn’t make you sound good on its own. However, it does remove the obstacles that fight you while you’re trying to. If you want the full picture of where these elements live in the shuffle, [start with the framework overview](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) before diving in here. **Plain-English takeaway —** Blues turnarounds start on beat two of bar 11, not beat one, and that single timing detail changes everything about how the progression lands.## The Timing Trap Inside Blues Turnarounds Most players start their turnaround lick on beat one of bar 11. That’s the mistake. Blues turnarounds actually begin on beat two of bar 11, which means you have one full beat of the I chord still ringing before the lick kicks in. Starting early compresses the lick and makes the whole end of the progression feel rushed. Practice this first without any lick at all. Simply count through bars 11 and 12 out loud. Feel where beat two of bar 11 lands. Then, once that beat is internalized, add the turnaround on top of it. The timing is the foundation. The notes come second. ## Blues Turnarounds: Three Options, One Progression There are three versions of blues turnarounds to know, ranging from a full open-position blues lick down to a simple chord move. The full version uses a classic descending line in open position. The middle version simplifies that lick to its essential shape. The most stripped-down version is just a C9-to-B9 chord move that rides the rhythm you already have going. All three are valid, in fact, choosing the right one for a given moment is part of playing musically. However, the version doesn’t matter if you haven’t practiced each one inside the full 12-bar progression. So isolation practice is how you learn the notes. But the groove lives in the context. Run the entire progression and let the turnaround happen at bar 11 every time. That’s how the timing becomes automatic. [Video Exchange with Keith – send him videos, get videos back with direct coaching*Start →*]() ## Walking Basslines: Creating the Illusion of Two Players The walking bassline technique is where the super shuffle really opens up. When you execute it well, listeners genuinely hear what sounds like a second rhythm guitar. The secret is simple in concept and demanding in practice. You isolate clean, sustained bass notes on the downbeats. Then you treat the open-string upbeats as near-silent percussion. Those open-string upbeats aren’t meant to ring. They’re texture. They’re the “and” between the beats, handled with a light, almost muted touch. Meanwhile, the bass notes themselves need to sustain and speak clearly. The contrast between those two layers is what creates the two-instrument illusion. ## Why Your Bassline Might Sound Clunky Here’s the most common problem: the upbeats are too loud. If the open-string hits are anywhere near the same volume as the bass notes, the pattern collapses into a single-textured strum and the groove disappears. Most players discover this when they listen back to a recording and the pattern sounds muddy or busy. The fix is to think of the upbeats as accents you’re actively suppressing, not notes you’re playing. For example, let your pick barely graze the string on the upbeat. In contrast, dig into the bass note with intention and let it ring. Practice that dynamic difference slowly. Eventually, your right hand learns to shift weight automatically between the two beats. For more on how picking motion shapes the overall shuffle feel, [check out the thumb-muting and picking breakdown](https://blog.artistworks.com/thumb-muting-blues-shuffle/). ## Blues Turnarounds with Gear That Gets Out of Your Way The right gear setup doesn’t replace technique. However, it does make the technique easier to hear clearly. For the super shuffle style, single-coil pickups are ideal. The clarity and brightness of a single-coil lets every bass note speak without blurring into the next one. If your guitar has humbuckers, try the middle position on a coil-split or use a blend that thins the sound slightly. Your amp should be clean. No distortion, no heavy overdrive. Specifically, you want the amp set so that your picking attack controls the dynamics, not a gain stage. A touch of reverb is fine. Beyond that, keep the signal clear. String gauge matters more than players expect. Lighter strings go sharp under an aggressive attack. Therefore, choose a gauge with enough resistance to handle the dig you’re putting into those bass notes. Many shuffle players land somewhere in the .011-.012 range for exactly this reason. The strings push back, which keeps the pitch stable and the tone focused. [Keith Wyatt teaches blues guitar lessons for all level of players*Start →*]() ## The Size of the Sound Still Comes From the Hands Gear creates conditions. It doesn’t create music. Once your setup is clean and responsive, the actual size of the sound still comes entirely from your hands. That’s the throughline of everything in this cluster. If you want to understand how hand control shapes the overall blues tone before it ever touches an amp, [the deep dive on that subject](https://blog.artistworks.com/big-guitar-tone-hand-control-blues/) is worth reading on its own. The walking bassline, the turnarounds, the gear choices: all of them serve the same goal. That goal is giving your hands the best possible environment to do the work. Practice the beat-two entry on your blues turnarounds until it’s instinct. Work the dynamic contrast between bass notes and upbeats until the two-guitar illusion appears without effort. Set your amp clean, pick a string gauge that resists your attack, and let the single-coil clarify everything. Then go back to [the full super shuffle framework](https://blog.artistworks.com/super-shuffle-bigger-blues-sound/) and hear how these pieces fit together. The sound you’ve been chasing is already in your hands. The right conditions just help it come out. [Learn Blues Guitar with Keith Wyatt at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 12-bar blues progression, ArtistWorks, blues guitar, blues guitar lessons, blues rhythm guitar, blues turnarounds, guitar lessons, Keith Wyatt, super shuffle guitar, walking bassline technique --- ### [Backing Up a Bass Solo: Less is More, Nothing is Better](https://blog.artistworks.com/backing-up-a-bass-solo-banjo/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Backing up a bass solo is one of those moments that quietly separates experienced bluegrass players from nervous newcomers. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 5 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Backing up a bass solo is one of those moments that quietly separates experienced bluegrass players from nervous newcomers. Most players freeze, unsure what to do. Others keep strumming, hoping nobody notices. But the real answer is almost always the same: stop playing entirely, or play so little that the bass owns the room. This article is your guide to that choice. It connects directly to the broader framework in [our full banjo backup guide](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/), which maps every common soloist situation you’ll face in a band setting. Here, we go deep on one specific moment, because backing up a bass solo deserves its own honest conversation. **Plain-English takeaway —** When the bass takes a solo, silence is usually your best contribution, and when you do play, three-string triads on the top strings kept as simple as possible is the right move.## Backing Up a Bass Solo: What Actually Happens in Most Bands In most bluegrass bands, everyone stops when the bass player steps up to solo. This is not a failure of imagination. It is a deliberate tradition, and it works. The bass lives in the low register. Every open string rings deep. The instrument’s natural voice fills the low end immediately. So when the bass solos, any other low-frequency instrument crowds that space fast. The banjo’s fourth string sits right in that zone. Even one stray note there can muddy the texture. Furthermore, bass solos are relatively rare in bluegrass. They carry a certain novelty. The audience leans in. Silence around the soloist actually amplifies that attention. The band is, in effect, framing the moment. So if you’ve ever stood there doing nothing and felt vaguely guilty about it, let that feeling go. Doing nothing is often the most musical thing in the room. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## Treating Silence as Something the Band Actively Plays Here is a shift worth making in how you think about empty measures. Silence is not a gap. It is a sound the whole band is creating together. Think about it this way. A drummer who lays out for two bars is not absent. Instead, that drummer is actively choosing space. The same logic applies to you. When you lift both hands off the banjo and let the bass breathe, you are making a musical decision. That decision takes confidence. In contrast, filling out of nervousness sounds exactly like filling out of nervousness. Bandmates hear it. The audience feels it. The bass player definitely notices. Try this exercise: At your next jam, lift both hands off the banjo for a full chorus while the bass solos. Just sit there. Let it be quiet. At first, it feels uncomfortable. Eventually, it starts to feel intentional. That is the goal. You want to reach the point where silence sits as easily as a well-placed roll. ## Backing Up a Bass Solo When You Do Choose to Play Occasionally, the musical moment calls for something. Maybe the tune has a long solo section. Maybe the bass player signals they want company. In that case, backing up a bass solo requires one firm rule: stay out of the low register entirely. Ignore the fourth string. Pretend it is not there. Instead, focus on the top three strings only. Play small, quiet triads that float above the bass’s register. Keep your right hand light. Think of it as putting a thin wash of color on the wall rather than painting the whole room. Specifically, look for chord voicings that work without the fourth string. On a G chord, for example, you can fret the first, second, and third strings in a way that outlines the chord cleanly. The fourth string stays silent. As a result, the banjo sits up in the mix without competing with the bass’s frequencies. ## Simple Chord Moves That Accent Without Overpowering When you do play during a bass solo, simplicity is your greatest tool. Small, expressive chord changes do more than busy patterns. For example, moving from a G to a G7 takes one finger. That single shift adds harmonic color. It signals the chord change without a roll, without a fill, without any noise that covers the soloist. Similarly, adjusting a finger to form a C7 instead of a plain C gives the music forward motion. These tiny moves are essentially conversation. You are quietly agreeing with what the bass is saying. In contrast, a full roll pattern during a bass solo plants a flag in contested territory. The banjo suddenly has an opinion, and that opinion is louder than the soloist’s voice. For this reason, avoid rolls entirely when the bass is leading. Think: a single strum, then silence. Or one triad held for two beats, then nothing. If you want to explore how this idea of restraint connects across other solo situations, [the mandolin backup article](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/) covers a similar philosophy. There, the banjo pulls back and finds space through chops and selective rolls. The same instinct applies here, only more so. [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## The Practice That Makes Silence Feel Natural Most players never practice silence. They practice notes. But silence is a skill. It requires you to feel comfortable in the band without doing anything. Here is a concrete exercise. Record yourself playing a full tune alone. Then, on playback, identify every moment where a bass solo might land. Listen to how those measures feel. Next, play the tune again live and stop completely during those measures. Notice the difference. The silence will feel loud at first. Gradually, it will feel like breathing room. Additionally, practice your three-string triads separately, away from the full tune context. Get them under your fingers so they never require focus during a real performance. The goal is to have both options ready: full silence or a quiet triad. You want the choice to feel calm, not desperate. For a deeper look at how to stay present without intruding in other contexts, [the article on staying present without getting in the way](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) covers that territory directly. Also, the full picture of how backup choices fit together across every solo situation is waiting in [our complete banjo backup guide](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/). ## Your Next Step: Own the Moment of Quiet Backing up a bass solo with confidence is a sign of musical maturity. It means you trust the music, trust your bandmates, and trust yourself. The next time the bass steps forward, try full silence first. Feel the weight of it. Then decide, based on the music in front of you, whether one quiet triad might add something. In most cases, the empty measure will feel exactly right. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, backing up a bass, banjo backup, banjo chord voicings, bluegrass banjo, bluegrass banjo backup, playing backup, silence in bluegrass, three-string triads banjo --- ### [How to Play Effective Banjo Backup in a Bluegrass Band](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Banjo backup is the skill most pickers never practice. You spend hours on Scruggs rolls, nail your Earl break, and finally feel ready for a jam. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 8 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Banjo backup is the skill most pickers never practice. You spend hours on Scruggs rolls, nail your Earl break, and finally feel ready for a jam. Then the fiddle player steps up to solo, and you freeze. Your fingers hover over the strings. You either overplay and step on the melody, or you sit back and play almost nothing. Neither feels right, and you know it. Here is the truth: great backup is not about playing less. It is about switching your entire job description. The moment your bandmate steps to the mic or lifts their bow, your role changes completely. You are no longer the soloist. You are the foundation they stand on. That shift in thinking is what separates a player who sounds good alone from a player who makes the whole band sound better. This article gives you a practical mental framework for banjo backup. We will look at why support is a real skill, how time is your first tool. How the right approach changes depending on who is soloing. By the end, you will have a clear picture of the five most common backup situations you will face in a bluegrass band. **Plain-English takeaway —** Great banjo backup means consciously shifting your job from soloist to supporter, and knowing which specific tools to use depending on who is taking the break.## The Real Job Description of a Backup Player Most banjo players think of backup as the absence of soloing. In other words, they think it is what happens while they wait for their turn. That mindset is the root of almost every backup problem in a bluegrass band. Backup is an active role. Your decisions during someone else’s solo shape the feel of the song, the confidence of the soloist, and the energy in the room. The band sounds tight because every player is making intentional choices, not just staying quiet and waiting. Think of it this way. A soloist performs on the stage you build. If your backup is rhythmically shaky, tonally cluttered, or dynamically wrong, the soloist has to work harder to hold the music together. However, when your backup is solid, they can relax and play freely. That is a real contribution, even if nobody in the audience can point to you as the reason it sounded great. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## Your One Job Is to Make the Soloist Sound Better This sounds simple, but it reorganizes everything. Before you choose a lick, a roll pattern, or a position on the neck, ask one question: does this serve the soloist, or does it serve me? A lot of banjo backup choices come from the ego, not the ear. You hear an interesting chord change, so you jump on it. You know a flashy fill that fits the key, so you throw it in. However, those choices are about you. Great banjo backup requires you to set that impulse aside and focus entirely on the player in front of you. [Learning what it actually means to support a bandmate](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) starts with this simple reframe. Once you accept that your job is service, the right choices become much easier to identify. You stop asking “what can I play?” and start asking “what does this moment need?” That is a completely different question, and it leads to much better music. ## Time Is Your Single Most Important Contribution Before you worry about which roll to use or which position to play in, get this right first. Solid time is your most valuable gift to the band. In fact, if you can do nothing else, simply playing dead in the pocket is already a genuine service. A backup player who locks in rhythmically makes everyone around them feel more confident. The bass player relaxes. The vocalist settles. Even the soloist’s phrasing loosens up when the time underneath them is rock-solid. So start there. Before you add fills or vary your texture, ask whether your basic pulse is reliable. Then, once time is solid, you can start layering in the more specific choices. [A focused approach to timing and steadiness in backup](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/) is worth studying on its own before you dive into the style-specific situations below. ## Banjo Backup Behind the Fiddle: Rolls and Register The fiddle solo is one of the most common situations you will face. The fiddle lives in the high mid-range. As a result, your backup needs to complement that frequency, not compete with it. Two tools work especially well here. First, forward rolls create a fluid, driving texture that propels a fiddle solo beautifully. Second, slow melodic slides add motion and shape without cluttering the space. Together, they create a sense of lift under the melody. Register matters a lot in this situation. If you are playing low on the neck while the fiddle is singing in its upper register, you end up sounding like two separate songs. Instead, try moving up the neck so your banjo shares the same sonic space as the fiddle. That physical proximity creates a sense of blend. For a deep dive into technique and position choices, [check out the full guide to fiddle backup](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/). [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## Banjo Backup Behind a Vocalist: Filling the Holes Vocal backup is about restraint and timing. A vocalist’s melody is the most important thing in the room. Your job is to support it, not decorate it. The key concept here is the vocal breath. Every phrase ends with a moment of silence. That is your opening. Step in with a short, clean lick, then get out before the next phrase begins. Think of it as call and response. The singer calls, you respond briefly, and then you step back. The most common mistake is over-filling. Players hear a gap and panic, so they play too much. Then the fill overlaps the next vocal phrase and suddenly the melody is buried. Instead, keep fills short. Two or three notes can say everything. For a full breakdown of phrasing, dynamics, and how to choose your moments, [explore the complete vocal backup approach](https://blog.artistworks.com/vocal-backup-banjo-fill-holes/). ## Banjo Backup Behind Mandolin: Chop or Roll? The mandolin chop is one of the defining rhythmic sounds in bluegrass. When the mandolin player is soloing, they lose that chop. So, the question becomes: who fills that rhythmic role? Sometimes, the right answer is you. A percussive chop on the banjo can lock in the backbeat and keep the groove tight. Other times, the rhythm section is already full enough, and a steady roll pattern is the better choice. It adds movement without adding clutter. The decision depends entirely on what the rest of the band is doing. Listen before you choose. If the guitar and bass are holding down a full, thick rhythm, a roll is probably your move. If the groove feels thin, step into the chop role. For specific techniques and listening cues, [the full mandolin backup guide](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/) walks through exactly when each approach works and why. ## Banjo Backup Behind Guitar and Dobro: Register Awareness The banjo and the dobro have a complicated relationship. They share overlapping frequencies. As a result, when both are playing at once, they can easily create a muddy, cluttered sound. The fix is register awareness. If the dobro is covering the mid-high range, you need to either move down the neck or simplify your texture dramatically. Sometimes, a single chord stab per measure is the right move. Other times, silence in the banjo part opens up space for the dobro to ring clearly. This situation requires you to listen and adapt in real time. Your default roll pattern might sound great in isolation. It can wash out the soloist if it sits in the same frequency range. [The dedicated guide to backing up guitar and dobro](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) gives you specific strategies for navigating that shared sonic space without disappearing from the band entirely. [Alison Brown banjo lessons for all levels and styles at ArtistWorks*Start →*](artistworks.com/alison-brown) ## Banjo Backup Behind a Bass Solo: Embrace the Space This one surprises a lot of players. A bass solo is a rare moment, and the instinct is to keep playing rhythm to support the bassist. However, that instinct is often wrong. Bass solos are usually quiet moments. The bass instrument itself does not project the way a fiddle or mandolin does. Therefore, any backup texture you add will likely overshadow the solo rather than support it. Silence is not empty. In this context, silence is a musical choice. Your job during a bass break is to listen carefully and do very little. Maybe one simple chord strum at the top of a phrase, then nothing. Let the bass breathe. The audience will hear the instrument clearly for the first time in the song. That is a gift you give the bassist by staying out of the way. [The full approach to bass backup](https://blog.artistworks.com/backing-up-a-bass-solo-banjo/) explains why restraint here is not laziness. It is craft. ## Continue Learning These five soloist situations cover most of what you will encounter in a bluegrass jam or on a stage. Each one rewards deeper study. Here are the supporting articles in the order that makes the most sense for building your backup skills: 1. [How rolls and slides support a fiddle solo](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/), start here for technique and register awareness 2. [Filling vocal holes without stepping on the melody](https://blog.artistworks.com/vocal-backup-banjo-fill-holes/), phrasing and restraint for vocal backup 3. [When to chop and when to roll behind mandolin](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/), rhythm decisions in context 4. [Why less is more behind a bass solo](https://blog.artistworks.com/backing-up-a-bass-solo-banjo/), the case for silence as a musical tool 5. [Staying out of the way without disappearing behind guitar and dobro](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/), register and texture strategies ## Final Thought The best backup players are not the quietest in the band. They are the most intentional. They listen before they play. They choose their texture based on what the soloist needs, not what their fingers want to do. They treat space as a bandmate, not a void to fill. Banjo backup is a learnable skill. It takes the same kind of focused practice that your solo work does. Start by embracing the job description: your role is to serve the music. Then, work through each specific situation until your backup feels as natural and confident as your breaks. The band will feel the difference immediately, and so will you. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, backup roll patterns, banjo backup, banjo lessons, banjo register awareness, bluegrass backup, bluegrass backup techniques, bluegrass banjo, playing backup, playing rhythm, supporting soloists on banjo --- ### [How to Play Supportive Fiddle Backup on Banjo](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Fiddle backup on banjo is one of the most satisfying jobs in a bluegrass band. When the fiddle player steps up for a break, you suddenly have breathing room. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 5 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Fiddle backup on banjo is one of the most satisfying jobs in a bluegrass band. When the fiddle player steps up for a break, you suddenly have breathing room. Nobody is watching your right hand for the melody. Nobody cares if you leave a gap. Instead, your job is simple: push the music forward and keep the energy climbing. That is a different skill than soloing, and it is worth practicing on its own terms. If you have been thinking through [the broader framework for banjo backup](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/), this article zooms in on one specific situation. Fiddle breaks reward a particular combination of rolling technique and slow, deliberate slides that can transform your backup from polite chord strumming into something that genuinely propels the band. **Plain-English takeaway —** Forward rolls paired with slow, wide slides on the fourth string are the engine that drives banjo backup behind a fiddle solo.## Why Fiddle Backup Calls for a Different Approach The fiddle lives in a bright, singing register. It cuts through the band with ease. Because of that, the banjo does not need to fight for space. Instead, you can sit comfortably underneath the fiddle and focus on momentum rather than presence. That shift in mindset changes everything about your technique. Chop strokes, which work beautifully [behind a mandolin break](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/), can feel choppy and intrusive under a fiddle. The fiddle already has rhythmic clarity. What it needs from you is forward motion, a sense of rolling energy that keeps the measure moving toward the next chord. Forward rolls are your primary tool here. Specifically, a consistent right-hand roll pattern gives the fiddle player something to lean against rhythmically. Think of your roll as the current in a river. The fiddle melody floats on top. Your job is to keep that current steady and strong. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## The Fourth-String Slide: Slow Enough to Hear Every Fret The technique that separates good fiddle backup from great fiddle backup is the slide. Specifically, a slide on the fourth string from the second fret up to the fifth fret. This two-to-five slide adds warmth and forward momentum at the same time. However, the most common mistake is rushing the slide. Quick slides disappear in the mix. They read as a blip, nothing more. The goal is a slide slow enough that you can hear your fingertip passing through each fret along the way. That means you are not just landing on the target note. You are traveling to it, and the listener hears every step of that journey. Practice this in isolation first. Set a slow tempo, around 60 BPM. Pick the fourth string open, then start your slide on the downbeat and arrive at the fifth fret on beat two. Then try beginning at the second fret and arriving at the fifth fret across a full beat. You will feel the difference immediately. The slow version has weight and gravity. It pulls the phrase forward in a way that a quick flick simply cannot. Once you have the slide feeling comfortable, layer it back into your forward roll. The roll keeps running underneath. The slide happens on top of it, voiced on the fourth string while your thumb continues its pattern. That combination of rolling momentum and slow melodic travel is the heart of effective fiddle backup. ## Moving Up the Neck to Match the Fiddle Here is where fiddle backup gets genuinely interesting. Fiddle players climb. They move into higher registers during their most expressive moments, and if you stay parked at the first few frets, you leave a gap in the sonic picture. The solution is to follow them up the neck. Practice shifting from a G chord at the fifth fret to a G chord at the ninth fret. The key is keeping your ring finger and pinky anchored on their strings while your inside fingers flip positions. That anchoring gives you a stable reference point during the shift. As a result, your fretting hand stays organized even at tempo. Start by practicing the shift slowly without any roll. Just fret the chord at the fifth fret, lift and move, land cleanly at the ninth fret. Next, add the roll back in and practice transitioning between the two positions. Finally, work in your slide within each position before combining the position shift and the slide together. When the fiddle player climbs into a high, singing phrase, following them up to a G triad around the seventeenth fret puts you in their sonic neighborhood. You are not playing the melody. You are not duplicating what they are doing. Instead, you are matching their altitude and keeping the band’s energy unified in that upper register. [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## Listening and Responding: Playing Fiddle Backup Along With Recordings The best way to develop fiddle backup instincts is to play along with actual fiddle recordings. Put on a classic bluegrass album and assign yourself the backup role only. Do not solo over the fiddle breaks. Instead, roll, slide, and shift positions in response to what the fiddle player is doing. Focus on two things at first. First, match their register as they move up and down. Second, time your slides to land on chord changes. That second point takes real listening. You need to hear the chord change coming one beat ahead of time so your slide can travel toward the new chord and arrive exactly on the downbeat. That is active listening, not passive playing. Of course, this skill connects to everything else happening in the band. For tips on keeping your backup responsive across different soloist situations, revisit [the full banjo backup framework](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/). If you want to explore how your backup role shifts when the singer steps up, [the approach to vocal backup on banjo](https://blog.artistworks.com/vocal-backup-banjo-fill-holes/) covers exactly that territory. Understanding when [to stay out of the way behind guitar and dobro](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) will also sharpen your overall sense of register and space. ## Putting It All Together in a Band Setting In a live setting, fiddle backup rewards preparation and spontaneity in equal measure. Because you have drilled the fourth-string slide and the neck position shifts, your hands are ready to respond. Therefore, your ears are free to actually listen. Start simple. Choose one position, run your forward roll, and add one slow slide per measure on the chord change. That alone will sound more musical than busy, scattered backup. Then, as you get comfortable, start tracking where the fiddle player is on the neck and follow them. In short, fiddle backup is a conversation. Your rolls provide a steady pulse. Slides add expression and forward pull. Your position shifts keep you in the same register as your bandmate. Together, those three elements turn the banjo from a rhythm machine into a genuine musical partner during the fiddle break. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, backing up a fiddle, banjo backup, banjo backup technique, banjo lessons, bluegrass backup banjo, fiddle backup, forward rolls banjo, fourth-string slide banjo --- ### [How to Play Effective Vocal Backup on Banjo](https://blog.artistworks.com/vocal-backup-banjo-fill-holes/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Vocal backup is the skill most banjo players never practice, yet it shows up in nearly every bluegrass jam and gig. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 5 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Vocal backup is the skill most banjo players never practice, yet it shows up in nearly every bluegrass jam and gig. You’re rolling along in G, the singer opens their mouth, and suddenly every note you play is fighting the melody for attention. That’s a problem worth solving. The good news is that the fix is simpler than most players expect: singers breathe. Those breathing gaps are your invitation. This article focuses on reading vocal phrasing, building a ready-made lick vocabulary, and knowing when silence is actually the loudest thing you can play. For the bigger picture on all the situations you’ll face in a band, start with [the full framework for bluegrass banjo backup](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) and then come back here for the vocal-specific details. **Plain-English takeaway —** Singers naturally pause between phrases, and those brief gaps are exactly where a well-placed four-beat banjo fill lives without crowding the melody.## Understanding Why Vocal Backup Feels Tricky The banjo is a loud, percussive instrument. Its attack cuts through a mix fast. So when a singer is mid-phrase, a rolling pattern underneath doesn’t blend quietly. Instead, it competes. Most players don’t realize this because they’re focused on their own hands, not on listening across the band. The solution starts with a shift in mindset. Think of your job during a vocal verse as complementary, not continuous. You’re not supposed to fill every beat. Instead, your goal is to decorate the space around the melody rather than underneath it. ## How Vocal Phrasing Creates Natural Fill Windows Every vocal line has a built-in structure. A singer delivers a phrase, takes a breath, and then delivers the next phrase. That breath is your cue. It’s typically two to four beats long, and it’s sitting there open, waiting for something musical to happen. For example, listen to almost any classic bluegrass song. After “I am a man of constant sorrow,” there’s a gap before the next line. That gap is the fill window. A good banjo player drops one clean lick into that space, then pulls back immediately as the next word arrives. Because these gaps are predictable, you can train yourself to anticipate them. First, listen to vocal tracks without playing. Then tap your finger on your knee every time you hear a natural pause in the lyric. Finally, practice inserting a single lick into each tap. That three-step exercise will change how you hear a song entirely. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## The Four-Beat Fill: Your Core Vocal Backup Tool A four-beat fill is the practical unit of vocal backup. It’s long enough to say something musical. However, it’s short enough to be completely out of the way before the singer’s next phrase begins. Think of it as one measure of purposeful playing surrounded by two measures of tasteful restraint. The notes you choose inside that four beats matter more than how many you play. A simple melodic phrase that references the chord you’re on will always land better than a flashy roll that ignores the harmony. Above all, end the lick cleanly. A fill that trails past the singer’s next downbeat is just as disruptive as never stopping in the first place. ## Building Your Lick Vocabulary by Key Here’s where preparation pays off. When a vocal hole opens up mid-song, you don’t have time to invent something. Instead, you reach into a mental library and pull out something that fits. A practical goal is five G licks, five C licks, and five D licks. Those three chords cover the vast majority of bluegrass songs in G tuning. Pull these licks directly from tunes you already know. For instance, a turnaround phrase from “Foggy Mountain Breakdown” works beautifully as a G fill. A melodic snippet from a familiar C run can drop right into a vocal hole when the song moves to the four chord. Because you learned these phrases in a musical context, they’ll always sound idiomatic. They won’t sound like exercises. In addition, borrowing from real tunes means your fills fit the genre’s vocabulary naturally rather than sounding invented on the spot. Once you have fifteen licks under your fingers, practice rotating through them. Vary which one you use each time a hole appears. As a result, your backup becomes dynamic rather than repetitive. Other musicians in the band will notice, even if they can’t name what changed. ## Vocal Backup When You Are the Singer This situation deserves its own section because it trips up a lot of players. If you’re singing lead, your voice is already filling the melodic space. There’s nothing left for your banjo to add. In fact, rolling behind your own vocal line often works against you. It makes your voice work harder to project, and it muddies the dynamics for everyone else. The better choice is to simplify dramatically. During verses where you’re singing, reduce your banjo to a rhythmic strum or a light vamp. Many experienced singers stop picking the banjo altogether during their vocal phrases and only re-engage during the holes or the chorus. If you’re singing harmony rather than lead, the same principle applies. Your ear is partly occupied with pitch matching. Therefore, complex picking behind your own harmony part tends to drift off time or drift off pitch. Simplify the banjo, focus on the vocal, and come back in with fills only when you have clear space. For how other instruments handle their own space questions during a vocal, [how mandolin backup decisions work during a vocal chorus](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/) is worth a read. Similarly, [what guitar and dobro players do to stay present without crowding](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) gives you a useful outside perspective on the same problem. [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## Practical Listening: Training Your Ear for Vocal Holes The fastest way to improve vocal backup is not more practice time with your banjo. It’s more listening time without it. Put on a bluegrass record and give it your full attention as a student of phrasing. Notice where the singer breathes. Notice what the banjo player does in those moments. Notice what happens when a fill is too long or placed a beat too late. This kind of active listening builds internal timing around vocal phrasing. Eventually, you won’t have to think about where the holes are. You’ll feel them coming before they arrive, which means your fill will be ready. ## Putting Vocal Backup Into Practice Tonight Start small. Pick one song you already know. Slow it down if you need to. Run through it and commit to playing fills only in the vocal holes, nowhere else. That constraint will feel uncomfortable at first, but it’s exactly the right kind of discomfort. Then expand gradually. Add a second song, try a different key, work through your lick vocabulary until you’re rotating fills naturally. The goal is a backup style that supports the singer rather than competing with them. For a complete look at all the backup situations you’ll encounter in a real bluegrass setting, [the full banjo backup guide](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) ties every piece together. [How rolls and slides function behind a fiddle solo](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/) and [why silence often works best behind a bass solo](https://blog.artistworks.com/backing-up-a-bass-solo-banjo/) are both worth exploring once your vocal backup feels solid. Good backup is what gets you invited back. Vocal backup is where most players have the most room to grow. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, backing up a singer, backing up a solo, banjo lessons, bluegrass banjo backup, four-beat fill, lick vocabulary by key, playing backup, reading vocal phrasing, vocal backup, vocal support --- ### [How to Play Banjo Backup Over a Mandolin Solo](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Playing a mandolin solo is a moment of spotlight. Your job as the banjo player is to make that soloist sound great. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 6 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Playing a mandolin solo is a moment of spotlight. Your job as the banjo player is to make that soloist sound great. A well-chosen mandolin solo deserves backup that lifts it, not backup that buries it. That means making one clear decision before you play a single note: do you chop, or do you roll? Get that choice right, and the whole band locks in. Get it wrong, and the rhythm section turns into a muddy competition. This guide breaks down exactly how to read the situation, execute each technique, and stay in musical balance with the mandolin player. For a broader look at the decisions you face when it’s not your turn, start with [the full backup framework for bluegrass banjo](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/). **Plain-English takeaway —** When backing up a mandolin solo, your choice between a percussive chop and a steady roll depends on who else is in the band and what rhythmic role is already filled.## Understanding the Two Main Mandolin Solo Backup Choices The mandolin solo creates a specific musical space. First, understand what is already happening rhythmically before you decide how to fill it. Are you the only chordal instrument in the band? Or is someone else already holding down the backbeat? Your two main backup options are the chop and the continuous roll. Both work. However, only one of them is right for a given moment. Playing the wrong one is not a small mistake. It can scramble the groove and pull focus away from the mandolin solo you are supposed to be supporting. Think of it this way: the chop is a snare drum hit. The roll is a hi-hat pattern. Both serve the drummer’s kit, but they do different jobs. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## How to Execute the Banjo Chop Correctly The chop is a two-part motion. First, fret a chord shape and press down firmly on the downbeat. Then, immediately release all left-hand finger tension on the upbeat. Release completely. Your fingers stay on the strings but stop pressing. That quick release is everything. When you release the pressure, the strings go dead and produce a crisp, percussive snap. Because you are not lifting your fingers off entirely, you avoid an open-string ring. Instead, you get a tight, muted click that sits right in the backbeat pocket. Many players execute the fret correctly but forget the release. As a result, the chord rings through the beat and the chop loses its snap. Practice the release separately if needed. In fact, slow practice of just the mute action will clean this up faster than full-tempo repetition. For timing, place your chop on beats two and four. That is where the snare would land. Hit it there consistently, and the mandolin player will feel it underneath them like a pulse. ## When to Choose the Chop Over the Roll So when exactly should you chop behind a mandolin solo? The answer is simple: chop when nobody else is covering the backbeat. In many bluegrass bands, the fiddle player handles backbeat duties. The fiddle bow can chop almost as crisply as a mandolin. However, when there is no fiddle in the lineup, that backbeat role goes unfilled. That is your cue to chop. Similarly, if the mandolin player is your band’s usual rhythm anchor, they obviously cannot chop their own break. Step in and cover that rhythmic slot. Therefore, your chop becomes the backbone of the entire groove while they solo. The chop works especially well in smaller combos. In a trio with just banjo, mandolin, and guitar, for example, a solid chop from you gives the whole band a rhythmic foundation that a roll simply cannot replicate. ## When a Continuous Roll Serves the Mandolin Solo Better Now consider a different scenario. Suppose a fiddle or second guitar is already chopping on beats two and four. In that case, adding another chop from the banjo creates a cluttered, over-accented backbeat. Everything starts to feel choppy in a bad way. This is exactly when a continuous roll shines. Think of the roll as a hi-hat in a drum kit. It reinforces even sixteenth-note motion underneath the band without competing for the same rhythmic slot as the chop. A steady roll behind a mandolin solo adds shimmer and forward motion. It keeps energy high without crowding the downbeat. Moreover, it gives the mandolin player rhythmic air to phrase around. They can breathe inside their break because your roll is filling the space gently rather than punching it. For the roll pattern itself, forward rolls and alternating thumb rolls both work well here. Choose whichever sits most naturally under the chord shapes you are playing. The key is consistency. Keep the roll even and smooth, because a choppy roll defeats the whole purpose. You can also cross-reference how rolls work specifically behind a fiddle break in [this look at fiddle backup technique](https://blog.artistworks.com/fiddle-backup-banjo-rolls-slides/). The underlying logic transfers to mandolin situations as well. [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## Using Leading Bass Notes to Guide the Listener’s Ear Whether you chop or roll, add one more tool to your backup vocabulary: the leading bass note. Use your thumb on the fourth string to play a single bass note that approaches the next chord change. For instance, if you are moving from a G chord to a C chord, play a B note on the fourth string just before the C lands. That stepwise motion pulls the listener’s ear forward. It makes the chord change feel inevitable and smooth. Leading bass lines are a small addition, but they have an outsized effect. They make your backup feel intentional and melodic rather than purely rhythmic. Additionally, they give the mandolin player a harmonic signal so they always know where the band is headed. Keep these bass moves simple. One or two leading notes per phrase is plenty. Overdo it and they stop being guide tones and start becoming distracting fills. ## Staying in Volume Balance Behind a Mandolin Solo Here is one of the most practical truths about playing a mandolin solo backup: the banjo is loud. The mandolin is not. The resonator cone and bright treble response of a bluegrass banjo will easily swallow a mandolin break if you are not careful. Back off your relative volume whenever the mandolin takes a lead. Play lighter. Dig in less. Let your pick angle sit shallower against the strings. These are physical adjustments, not electronic ones. Most importantly, listen. Listen actively and constantly while the mandolin player is soloing. If you can hear your banjo more clearly than the melody, you are too loud. Adjust immediately. This volume awareness applies to every backup situation, of course. However, it is especially critical behind a mandolin solo because the volume difference between the two instruments is wider than almost any other pairing in a bluegrass band. For more on managing your presence in the mix, [this discussion of staying audible without crowding](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) covers that balance from a different angle. ## Putting It All Together in a Real Song Context Before the song starts, do a quick mental checklist. Is there a fiddle player in tonight’s lineup? Is someone else already on chop duty? What is the tempo and overall energy of the song? Then make your call. Chop if the backbeat needs filling. Roll if it is already covered. Add leading bass notes at chord changes. Back off your volume and listen hard. Return to [the full banjo backup framework](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) whenever you want to zoom out and see how the mandolin solo situation fits alongside every other backup context you will encounter. The more clearly you understand each role, the faster your decisions become in real playing situations. The best banjo backup is invisible. When you do it right, the mandolin player sounds better and nobody quite knows why. That is the job. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, banjo backup, banjo backup technique, banjo lessons, bluegrass chop, continuous roll banjo, leading bass notes, mandolin solo, playing backup --- ### [Banjo Backup: How to Stay Present and Play Smart](https://blog.artistworks.com/banjo-backup-guitarist-dobro-solos/) **Published:** August 22, 2026 **Author:** ArtistWorks **Excerpt:** Banjo backup becomes a real test of musicianship the moment the guitarist or dobro player steps into the spotlight. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 22, 2026 · Updated Aug 22, 2026 · 5 min read ABFeatured in this articleFeaturing Alison Brown · ArtistWorks educator --- Banjo backup becomes a real test of musicianship the moment the guitarist or dobro player steps into the spotlight. In those moments, your job is not to fill every inch of sonic space. Instead, your job is to keep the band locked in and the energy moving forward, all without cluttering the mix. That balance is tricky, because both situations ask you to think differently about your role. This article focuses on two specific challenges: what to do when the guitarist solos, and how to navigate the sonic overlap between banjo and dobro. For a broader look at backup thinking across all soloist situations, check out [this practical framework for every soloist situation](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/). **Plain-English takeaway —** When the guitarist or dobro player solos, your best banjo backup moves are often the quietest ones, because keeping the pulse steady and avoiding sonic collisions matters more than proving you are busy.## Why Banjo Backup Gets Complicated When the Guitarist Solos Guitar is the quietest instrument in a bluegrass band. Most players understand that fact in theory, but fewer think through what it means in practice. When the guitarist steps up to solo, the overall rhythmic energy in the band can drop noticeably. As a result, the whole group tends to unconsciously drag the tempo, because that steady, authoritative drive disappears for a moment. Your natural instinct might be to fill the gap with rolling or vamping. However, that approach can add melodic clutter right when clarity matters most. The guitarist needs room to breathe and be heard. So the real problem is not adding more sound. The problem is maintaining pulse without adding noise. ## The Percolator: A Quiet Fix for Tempo Stability Here is a specific technique worth learning. Mute all six strings with your left hand and play a quiet, steady forward roll with your right. Because the left hand kills all pitch, the banjo produces only a soft, rhythmic click. That click functions like a silent metronome for everyone around you. Think of it as a percolator. It keeps things moving without announcing itself. In fact, the rest of the band will feel the pulse stabilize even if they never consciously notice your banjo. That is exactly the goal. Keep the roll even and straight, with no swing and no syncopation. Straight 16th notes give the band a clean rhythmic anchor. Meanwhile, the guitarist can solo freely, confident that the momentum will not drift underneath them. Start with this technique in low-stakes settings first. For example, try it during a practice session before you bring it to an open jam. You will quickly notice how much steadier things feel, even when no one else in the room realizes what changed. [Get video feedback on your playing from Alison Brown at ArtistWorks*Start →*](artistworks.com/alison-brown) ## Banjo Backup and the Dobro: Understanding the Sonic Overlap The dobro challenge is a different kind of problem entirely. Because banjo and dobro share the same four strings and operate in a similar register, the two instruments can collide easily. In contrast to backing up guitar, the issue here is not tempo. Instead, the issue is texture and frequency. When two instruments occupy the same sonic space and play similar patterns, they cancel each other out rather than complement each other. As a result, your backup loses its effectiveness, and the dobro player’s solo gets muddied. The answer is not to simply play quieter. The answer is to choose a different approach entirely based on what the dobro is doing. ## How to Read the Dobro and Choose Your Response First, listen to the dobro player during the opening bars of their solo. Specifically, notice whether they are chopping or rolling. That distinction tells you everything you need to know. If the dobro is chopping, the rhythmic chop creates a percussive staccato pulse. In that case, you can roll. Your forward roll fills in the space between their chops and creates a combined texture that is richer than either one alone. However, if the dobro is rolling heavily in G position, the hand shapes and note choices tend to clash directly with common banjo roll patterns. In that situation, back off. Find a different texture, perhaps sparse vamping, muted tones, or even a rest. This kind of listening is exactly what separates good backup from great backup. Moreover, it is a skill you can develop deliberately. In your next jam, identify what the dobro is doing in the first two bars of their solo. Then choose the opposite approach before you commit to a pattern. Roll when they chop. Simplify when they roll. That one habit will transform your banjo backup in a band context. [Learn banjo with Alison Brown – Try a 7 day FREE trial!*Start →*](artistworks.com/alison-brown) ## Banjo Backup: Putting These Ideas Together in a Real Jam These two techniques, the percolator and the dobro response, share a common principle. Both ask you to prioritize the band over your own playing. That is, of course, the core of any great backup role. Because you are focused on what others need, your contributions become more valuable, not less. For a deeper dive into how these ideas apply when the mandolin player solos, [see how chopping and rolling work together on banjo](https://blog.artistworks.com/mandolin-solo-backup-chop-roll-banjo/). And if you have ever wondered whether doing nothing is actually the right call, [this look at backing up a bass solo](https://blog.artistworks.com/backing-up-a-bass-solo-banjo/) makes a strong case for restraint. Meanwhile, if you want to understand how to fill space when the vocalist steps forward, [vocal backup strategies for banjo](https://blog.artistworks.com/vocal-backup-banjo-fill-holes/) covers that angle directly. ## Your Next Step: Quiet Presence as a Skill Staying present without getting in the way is genuinely hard. In fact, it often takes more control than playing something complicated. The percolator roll requires you to suppress your instinct to add melody. The dobro response requires you to listen before you play. Both habits, therefore, build the kind of musical awareness that makes you an indispensable bandmate. Return to [the full banjo backup guide](https://blog.artistworks.com/banjo-backup-bluegrass-every-soloist/) whenever you want to zoom out and see how all five soloist situations fit together. Each one has its own logic, and understanding the full picture makes each individual situation easier to navigate. Above all, remember that the best backup player in the room is usually the one you barely notice. Everything just feels better when they are there. [Learn Banjo with Alison Brown at ArtistWorks!*Start →*](https://blog.artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor ABAlison Brown Grammy® winner, USA Artists Fellowship in Music, IBMA Distinguished Achievement Award A GRAMMY-winning banjo player blending bluegrass and jazz, she’s performed with Alison Krauss & Union Station and Michelle Shocked, led her own quartet since 1993, recorded 12 acclaimed solo albums with multiple GRAMMY nods, and co-founded Compass Records Group. At ArtistWorks [View Alison’s School and full bio on ArtistWorks](https://artistworks.com/alison-brown) Connect with Alison [www.alisonbrown.com/](https://www.alisonbrown.com/)[Instagram](https://www.instagram.com/alisononbanjo/)[Facebook](https://www.facebook.com/AlisonBrownMusic)[YouTube](https://www.youtube.com/playlist?list=PLe6opBSD0X8-1YEfa6ij1KxD5Iyh0hp31) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** Alison Brown, ArtistWorks, backing up dobro, banjo backup, banjo lessons, banjo vamping rhythm, bluegrass backup techniques, percolator roll banjo, playing backup --- ### [R&B Guitar Makes You a Better Rock Guitarist](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** R&B guitar sits right next to rock on the family tree, yet the feel is completely different. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 7 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- R&B guitar sits right next to rock on the family tree, yet the feel is completely different. Both styles use the same six strings, the same amps, often the same pentatonic scale. However, a handful of specific techniques separate a rock guitarist from someone who can truly play R&B. Learning those techniques does not just add a new style to your toolkit. It rewires the way you think about groove, touch, and harmony, and those changes will show up every time you plug in, no matter what you are playing. This article gives you a practical roadmap for crossing that bridge. It is built around five core skills that instructor Dave Isaacs uses to teach authentic R&B guitar: seventh-chord vocabulary, 16th-note strumming mechanics, muted single-note figures, parallel thirds and sixths, and syncopated hybrid picking. Each section gives you the big picture of why that skill matters. Then it points you to a deeper guide where you can really dig in. By the end, you will understand exactly what makes R&B guitar feel the way it does. You will have a clear path to developing that feel yourself. **Plain-English takeaway —** Mastering five specific R&B guitar techniques, chord extensions, 16th-note strumming, muted figures, sliding intervals, and hybrid picking, will deepen your groove, expand your harmonic language, and make you a more expressive guitarist in any style.## Why R&B Guitar Feels So Different from Rock Rock guitar tends to reward attack. Big bends, high gain, aggressive picking strokes. R&B guitar, however, rewards restraint. The tone is cleaner. The touch is lighter. The groove is steadier. That contrast is the first thing most rock players notice. You do not stop playing hard in R&B. Instead, you play with intention. Every stroke, every muted click, every sliding chord has a specific job in the rhythm. As a result, the music locks together in a different way than a rock riff does. The second big difference is harmonic. Rock leans on power chords and pentatonic runs. R&B, on the other hand, loves extensions: major sevenths, minor sevenths, ninths, the stacked “church chord” that gives gospel-influenced soul its signature color. Those sounds are not difficult to play. For many rock guitarists, though, they feel unfamiliar at first because the genre rarely calls for them. [Learn guitar with Dave Isaacs at ArtistWorks – Try a FREE 7 day trial!*Start →*](https://artistworks.com/dave-isaacs) ## Seventh Chords and Extensions: The Harmonic Foundation of R&B Guitar The most immediate way to sound more R&B is to swap out your open chords and barre chords for their seventh-chord equivalents. A simple C major becomes a Cmaj7. An Am becomes an Am7. These substitutions cost you almost nothing technically, but they shift the emotional weight of the music dramatically. The so-called “church chord,” built by playing a major chord shape over a whole step below its root (for example, a B-flat chord over C), is a specific sound you will recognize the moment you hear it. It shows up constantly in classic soul and contemporary R&B. In addition, dominant seventh chords and ninth voicings add the tension and release that makes an R&B progression breathe. For rock players, this harmonic shift is genuinely exciting. You are not replacing what you already know. You are layering new color on top of it. [Get into the details of these voicings and how to use them in context](https://blog.artistworks.com/seventh-chords-rnb-guitar/). You will hear the difference in your playing immediately. ## 16th-Note Strumming: The Engine Behind Every R&B Guitar Groove Rhythm is where most rock guitarists find R&B most challenging. Not because the patterns are complicated, but because they require a different physical approach. The key is a relaxed, rotating forearm motion that keeps the picking hand in near-constant motion, down and up, whether or not the pick touches the strings on every stroke. Think of it like a metronome that lives in your arm. The hand keeps moving at 16th-note speed. Your chord hits and muted strokes land at specific points inside that motion. As a result, the groove stays even and relaxed instead of lurching forward on each downbeat the way rock rhythm parts sometimes do. For rock players used to aggressive downstroke riffing, this feels strange at first. However, even a week of slow practice with this technique will change your internal sense of rhythm in ways that carry over to every style you play. The subdivision awareness alone is worth the work. [Learn how to build and control that 16th-note strumming motion](https://blog.artistworks.com/16th-note-grooves-keep-feel/) with the right arm mechanics and posture. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Muted Single-Note Figures: Adding Percussion to Your R&B Guitar Parts R&B rhythm guitar is not just about chords. Between the chord hits, you will often hear short, clipped, palm-muted single-note figures running across the treble strings. These figures act as a second percussion layer. They punch through a full band mix and hold the groove together even when the drummer is playing sparse patterns. Technically, these figures combine light palm muting with precise picking on the higher strings. The muting softens the attack and shortens the note length. The result is a sound somewhere between a guitar note and a snare click. For rock players, the palm mute is already familiar. However, in rock it is usually applied to the low strings for power-chord chugging. Moving that technique to the treble strings and integrating it into a rhythmic figure between chord stabs is a different skill. [See exactly how these muted treble figures are built and practiced](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) so you can start weaving them into your own grooves. ## Parallel Thirds and Sixths: The Melodic Sweetness of Classic R&B Guitar You have heard this sound on hundreds of records without necessarily knowing what it was. Two notes moving in parallel, sliding smoothly up the high strings, sitting just above the rhythm groove. That is the parallel thirds and sixths technique. It is one of the most recognizable sounds in r&b guitar. The concept is straightforward. You play two strings simultaneously, keeping the same interval relationship as you slide or shift up the neck. Major thirds give you a bright, hopeful sound. Sixths, especially on the B and G strings, have a warmer, slightly sweeter quality. Both intervals appear constantly in classic Stax and Motown recordings. Rock players already use double stops occasionally. However, using them in a sliding, melodic, interval-specific way takes some focused practice. The shapes themselves are compact and easy to memorize. The real work is in the smoothness of the slides and the lightness of the touch. [Dig into how to find and use these interval shapes on the high strings](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/) for a complete breakdown. [Watch and learn more*Start →*](https://artistworks.com/dave-isaacs) ## Syncopated Hybrid Picking: Locking In the Upbeat Feel This is the technique that ties everything together. Hybrid picking means using both the pick and your bare fingers at the same time. In r&b guitar, it gives you the ability to simultaneously pluck upbeat chord stabs with your fingers while keeping a steady pick stroke going through the groove. The upbeat emphasis is crucial. Much of what makes R&B feel like R&B is the way accents land on the “and” of beats rather than on the downbeats themselves. When you can reliably hit those upbeats with clean, confident finger-plucked chord stabs, the groove suddenly comes alive in a new way. Rock players typically rely on a pure pick technique. Therefore, adding finger independence on top of a pick stroke requires some rewiring. Start slowly. Focus on getting the upbeat plucks clean before adding speed. The payoff is enormous. This technique makes your playing feel rhythmically intentional in a way that straight picking simply cannot achieve. [Follow the detailed breakdown of hybrid picking rhythms in a classic soul style](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) to develop the coordination this technique requires. ## The Rock Guitarist’s Secret Advantage Here is something worth noting: rock players actually come to R&B with real strengths. You likely have good pick control, solid left-hand strength, and a trained ear for guitar tone. Those assets transfer directly. The adjustments are mostly about subtraction. You are learning to do less, touch lighter, and let the groove breathe. For many rock guitarists, that shift feels like a revelation. Suddenly you are hearing space in music differently. You are making deliberate choices about when not to play. As a result, your playing across every style becomes more musical. Even a basic R&B vocabulary, just a few seventh voicings, a clean 16th-note strum, and one or two muted figures, will change how you hear rhythm. That change is permanent. It becomes part of how you listen to music and how you respond to it on the guitar. ## Continue Learning Every skill in this article has its own deeper guide. Work through them in this order for the most logical progression: start with harmony, build the strumming engine, add the muted figures, explore the melodic intervals. Finally lock in the hybrid picking feel. 1. [Build your R&B chord vocabulary from the ground up](https://blog.artistworks.com/seventh-chords-rnb-guitar/) 2. [Master the 16th-note strumming technique that drives the groove](https://blog.artistworks.com/16th-note-grooves-keep-feel/) 3. [Learn how muted treble figures add percussive depth to your rhythm parts](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) 4. [Explore parallel thirds and sixths for that classic soulful melodic sound](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/) 5. [Develop syncopated hybrid picking rhythms in the style of classic Marvin Gaye recordings](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) ## Final Thought R&B guitar is not a detour from your development as a rock player. It is a direct investment in it. The five skills mapped out here, specifically the harmonic color of seventh-chord extensions, the relaxed engine of 16th-note strumming, the percussive punch of muted figures, the melodic sweetness of sliding intervals, and the rhythmic precision of hybrid picking, will make every guitar part you play more intentional and more musical. Dave Isaacs built a complete course around exactly these skills, and TrueFire has it ready for you right now. If you have ever wanted your rhythm guitar to feel like it locks into a groove rather than just riding over it, this is where you start. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 16th-note strumming, ArtistWorks, groove, guitar lessons, hybrid picking rhythm, r&b guitar, rock guitar, seventh chord voicings --- ### [16th-Note Grooves: How to Keep the Feel Every Time](https://blog.artistworks.com/16th-note-grooves-keep-feel/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** A 16th-note R&B groove sounds effortless when a great player locks in. However, most rock guitarists hit the same wall: the rhythm falls apart the moment they overthink the picking hand. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- A 16th-note R&B groove sounds effortless when a great player locks in. However, most rock guitarists hit the same wall: the rhythm falls apart the moment they overthink the picking hand. You tense up, the motion stops between chords, and suddenly the groove sounds choppy and stiff. This article solves that specific problem. You will learn why the picking hand must stay in constant motion, how forearm rotation creates that loose R&B feel. How percussive fret-hand mutes fill the spaces that make the groove breathe. If you are just beginning this journey, start with [the full roadmap for rock players crossing into R&B territory](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) before diving into the mechanics below. **Plain-English takeaway —** Keep your picking hand moving in a continuous back-and-forth arc at all times, whether strings are sounding or not, and the 16th-note groove will lock itself in.## Why Your 16th-Note Motion Keeps Falling Apart The single biggest mistake rock players make is treating the picking hand like a tool they deploy only when a chord lands. In rock, that works fine. In a 16th-note R&B groove, stopping the hand between hits kills the subdivision. The body loses track of where “e” and “a” live inside every beat. Think of the picking hand as a metronome attached to your forearm. It swings down and up, down and up, constantly. Some strokes strike the strings. Others pass through the air. Both motions matter equally, because both maintain the physical clock. Once you accept that the hand never stops, everything else becomes easier to feel and easier to time. ## 16th-Note Grooves: Forearm Rotation Is the Engine Here is where most players go wrong with the physical mechanics. They swing the whole arm parallel to the body, like wiping a table. That motion is slow and tiring. Instead, rotate the forearm, the same motion you use to turn a door handle. With forearm rotation, the pick travels in a tight arc over the treble strings. On the downstroke, the pick attacks the strings with authority. On the upstroke, it brushes across them lightly. As a result, you get a natural dynamic contrast built right into the motion, which is exactly what R&B rhythm guitar needs. A loose forearm also makes percussive mutes possible. Specifically, when the fret hand releases between chords, the picking hand continues its arc and strikes muted strings cleanly. Without that loose arm rotation, the timing of those muted clicks becomes impossible to place accurately. ## 16th-Note Grooves: Percussive Clicks Fill the Spaces Between Chords This is the mechanic that separates a real groove from a strummed rhythm part. Between chord shapes, release the fret hand so the strings go dead. However, do not stop the picking hand. Let it continue its arc and strike those muted strings, producing a dry percussive click. Those clicks are not mistakes. In fact, they are the rhythm. They fill the 16th-note subdivisions that would otherwise be empty. They push the groove forward the same way a snare or clap does in the drum track. For example, try playing a simple two-chord vamp and consciously release the fret hand a fraction of a beat early on every chord change. The click lands right in the grid. That tiny gap becomes a rhythmic event instead of dead space. [The role of single-note muted figures in a real groove](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) builds directly on this idea, so check that article when you are ready to take the concept further. ## Start With One Chord and Count Out Loud Before you worry about chord changes, isolate the right-hand motion. Fret an F Major 7 and hold it. Now start the continuous down-up forearm rotation and count “1-e-and-a, 2-e-and-a” out loud. Do not stop counting and do not stop moving. First, strum only on beat 1 and let the rest of the strokes pass through the air. Then, gradually add more hits on specific subdivisions while the motion stays constant. Because you are counting out loud, you will hear exactly where each hit lands inside the bar. This drill feels mechanical at first. However, after five minutes, the motion becomes automatic. Once it is automatic, you can redirect your attention to chord shapes, voicings, and feel. Additionally, saying the subdivision out loud trains your ear and your body at the same time, which is faster than a metronome alone. [Seventh chord voicings that sit perfectly inside this kind of groove](https://blog.artistworks.com/seventh-chords-rnb-guitar/) are worth exploring once the right-hand motion is locked, because the chord shapes you choose will affect how the muted clicks ring. ## Tension Is the Enemy of Pocket Grip pressure is everything. A tight, white-knuckle grip stiffens the forearm and slows the rotation. As a result, the arc shortens, the mutes get muddy, and the upstrokes lose their lightness. Hold the pick firmly enough that it does not fly out of your hand. Beyond that, stay loose. Imagine the pick is a paint brush making quick, light contact with the strings on every upstroke. Also, watch your elbow. If it drifts away from the body, the rotation point shifts and the arc widens too much. Keep the elbow close and let the forearm do the work. In contrast, a rock picking motion often uses the whole arm. That habit will work against you here, so retrain it deliberately. ## 16th-Note Grooves: Putting the Full Groove Together Once the motion is automatic and the clicks are landing cleanly, start building the full picture. Add a simple chord progression, something like F Major 7 to B-flat Major 7. Keep the tempo slow, around 65 BPM. Then gradually introduce rhythmic accents on the “and” of beat 2 and beat 4, which is where R&B rhythm guitar lives. From there, explore [hybrid picking approaches used in classic Marvin Gaye rhythm parts](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) and [how melodic thirds and sixths sit on top of this kind of groove](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/). Both of those ideas plug directly into the physical foundation you are building here. Most importantly, record yourself. Playback reveals hesitations and stop-and-start motion that you cannot feel in real time. A ten-second clip tells you more than ten minutes of playing without listening. For the bigger picture of how all these R&B skills connect and what they give your rock playing in return, revisit [the full guide to why R&B guitar makes rock players better](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/). The groove you build here will show up in everything you play. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 16th note, 16th-note groove, ArtistWorks, forearm rotation guitar, guitar lessons, muting, percussive muting R&B, picking hand motion, R&B, r&b guitar, R&B rhythm guitar technique, rhythm guitar --- ### [How to Transform Your R&B with Seventh Chords](https://blog.artistworks.com/seventh-chords-rnb-guitar/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** Seventh chords are the first thing that separates an R&B guitarist from a rock guitarist who is just visiting the genre. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Seventh chords are the first thing that separates an R&B guitarist from a rock guitarist who is just visiting the genre. If you have spent years playing power chords and triads, you already know the feeling: you try to cop an R&B vibe. Something sounds thin, almost wrong. That is not a technique problem. It is a vocabulary problem. The good news is that the fix is fast, because you already know the physical shapes. You just need to modify them in very specific ways. This article will walk you through the exact fret positions for major 7, minor 7. One advanced polychord voicing that R&B players call the “church chord.” Once you have these shapes under your fingers, you will start hearing why they work so well. For a broader view of how this vocabulary fits into a full style upgrade, check out [the complete roadmap for rock guitarists diving into R&B](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/). **Plain-English takeaway —** Three specific chord voicings, built from shapes you already know, will immediately make your playing sound authentic in an R&B context.## Why Rock Shapes Sound Wrong and Seventh Chords Sound Right Rock guitar leans heavily on power chords and open-position triads. Both are great for their purpose. However, R&B harmony expects more color, specifically the added seventh that gives each chord its signature warmth. A basic E-shape bar chord at the 5th fret is A major. It works in rock. In R&B, though, that full triad often sounds too bright and unrefined. The seventh is not decoration in this genre. Instead, it is load-bearing. It carries the emotional weight that makes an R&B progression feel smooth rather than punchy. Think of it this way: power chords leave harmonic space empty. Seventh chords fill that space with exactly the right tension. As a result, even a two-chord vamp suddenly sounds like a fully produced groove. [Learn guitar with Dave Isaacs at ArtistWorks – Try a FREE 7 day trial!*Start →*](https://artistworks.com/dave-isaacs) ## Building the F Major 7: Drop One Note, Change Everything The major 7 shape is your first tool, and it is surprisingly simple to build. Start with a standard A-shape bar chord at the 8th fret, which gives you F major. Now do one thing: drop the note on the G string by one fret, from fret 10 down to fret 9. Your final fret positions are 8 on the A string, 10 on the D string, 9 on the G string, and 10 on the B string. That one half-step drop adds the major seventh interval. As a result, the chord shifts from a broad, rock-style major sound into something silkier and more intimate. Practice playing the original A-shape at the 8th fret, then making that single adjustment. You will hear the transformation immediately. In fact, that contrast is the fastest way to understand why seventh chords matter so much in R&B. ## Building Minor 7 Shapes from the E-Bar Chord Minor seventh chords are equally essential, and they follow a similarly logical construction. Start with your E-shape bar chord at the 5th fret, which gives you A minor. Next, lift your middle finger and your pinky. That releases the notes on the D and high E strings, lowering the octave on the D string by a whole step. The result is A minor 7. It is open, slightly melancholy, and immediately more soulful than the full minor bar chord. Because the shape loses two fingers, it also sits more comfortably in a flowing groove, especially when you need to move quickly. Now slide that exact shape down to the 3rd fret. You have G minor 7. The fingering is identical. Therefore, moving between A minor 7 and G minor 7 is simply a matter of shifting positions, not rethinking the chord entirely. This is a common two-chord movement in R&B. It forms the foundation of the practice progression at the end of this article. ## The Church Chord: A Polychord That Defines the Genre This next shape is where R&B players earn a sound that no rock vocabulary can replicate. The “church chord,” technically a C11 voicing, is sometimes called a B-flat over C polychord. It appears constantly in gospel-influenced R&B, and it has a particular resonance that feels almost sacred. Here is the voicing. Place your ring finger on the 6th string at the 8th fret. Next, place your pinky on the 4th string at the 8th fret. Then place your middle finger on the 3rd string at the 7th fret. Finally, place your index finger on the 2nd string at the 6th fret. Skip the 5th string entirely. Do not play it. That skipped string is important. Including it would muddy the voicing. Instead, the four-string spread creates a layered sound that registers as both a B-flat major chord and a C-rooted harmony simultaneously. In other words, two harmonic ideas sit inside one shape. This complexity is exactly what gives R&B its characteristic richness. For more on how layered melodic color works in this style, take a look at [soulful double-stop playing with thirds and sixths](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/). [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## A Simple Progression to Hear These Seventh Chords in Action Now put the shapes together. Start on A minor 7 at the 5th fret. Then move to G minor 7 at the 3rd fret. Sit with that movement for a few bars, keeping your strumming relaxed and slightly behind the beat. After that, resolve to the B-flat over C polychord. That three-chord sequence is a real R&B movement. You will recognize it the moment you play it, because versions of it appear across decades of soul and funk music. The seventh chords are doing the harmonic work. Your rhythm hand needs to support them without overplaying. Speaking of rhythm, once you are comfortable with these shapes, your next challenge is locking in a groove that feels authentic. [Keeping the feel in a 16th-note pattern](https://blog.artistworks.com/16th-note-grooves-keep-feel/) takes these chords from shapes you know into music that moves. Similarly, [single-note muted figures that drive an R&B groove](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) give you the rhythmic vocabulary to sit inside a full band arrangement. And when you are ready to push your right-hand technique further, [hybrid picking in the style of Marvin Gaye](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) opens up a whole new layer of feel. ## Seventh Chords: Putting the New Vocabulary to Work The shift from rock to R&B harmony is not about learning an entirely new instrument. It is about making specific, deliberate modifications to shapes you already trust. Drop one fret on the G string and you have a major 7. Lift two fingers from a minor bar chord and you have a minor 7. Learn one unusual four-string voicing and you have a church chord that will turn heads at any session. Practice these three seventh chords slowly at first. Focus on clean transitions and consistent tone. Because R&B grooves tend to be slower and more spacious than rock riffs, every note gets examined more closely. There is nowhere to hide, and that is a good thing. It will push your chord precision in ways that only make you stronger across every style you play. For a fuller picture of how these shapes fit into a complete R&B approach, revisit [the core roadmap for rock players crossing into R&B territory](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/). Everything connects, and these seventh chords are exactly where the journey begins. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 7th chords, church chord polychord, dave isaacs, guitar lessons, major 7 chord shapes, minor 7 bar chord, polychord, R&B guitar voicings, Seventh Chords --- ### [How to Drive R&B Groove with Single-Note Muted Figures](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** Playing a muted single-note line in the right place can transform a guitar part from background texture into a rhythmic engine. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Playing a muted single-note line in the right place can transform a guitar part from background texture into a rhythmic engine. Rock guitarists often default to power chords or full strums. However, in R&B, the guitar frequently works like a percussion instrument, cutting through the mix with short, punchy figures. That approach is one of the five core skills covered in our [complete R&B roadmap for rock players](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/). This article zeroes in on one specific tool: palm-muted, single-note treble figures woven into a 16th-note groove. Master this, and your guitar part will drive the song forward even in a dense, full-band arrangement. **Plain-English takeaway —** A muted single-note treble figure acts like a percussion layer, pushing the groove forward and making both your lines and your chord strums hit harder.## Why Chord Strums Alone Can Disappear in a Full Band Mix A rhythm guitar part can vanish fast when the bass, keys, and drums all lock together. Full chord strums share frequency space with almost every other instrument. As a result, individual notes blur into a wash, and the rhythmic detail gets lost. This is especially true in R&B production. The drums are already dense with 16th-note hi-hat patterns. The keyboards often pad out the midrange. Therefore, a strummed guitar chord can feel redundant rather than essential. The fix is not to play louder. Instead, shift your approach. A single-note figure occupies a narrow frequency band. It has a sharp, defined attack. Consequently, it cuts through a mix the way a chord strum simply cannot. ## The Single-Note Treble Trick That Cuts Through Everything Here is the core idea. Pick one note on the B or high-E string and hit it repeatedly with a palm mute. Keep the mute tight against the bridge saddles for a short, percussive attack. A muted treble-string single-note produces what engineers sometimes call a “ticky” sound. It is bright, short, and rhythmically precise. In contrast, a muted bass-string note tends to sound thick and muddy in a dense arrangement. The treble string note pokes through the mix because it lives above the frequency range of the bass and keys. Furthermore, the muted attack mimics a hi-hat or a shaker. It genuinely adds a percussion layer rather than just doubling an existing one. Start on the 5th fret of the B string. Lay your palm lightly across the saddles. Then pick that note in straight 16th notes for one bar. You will immediately hear how it functions more like a drum sound than a guitar note. [Learn guitar with Dave Isaacs at ArtistWorks – Try a FREE 7 day trial!*Start →*](https://artistworks.com/dave-isaacs) ## How the Fret Hand Connects to Your Chord Technique Here is something that surprises most rock players: the fret-hand motion for single-note muted figures is nearly identical to chord strumming. When you strum a chord pattern, you release fret-hand pressure slightly between beats to deaden the strings. That release is what creates rhythmic definition. Apply the same release on your single-note figure. Fret the note firmly on the attack, then relax your fret hand just enough to mute it short. Do not lift your finger completely off the string. Instead, reduce pressure so the note chokes on its own. This keeps your hands working in sync. Additionally, it means you are not learning a brand-new physical skill. You are extending a technique you already own from your chord work. For a deeper look at how 16th-note strum patterns build the rhythmic foundation beneath these figures, check out [this guide to playing 16th-note grooves without losing the feel](https://blog.artistworks.com/16th-note-grooves-keep-feel/). The two approaches fit together naturally once both are in your hands. ## Combining Ringing Chords and Muted Single-Note Figures in One Bar The real power of this technique comes from contrast. A ringing chord strum followed by a muted single-note figure creates tension and release within a single bar. Each element makes the other sound better. Try this specific pattern. Play a full strum on beat one. Let it ring briefly. Then fill beats two and three with a tight single-note treble figure in 16th notes. Finally, return to a chord on beat four. The contrast between open and muted sounds gives the listener two distinct textures. Moreover, it gives the groove a push-pull feeling that purely strummed parts rarely achieve. This is the rhythmic vocabulary you hear behind classic R&B tracks. Because this technique sits at the intersection of chording and lead playing, it also sets up naturally for more melodic work. For example, the parallel thirds and sixths that add melody to R&B lines (covered in [this guide to playing thirds and sixths for R&B melodies](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/)) often launch from exactly this kind of single-note rhythmic foundation. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Building the Single-Note Pattern into a Real Groove Practice this in small sections. First, isolate the muted single-note figure for four bars straight. Focus on consistency: every note the same length, the same attack, the same volume. Next, add the chord strums back in. Alternate one bar of pure chord strumming with one bar of muted single-note figures. Listen for how they contrast. Then, mix them within the same bar using the one-and-three chord, two-and-four figure approach described above. Record yourself. Even a phone recording will reveal whether the two elements are balancing or one is overpowering the other. This approach also connects naturally to [seventh chord voicings for R&B guitar](https://blog.artistworks.com/seventh-chords-rnb-guitar/), since the chord side of the pattern becomes more colorful once you swap in a dominant 7th or a 9th. Similarly, [syncopated hybrid picking in the Marvin Gaye style](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) builds on the same rhythmic precision this technique develops. ## Putting It Together and Moving Forward Single-note muted treble figures are a small technique with a large impact. They solve a real problem: how to stay present in a full-band mix without overplaying. They add percussion without a percussionist. They create contrast that makes every chord strum hit harder. Start with one string, one note, one fret. Keep the mute tight. Release fret-hand pressure cleanly. Then add the chord strum back in and listen to what happens. As you build this skill, keep returning to the [full R&B guitar guide for rock players](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) for context. Each technique connects to the others, and muted single-note work sits right at the center of the R&B rhythm guitar approach. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 16th-note groove guitar, ArtistWorks, cells, dave isaacs, guitar lessons, palm mute technique, R&B rhythm guitar, single note, single-note, single-note muted figures, treble string percussive playing --- ### [Thirds and Sixths: How to Play Soulful R&B Guitar Melodies](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** Thirds and sixths are the secret sauce behind some of the most recognizable melodic moments in R&B guitar. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Thirds and sixths are the secret sauce behind some of the most recognizable melodic moments in R&B guitar. You know that sweet, honeyed sound when a guitarist slides a two-note shape up the neck over a slow groove? That is parallel motion at work. As a rock player, you already have the chops for this. However, the specific shapes and the muting discipline behind them are a different world from power chords and pentatonic runs. This article breaks down exactly how to build those two-note melodic lines, where to put your fingers, and how to keep the groove locked in while you do it. If you want the bigger picture first, [the full R&B roadmap for rock guitarists](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) is a great place to start before diving into these shapes. **Plain-English takeaway —** Two-note parallel intervals, specifically thirds and sixths, fill the gap between sparse single-note lines and thick full chords, giving your R&B melodies a warm, vocal quality without cluttering the groove.## What Thirds and Sixths Actually Do for a Melody A single-note line can feel thin over a pillowy R&B chord progression. Full chords, on the other hand, are too dense when you want the line to breathe and sing. Thirds and sixths live right in the middle. They are fat enough to feel harmonized, but open enough to move freely. A third is simply two notes that are three scale steps apart. In the key of F major, for example, F and A form a third. A sixth inverts that relationship. Instead of stacking up, you drop the lower note down an octave, so A and F become a sixth. Both intervals carry that characteristic sweetness, but the sixth has a wider, more open resonance. In practice, you will use thirds on the high E and B strings for close, bright melodic motion. You will use sixths on the B and G strings, or the high E and G strings, for a fuller, slightly warmer sound that outlines a chord voicing without playing all six strings. ## Building Parallel Thirds on the High Strings Start with your hand at the fifth position. Fret the B string at the fifth fret and the high E string at the sixth fret. Those two notes together form a third in the key of F major. Now slide both fingers up as a unit: sixth fret and eighth fret, then eighth fret and tenth fret. Each position is a new parallel third, and together they trace a smooth melodic line right over an F Major 7 chord. The key word here is parallel. Both fingers move the same distance at the same time. Because of this, the interval quality stays consistent, and the line sounds intentional rather than accidental. Muting is critical on these shapes. Your unused fingers need to rest lightly on the strings below the B string, especially the G string, so nothing rings sympathetically. Even a slight buzz from an open G string will muddy the interval. Take a moment before you play to check your hand angle. A slightly flattened fret hand, rather than the high thumb position a rock player typically uses, gives your lower fingers better contact with those muted strings. [Learn guitar with Dave Isaacs at ArtistWorks – Try a FREE 7 day trial!*Start →*](https://artistworks.com/dave-isaacs) ## Sixths on the Non-Adjacent Strings Now try this. At the fifth fret, play the G string and the high E string together. Skip the B string entirely. That skipped string is what makes a sixth different to play than a third. Because the two target strings are not adjacent, you need to mute the B string between them. The cleanest approach is to use the flat of your first finger to lightly touch the B string while your fingertip frets the G string. Meanwhile, your ring finger or pinky handles the high E. It takes some hand-angle adjustment, but once it clicks, the muting happens almost automatically. That sixth interval outlines an F chord voicing with a noticeably wider, fuller sound than the thirds you just played. In particular, it works beautifully as a melodic response phrase, the kind of thing a horn section or backing vocal might play. For more on how single-note figures interact with the groove in a similar way, [check out the muted single-note approach covered here](https://blog.artistworks.com/single-note-muted-figures-rb-groove/). ## Thirds and Sixths: Keeping the Groove Alive in the Two-Note Shapes Here is the technique detail that separates R&B players from rock players playing R&B. It is not just about hitting the right intervals. It is about making those intervals feel rhythmically alive. Think about how you release a chord during a strumming groove. Your fret hand squeezes and releases in a rhythmic pattern, creating that choppy, percussive feel. Apply that same release technique to your two-note shapes. After you land a third or a sixth, release fret pressure slightly on the upbeats. Do not lift your fingers entirely. Simply relax them so the notes ghost out, then re-apply pressure on the next downbeat or syncopated hit. This connects the melodic line to the rhythmic backbone of the groove. As a result, your parallel interval thirds and sixths lines do not float above the track. Instead, they become part of it. For more on building that rhythmic vocabulary, [the guide on 16th-note strumming grooves](https://blog.artistworks.com/16th-note-grooves-keep-feel/) covers the underlying feel in depth. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Thirds and Sixths: A Simple Practice Sequence to Lock It In First, practice the three-position thirds slide on the high strings without a backing track. Focus on even pressure and clean transitions between positions. Next, add a looped F Major 7 chord on beats one and three. Play the thirds slide on the offbeats. Then, try substituting a sixth interval on the last position of the slide for contrast. Once that feels natural, record yourself and listen back to your new thirds and sixths work. Notice whether the two-note shapes sit inside the groove or fight against it. Specifically, listen for any buzzing or sympathetic string noise. That is your muting telling you it needs more attention. Finally, try the same sequence over a ii-V-I in F major. Move your shapes to the corresponding scale positions for the Gm7 and C7 chords. Because the parallel motion follows the key, the lines will track the changes smoothly with minimal extra thought. ## Taking Your Interval Playing Further Thirds and sixths are just the beginning of the harmonic vocabulary that makes R&B guitar so distinctive. Once these shapes are under your fingers, they open the door to hybrid picking approaches and syncopated melodic figures. For a deeper look at that territory, [the Marvin Gaye-inspired hybrid picking guide](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) is worth exploring next. And if you are still building your chord foundation, [the seventh chords and extensions guide](https://blog.artistworks.com/seventh-chords-rnb-guitar/) will give your interval lines a richer harmonic context to sit inside. Above all, keep coming back to [the core R&B tips for rock players](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) as your reference point. Thirds and sixths are a technique. The real goal is making your guitar sound like it belongs in an R&B arrangement. That takes all the elements working together. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 3rds, 6ths, ArtistWorks, dave isaacs, guitar lessons, harmony, parallel interval guitar, R&B, R&B guitar melodies, string muting technique, thirds and sixths, two-note melodic shapes --- ### [How to: Hybrid Picking in the Style of Marvin Gaye](https://blog.artistworks.com/hybrid-picking-rhythms-rnb-guitar/) **Published:** August 14, 2026 **Author:** ArtistWorks **Excerpt:** Hybrid picking is the secret weapon hiding inside some of the most iconic R&B guitar parts ever recorded. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 14, 2026 · Updated Aug 14, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Hybrid picking is the secret weapon hiding inside some of the most iconic R&B guitar parts ever recorded. If you have come to R&B from a rock background, syncopated rhythms probably feel slippery at first. You are used to strumming through the beat, not landing precisely on the upbeats between it. That gap in feel is exactly what this article addresses. We will break down how hybrid picking opens up rhythmic possibilities a flatpick alone cannot touch, use the guitar part from Marvin Gaye’s “What’s Going On” as a real-world map. Give you a counting framework that builds a physical, drummer-like sense of the 16th-note grid. For broader context on how this skill fits into your R&B vocabulary, start with the [full R&B roadmap for rock guitarists](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/). **Plain-English takeaway —** Master hybrid picking’s pick-plus-fingers motion on open strings first, then apply it to syncopated R&B patterns so your hand coordination is locked before the rhythmic complexity arrives.## Why Hybrid Picking Changes the Rhythmic Game Most rock guitarists strum with a flatpick and rely on down-up motion to navigate rhythm. That motion is great for driving eighth-note grooves. However, it limits how independently you can voice different strings at different moments. Hybrid picking solves this. The technique combines a flatpick on one string with the middle and ring fingers plucking other strings simultaneously. Because each string is covered by a different digit, you can assign each one a distinct rhythmic role. As a result, your bass string can anchor the downbeat while your fingers snap an upbeat on the inner strings at the exact same instant. That independence is what gives classic Motown and soul guitar its texture. The parts sound fuller than a single pick line but more precise than a full strum. In short, hybrid picking lets one guitarist play rhythm and texture at the same time. ## The “What’s Going On” Pattern Up Close The guitar part on Marvin Gaye’s “What’s Going On” is a masterclass in restrained syncopation. The basic idea is simple: the pick handles the low string while the middle and ring fingers cover the 4th and 5th strings. However, the rhythmic placement is where everything gets interesting. Instead of landing strings together on beats 1 and 3, the fingers frequently pluck on the “and” or the “a” of a beat. Those are the upbeats inside the 16th-note grid. For a rock guitarist, those spots feel like the floor drops out. You reach for a beat, and it is not there yet. The pattern also uses silence aggressively. Many of the upbeats are followed immediately by a muted 16th. That mute is not an accident. It is a rhythmic event, just as deliberate as any note. Therefore, you cannot skip it when you are practicing. [Learn guitar with Dave Isaacs at ArtistWorks – Try a FREE 7 day trial!*Start →*](https://artistworks.com/dave-isaacs) ## Counting the Full 16th-Note Grid Out Loud This is the part most guitarists skip, and it is the reason the feel never arrives. You must count the complete 16th-note subdivision before you play a single note. Say “1-e-and-a, 2-e-and-a, 3-e-and-a, 4-e-and-a” out loud, at a slow tempo, until it becomes automatic. Once you have that grid in your mouth, you know exactly where every possible rhythmic landing point lives. The “and” of 2 is no longer a vague space. It is a named address. For example, when the guitar part lands on the “a” of beat 3, you can feel it coming because you are counting toward it. This approach comes directly from how drummers think. A drummer never loses the 16th-note grid, even when they are not playing on every subdivision. As a result, their placement is precise. Guitarists who adopt that same counting discipline find that syncopated patterns become dramatically easier to execute. If 16th-note strumming is still new territory for you, the companion article on [locking in your 16th-note groove feel](https://blog.artistworks.com/16th-note-grooves-keep-feel/) is a great place to build that foundation first. ## Hybrid Picking: Building the Hand Coordination on Open Strings Here is the single most important practice step: run the hybrid picking motion on open strings before adding any chord shapes or syncopated patterns. This is not a warm-up. It is its own focused drill. Set your metronome to 60 BPM. Pick the low E string with your flatpick on beat 1. Simultaneously pluck the G and B strings with your middle and ring fingers. Then mute everything on the “e” of beat 1. Next, pluck just the middle and ring fingers on the “and” of beat 1. Mute again on the “a.” Repeat this loop and count out loud the entire time. Your pick hand will feel awkward at first. The middle and ring fingers may curl inconsistently, or they may not pluck with equal strength. However, open strings give you zero fretting pressure to manage, so you can focus entirely on the picking hand. Once the motion feels clean and consistent at 60 BPM, move to 70 and repeat. For reference, your middle finger should curl slightly under the string and flick upward on the pluck. The ring finger follows the same motion. Neither should strum across multiple strings. Each one covers exactly one string, every time. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Adding Chord Voicings Without Losing the Rhythm Once your hand coordination is solid on open strings, add a simple chord voicing. A Gmaj7 or Cmaj9 shape works well because they sit comfortably under the fingers. However, keep the rhythmic pattern exactly the same. Do not simplify it because you added a chord. This is where rock guitarists often backslide. The fretting hand demands attention, and the picking hand loosens up. Suddenly the syncopation disappears and the part sounds like a strummed ballad. Therefore, be deliberate. Keep counting out loud even after you add the chord. If you are building your R&B chord vocabulary alongside this, check out the guide on [seventh chords and extensions for R&B guitar](https://blog.artistworks.com/seventh-chords-rnb-guitar/). Those voicings are exactly what Marvin Gaye’s guitar parts use underneath this kind of rhythmic texture. Also worth exploring: [muted single-note figures](https://blog.artistworks.com/single-note-muted-figures-rb-groove/) and [parallel thirds and sixths](https://blog.artistworks.com/thirds-and-sixths-rb-guitar-melodies/) both layer beautifully on top of a hybrid picking rhythmic foundation once you have it solid. ## Hybrid Picking: Locking In the Feel Over Time Hybrid picking is a physical skill before it is a musical one. Your fingers need repetitions before the motion becomes reflexive. First, drill the open-string pattern daily for at least a week. Then, apply it to one chord shape. After that, move the shape around the neck using the same pattern. The goal is to reach the point where the picking hand runs on autopilot. Because once it does, your full musical attention shifts to feel, dynamics, and expression. That is when the part starts to sound like the record. The [R&B guitar roadmap](https://blog.artistworks.com/rb-guitar-rock-guitarists-groove/) maps out how hybrid picking fits alongside every other core skill you are building. The combination of groove, chord color, and rhythmic precision is what makes R&B guitar so rewarding to learn. [Learn guitar and get personalized coaching from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 16th-note guitar groove, ArtistWorks, dave isaacs, guitar lessons, hybrid picking, Marvin Gaye guitar technique, picking, r&b guitar, R&B guitar for rock players, right hand technique, session player, syncopated R&B rhythms --- ### [How to Improvise Over Chord Changes: A Guitarist's Guide to Chord Tone Soloing](https://blog.artistworks.com/how-to-improvise-over-chord-changes-a-guitarists-guide-to-chord-tone-soloing/) **Published:** July 20, 2026 **Author:** ArtistWorks **Content:** Every guitarist eventually hits the same wall. Your scales are clean. Your technique is coming together. You can improvise over a static one-chord vamp without freezing. Then someone puts on a track where the chords actually change, and everything you played over the vamp suddenly sounds wrong. Learning how to improvise over chord changes is one of the largest jumps in a guitarist’s development. In this guide, we’ll walk through the foundational concept (chord tone soloing), the practical exercises that build the skill, and how to apply it from a simple I-IV-V blues to jazz standards with new chords every two beats. ## Table of Contents - [Why Chord Changes Trip Up Intermediate Players](#why) - [How to Improvise Over Chord Changes: Start With Chord Tones](#foundation) - [Guthrie Trapp on the 1-3-5 Method](#guthrie) - [Chord Tone Soloing Across the Fretboard](#fretboard) - [Soloing Over Chords Beyond the Basic Triad](#beyond) - [How to Follow Chord Progressions When Improvising](#follow) - [Jazz Chord Changes Improvisation](#jazz) - [Targeting Chord Tones: A Practice Routine](#targeting) ## Why Chord Changes Trip Up Intermediate Players Most intermediate players learn their first solo vocabulary by improvising over a static chord or a simple two-chord vamp. That situation is forgiving. One scale usually works over the entire piece, and any note you land on will sound at least acceptable. The habits you build in that context are habits of pattern-based playing rather than habits of harmonic listening. When the harmony starts moving, those habits fall apart. The C-natural that sounded great over an A-minor chord might sound wrong the moment the chord changes to E7. The scale shape you’re used to running has to shift or adjust. And the notes you land on when you finish a phrase suddenly need to fit the new chord underneath them. Without a framework for handling that, the same phrases that felt confident over one chord become disorienting over four. The good news is that the framework is straightforward. It’s built entirely from chord tones. ## How to Improvise Over Chord Changes: Start With Chord Tones Learning how to improvise over chord changes has a single foundational answer: play the notes that are actually in the chord underneath you. Those notes are called chord tones, and for any major or minor chord they consist of the root (1), the third (3), and the fifth (5). If the band plays a G major chord, the notes G, B, and D will always sound resolved and correct over that chord. If they move to a C major chord, C, E, and G will always sound resolved and correct. The technique is simple, and every experienced player uses some version of it. You don’t have to play only chord tones (in fact, you shouldn’t). What matters is knowing where the chord tones live on your fretboard so you can land on them at the right moments. Land on chord tones on strong beats, resolve phrases to chord tones at the end, and you’ll sound like you know what you’re doing over any chord progression. ## Guthrie Trapp on the 1-3-5 Method ArtistWorks guitar instructor [Guthrie Trapp](https://artistworks.com/guthrie-trapp) walks through the chord-tone approach in the lesson above. He uses a simple I-IV-V progression in the key of G (G, C, D) and demonstrates how to outline each chord using its 1-3-5. Over the G chord, he plays G, B, D. Over the C chord, he plays C, E, G. Over the D chord, he plays D, F#, A. Move the same shape to a new position, and you have a complete musical statement that follows the changes. The pattern is deceptively simple. Guthrie makes the point that even a basic 1-3-5 outline over each chord (played as an ascending arpeggio) is enough to sound intentional and musical, especially when a rhythm guitarist is comping steady chords underneath. It’s the beginning of a real foundation for playing over changes, and every advanced player still uses this basic move in more sophisticated forms. ## Chord Tone Soloing Across the Fretboard Chord tone soloing gets more powerful once you know where the chord tones live in multiple positions across the fretboard. Guthrie extends the 1-3-5 idea by moving through three octaves of the same chord tones on the neck. Over G major, he plays 1-3-5 in the low position (root on the 6th string), then in the middle position (root on the 4th string), then in the high position (root on the 2nd string). Same three notes, three different octaves. Doing this across the fretboard builds two skills at once. First, you learn where the chord tones for every major and minor chord live in every position, which is one of the most useful maps a guitarist can carry. Second, you build the physical fluency to switch between positions in real time, which is how experienced players connect long phrases across the neck. ## Soloing Over Chords Beyond the Basic Triad Soloing over chords becomes richer when you add notes beyond the basic 1-3-5. A few natural extensions: - **The seventh (7).** Adding the seventh to a chord tone arpeggio (making it 1-3-5-7) gives you the full chord tone set for major 7 chords, minor 7 chords, and dominant 7 chords. Almost every chord in jazz and modern pop can be outlined this way. - **Chord tones with passing notes.** Once you know where the chord tones are, you can pass through non-chord tones between them. A quick chromatic pass into a chord tone on beat one sounds sophisticated with very little effort. - **Neighbor tones.** Play a chord tone, step above or below it, and come back. Neighbor tones create small melodic ornaments around your target notes. - **Extensions (9, 11, 13).** Once you’re comfortable with basic chord tones, the ninth, eleventh, and thirteenth add color while still fitting the underlying chord. Not every extension works over every chord, and learning which ones do is the ongoing work of harmonic ear training. Check out our blog post on [using musical cells for guitar improvisation](https://blog.artistworks.com/musical-cells-guitar-improvisation/) that walks through small, portable phrase-building blocks that pair naturally with chord tone soloing. ## How to Follow Chord Progressions When Improvising How to follow chord progressions when improvising comes down to timing and awareness. A few habits to build: - **Know the changes cold.** Before you improvise over a progression, sing the chord roots along with a recording. If you can’t hear the changes coming, your fingers won’t know where to go when they arrive. - **Land on chord tones on strong beats.** The downbeat of each measure (or the point where a new chord arrives) is when the ear is listening hardest for whether you’re “in” the chord. Landing on a chord tone at that moment sounds resolved. Landing on a non-chord tone sounds tense. - **Anticipate chord changes.** Great improvisers often start moving toward the next chord’s tones a beat or two before the chord actually arrives. This is called playing “over the bar line,” and it makes your solo sound like it’s leading the band. - **Resolve phrases to chord tones.** The last note of any phrase should feel resolved. Landing on a chord tone at the end of a phrase gives the phrase a natural period. ## Jazz Chord Changes Improvisation Jazz chord changes improvisation applies the same core concept at a higher velocity. Where a blues might have three chords across twelve measures, a jazz standard might have twelve chords across four measures. The chord tone approach still works. It just moves faster. The practical adjustment for jazz progressions is to think in short phrases that acknowledge each chord as it passes. A four-beat measure with two chords means you have two beats to spell out each chord. Focus on landing chord tones on beats one and three of each measure, and let the connecting notes fill the space in between. For serious jazz improvisation study, learning to hear ii-V-I progressions is the single highest-leverage skill you can develop. Almost every jazz standard is built out of variations on that progression, and internalizing how chord tones move through it unlocks huge chunks of the repertoire. ## Targeting Chord Tones: A Practice Routine Targeting chord tones is a skill you can build in focused daily practice. A 30-minute routine: 1. **5 minutes: 1-3-5 arpeggios.** Pick a major triad. Play its 1, 3, 5 in three positions on the neck. Repeat with a minor triad. Repeat with a dominant 7 chord (1-3-5-b7). Focus on knowing where the notes live. 2. **10 minutes: outline a progression.** Pick a simple three or four-chord progression. Play only the 1-3-5 of each chord as it goes by, using a backing track. Focus on landing the root on beat one of each new chord. 3. **10 minutes: improvise while landing on chord tones.** Same progression, but now you can play any notes you want. The only rule: land on a chord tone every time a new chord arrives. 4. **5 minutes: reflect and record.** Record one chorus of your chord-tone-focused improvisation. Listen back for whether your landings actually match the chord tones. Adjust tomorrow’s practice based on what you hear. Two months of this daily routine will change how you solo over any progression, from a simple blues to a jazz standard with tricky changes. ## Take Your Chord Change Improvisation to the Next Level How to improvise over chord changes is the single most useful skill an intermediate guitarist can develop. Every hour you spend on chord tone soloing pays off across every genre you’ll ever play. Blues, rock, country, jazz, funk, and pop are all built on the same underlying idea: know the chord tones, land on them at the right moments, and your solo will follow the harmony naturally. [Start a free trial at ArtistWorks and dive into world-class instruction across nearly every instrument](http://artistworks.com)**.** ArtistWorks’ Video Exchange Learning lets you submit videos of your playing to participating educators and receive personalized feedback as you build the improvisation skills that will carry you through every solo you play. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** Arpeggios, Blues Improvisation, Chord Changes, Chord Tone Soloing, Guitar Improvisation, Guthrie Trapp, Improvisation, Intermediate Guitar, Jazz Improvisation, Music Theory, Soloing --- ### [Try Now: Proven Essential Techniques for Fingerstyle Jazz Guitar](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** Essential technique in fingerstyle jazz guitar starts with a single, clarifying idea: one guitar, no band. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 7 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- Essential technique in fingerstyle jazz guitar starts with a single, clarifying idea: one guitar, no band. Yet somehow the music sounds full. Bass notes walk beneath a melody. Chords punch in between. A single note line floats over everything. If you have ever heard someone play Joe Pass or Johnny Smith solo and wondered how any one person was doing all of that at once, you already understand the appeal. The good news is that this style is learnable. It is built from a small set of physical habits that stack on top of each other. Sean McGowan, jazz guitarist and professor at ArtistWorks, breaks the whole approach into five core techniques. You will find each one mapped out in this guide. First, we look at what fingerstyle jazz actually demands. Then we walk through fretting hand independence, thumb muting, shadowing with the thumb, the claw shape, and finally, single note lines. By the end, you will know exactly where to start. **Plain-English takeaway —** Fingerstyle jazz guitar is a learnable, stackable set of five physical techniques that together let one guitarist sound like a full ensemble.## What Makes Fingerstyle Jazz Its Own Essential Technique Fingerstyle jazz is not simply jazz played without a pick. It is a completely different relationship between your hands and the guitar. In most band settings, you play one role at a time: comping or soloing, chording or running a line. In fingerstyle jazz, you do all of it simultaneously. That means your right and left hands have to coordinate at a level that feels unfamiliar at first. The style draws from classical fingerpicking, blues thumb technique, and bebop vocabulary. However, it fuses those influences into something specific. You are arranging for yourself as a complete ensemble. The bass voice, the inner chord tones, and the melody all live on the same six strings. Because of that, every technique you build serves more than one musical purpose. Importantly, you do not need long nails to play this style. Sean McGowan plays with his fingertips and bare skin. Most jazz fingerstylists do. The tone you get from the pad of a finger is warmer and softer, and it suits jazz phrasing far better than a bright, nail-forward attack. So if that concern has been holding you back, set it aside. [160+ Sean McGowan Fingerstyle Jazz Guitar Lessons at ArtistWorks – Try a Free 7 Day Trial*Start →*](https://artistworks.com/sean-mcgowan) ## Fretting Hand Independence: The Foundation of Articulation Most guitarists treat the fretting hand as a shape-holder. You press a chord, strum it, move to the next shape. In fingerstyle jazz, the fretting hand becomes an expressive tool in its own right. Each finger needs to act independently. One finger may hold a sustained bass note while another lifts to create a staccato melody note above it. That combination of long and short values happening at once is what gives a solo guitar arrangement its sense of depth and movement. For example, think about a standard like “Autumn Leaves.” The melody sits on the upper strings while a bass line runs below. If every note sustains equally, the arrangement sounds muddy. Instead, you want the bass notes to ring while the melody notes are slightly clipped, or vice versa. That contrast comes entirely from how your fretting fingers press, release, and mute. Building this independence takes deliberate practice, but the payoff is enormous. [Developing fretting hand independence](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/) is the first technique Sean addresses, because without it, the later techniques have nowhere to land. Start there and your whole arrangement will immediately gain clarity. ## Thumb Muting: Your First Line of Clean Tone Defense The picking hand thumb is the workhorse of fingerstyle jazz. It drives the bass notes, shapes the rhythm, and, critically, mutes the strings you are not playing. Thumb muting is an essential technique that often gets overlooked because it is invisible. Nobody sees it happening. But every clean, controlled fingerstyle recording you admire is built on it. Here is what happens without it. You pluck a bass note on the sixth string. You then move to a chord voicing. Meanwhile, that sixth string keeps ringing and adding low-end rumble to everything. In a band context, a sound engineer handles some of that. In solo guitar, you handle all of it. The right-hand thumb rests lightly against strings after it plucks them, and it damps lower strings before the hand moves on. This takes coordination to build. However, once it becomes a reflex, you will notice your whole tone tightening up. The notes you want to hear ring out clearly. The notes you do not want disappear. [Thumb muting technique for fingerstyle guitar](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/) covers the mechanics in full detail. Think of it as the cleaning crew that runs behind all your other techniques. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) ## Shadowing with the Thumb: Dropping Bass Notes into the Melody Once your thumb can mute reliably, you can start using it as a melodic voice. Shadowing is the practice of keeping your picking hand moving as a unit so the thumb is always in position to drop a bass note exactly when you need it. The thumb does not wait for a cue, it travels with the hand, hovering close to the strings, ready to plant a note beneath whatever the melody is doing. This is the technique that makes a fingerstyle arrangement feel like two players instead of one. The listener hears the melody and then hears a bass line responding to it, even though both are coming from the same two-hand gesture. So the physical image is a pendulum. The hand swings, the thumb drops in, and the fingers handle the melody simultaneously. Shadowing requires you to think about the bass voice and the melody voice at the same time. That is genuinely hard at first. In fact, many players try to separate them mentally, which slows everything down. The solution is to practice the thumb movement in isolation until it becomes automatic. [Adding bass notes by shadowing with the thumb](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/) walks through that process step by step. Master this, and your arrangements start sounding like a duo. ## The Claw Shape: Chordal Stabs and Syncopated Rhythm The claw shape is where fingerstyle jazz starts to sound rhythmically alive. You form a claw by combining the thumb with the index and middle fingers in a loose, curved grip. So together, they can pluck multiple strings in a single downward motion. Therefore giving you chordal stabs: short, punchy chord hits that land on the offbeats between bass notes. Think of Wes Montgomery’s thumb rhythms, or the way a stride pianist drops a chord on beat two and four. The claw shape is the fingerstyle equivalent. You can deliver a bass note with the thumb on beat one and then drop a chord stab with the claw on the and of two. The result is a groove that feels almost percussive. Moreover, it does not require a pick or a strumming motion. Everything comes from that single, compact claw gesture. Because the claw involves three fingers acting together, it builds on everything you have already developed: fretting hand independence to manage the chord shapes, thumb muting to keep unused strings quiet. Shadowing to keep the thumb in position. [Building chordal stabs with the claw technique](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/) covers the hand position, the timing, and how to lock it in with a walking bass line. This is the technique that makes people think you have a rhythm guitarist hiding somewhere. [Get personalized video feedback on your playing from Sean McGowan with Video Exchange®*Start →*](https://artistworks.com/sean-mcgowan) ## Single Note Lines: Pulling Every Essential Technique Together Single note lines might sound like a step back toward simplicity. In fact, they are where everything comes together. Playing a single note melody in fingerstyle jazz means managing all five technique layers simultaneously. Your fretting hand is shaping articulation. Your thumb is muting and dropping bass notes. The claw is available for rhythmic punctuation. And now the melody line has to flow clearly across the top of all of that. Speed matters here, but accuracy matters more. A line played at 60 BPM with clean tone and intentional phrasing sounds better than the same line stumbled through at 120 BPM. Sean McGowan’s approach is to isolate the physical motion of each picking finger, build its independence from the others, and then layer the fingers back together over a bass movement. That sequence builds accuracy before speed, which is the sustainable way to develop real fluency. Phrasing is the final piece. A jazz single note line should breathe. Therefore, practice leaving space, letting a note sustain before moving on. Resisting the urge to fill every beat. [Building speed and accuracy in fingerstyle single note lines](https://blog.artistworks.com/single-note-line-fingerstyle-jazz/) gives you the specific exercises to get there. Once you can run a line cleanly over your own bass and rhythm, the essential technique framework is fully in place. ## Continue Learning Each technique in this guide has its own deep dive. Work through them in this order for the most logical progression: 1. [How staccato and sustained notes build expressive fretting hand control](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/) 2. [Thumb muting mechanics for a cleaner fingerstyle sound](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/) 3. [Using thumb shadowing to add bass notes under a melody](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/) 4. [The claw grip for chordal stabs and syncopated rhythm](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/) 5. [Speed and accuracy work for fingerstyle single note lines](https://blog.artistworks.com/single-note-line-fingerstyle-jazz/) ## Final Thought Fingerstyle jazz guitar is one of the most rewarding things you can learn on the instrument. It takes patience, and the first few weeks of building these habits can feel awkward. However, the moment you hear your own playing start to suggest a bass line and a melody at the same time, something clicks. Suddenly the guitar feels bigger. Sean McGowan has spent years breaking this approach into learnable steps for players at every level. So pick one essential technique from this guide, start slow, and begin there. You will be surprised how quickly the rest of the picture comes into focus. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, claw shape fingerstyle, essential technique, fingerstyle jazz, fingerstyle jazz guitar, fretting hand independence, guitar lessons, Jazz Guitar, jazz guitar lessons, Sean McGowan, thumb muting --- ### [Fretting Hand Dexterity: How to Blend Staccato and Legato Notes](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** our fretting hand does more than press down strings. In fingerstyle jazz, it also shapes the rhythm, controls the decay, and separates melody from accompaniment. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 5 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- Your fretting hand does more than press down strings. In fingerstyle jazz, it also shapes the rhythm, controls the decay, and separates melody from accompaniment. That layered sound, where a vocal-like melody floats above a thumping bass, depends on one skill: mixing staccato “stab” notes with long, ringing tones. If you’ve read the [overview of essential fingerstyle jazz techniques](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/), you already know this style demands a lot from both hands. This article focuses on the left hand specifically. You’ll learn how to think about muting, how to trade finger combinations systematically. Why the staccato feel is the key to making a single guitar sound like a full band. **Plain-English takeaway —** Your fretting hand controls more than pitch, it mutes, releases, and sustains individual notes to create a layered, band-like sound in a single guitar arrangement.## What Your Fretting Hand Is Actually Doing Most players think about the fretting hand in terms of chord shapes and that’s a fine start. But in fingerstyle jazz, each finger works independently. One might hold a long bass note. Another lifts off immediately after contact. The result is a texture with moving parts, not just a strummed voicing. Think of it like a small ensemble. The bass player holds the root. The rhythm guitarist stabs a chord. The vocalist sustains a phrase above both. Your fretting hand has to play all three roles at once. The first step is noticing which notes you want to ring and which you want to cut short. That awareness is the foundation of everything else here. [160+ Sean McGowan Fingerstyle Jazz Guitar Lessons at ArtistWorks – Try a Free 7 Day Trial*Start →*](https://artistworks.com/sean-mcgowan) ## The Staccato Touch: Contact and Release Staccato notes in fingerstyle guitar are about one thing: how quickly you lift off the string. For example, think of it like touching a hot stove. You make contact, then immediately get off. The note sounds, but it doesn’t linger. On the guitar, this means pressing the string firmly enough to sound the note, then releasing pressure right away. You don’t lift the finger entirely off the neck. Instead, you relax the pressure. The string stops vibrating. The note dies. This is different from letting a note sustain naturally. Most players default to sustain. Therefore, practicing deliberate staccato releases feels unnatural at first. Stick with it. Soon, you’ll be able to cut a note short on purpose, exactly when you want. ## Sustain and Melody: Letting the Higher Note Ring Sustaining a note is the opposite challenge. Here, you have to hold firm while other fingers around it are moving. This is where real independence begins. In a fingerstyle arrangement, the highest note often carries the melody. Because of that, it needs to ring clearly and for a longer time. Think of it as a vocalist holding a phrase while the band keeps moving underneath. To practice this, try holding one note with your first finger while lifting and re-placing your second finger on a lower string. The held note should ring through the entire movement. If it dies early, your fretting hand tension is breaking down. Focus on isolating the pressure in each finger individually. For more on how the thumb supports the bass underneath these melody lines, check out [how to add bass notes to your fingerstyle lines](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/). ## Working Through a Drop 2 Voicing A C7 drop 2 chord is a great place to start this work. It puts four notes across four strings, in a range where the independence challenge is very clear. Each finger has a specific job. First, get the voicing under your fingers without thinking about rhythm. Just hold it cleanly. Then, choose one note to sustain and one to treat as a stab. Your first and second fingers are the starting pair. Let the second finger ring. Lift the first finger quickly after it sounds. Notice the difference in texture. Next, switch the pair. Use your first and third fingers instead. The third finger sustains, and the first lifts off. So this small change shifts the texture completely. It’s a new conversation between the same four notes. Trading these combinations is called the permutation method. You’re not learning new notes. You’re learning new ways to shape the same material. This builds dexterity far faster than running scales. [Get personalized video feedback on your playing from Sean McGowan with Video Exchange at ArtistWorks*Start →*](https://artistworks.com/sean-mcgowan) ## Fretting Hand Muting: The Overlooked Skill Here’s something most players miss; Your fretting hand doesn’t just fret, it also mutes. When you lift pressure off a string, you can lightly rest the finger on it to kill any residual vibration. Therefore, the result is a cleaner, more intentional sound. This is especially important on inside strings. In a four-note voicing, the two middle strings are easy to accidentally let ring. So a light touch from a nearby finger stops that. Practice lifting one finger and immediately resting it on an adjacent string. It should stop the vibration without pressing hard enough to sound a new note. At first, you’ll either press too hard or not enough. That’s fine. The control comes with repetition. For a deeper look at using the picking hand to clean up the sound, the article on [thumb muting for a cleaner fingerstyle sound](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/) covers that side of the equation. ## Building the Fretting Hand Pattern Before Playing in Time Don’t add rhythm too early. Instead, work through every finger combination slowly, without a click. Sound each note. Listen to how it decays. Then release it deliberately and notice the difference. First, try the 1-2 combination. Then move to 1-3. After that, work through 2-3 and 2-4. Each pairing trains a different set of muscles. You’ll notice some combinations feel awkward. Those are exactly the ones to spend more time on. Once all the combinations feel accessible, play the pattern in time at a slow tempo. Use a metronome. This is where the technique becomes music. The independence you trained slowly now shows up as a rhythmic texture, melody floating above a pulse. For players who want to extend this into chordal stabs and syncopated rhythms, [the claw technique article](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/) picks up from here. ## Putting It Together in a Real Arrangement The goal of all this practice is a sound that feels alive. A single note hangs in the air like a voice. Below it, a bass note anchors the harmony. In between, a short stab marks the rhythm. Your guitar sounds like three players, because your fretting hand is doing three different jobs. This is exactly the kind of technique the [full fingerstyle jazz techniques guide](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) points toward. It’s also a skill that sharpens your ears. Once you can control sustain and staccato independently, you start hearing those layers in every recording. That’s when the style really opens up. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, fingerstyle, fingerstyle jazz, fingerstyle jazz guitar, fingerstyle jazz technique, fretting, fretting hand, fretting hand independence, Jazz Guitar, jazz guitar lessons, left-hand technique, staccato guitar notes, sustain and muting control --- ### [Thumb Muting: How to Clean Up Fingerstyle Guitar Sound](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** Thumb muting is one of those techniques that separates a clean fingerstyle performance from a muddy one. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 5 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- Thumb muting is one of those techniques that separates a clean fingerstyle performance from a muddy one. You can have great left-hand voicings and solid time. If unwanted strings are ringing freely underneath your melody, the whole thing sounds like noise. Most players focus almost entirely on what their fretting hand is doing. Meanwhile, the picking hand thumb is sitting there doing only half its job. This article fixes that. We’ll break down exactly how the thumb mutes unwanted strings, how to build the right picking hand posture to make it automatic. How to practice it so it sticks. If you want the bigger picture of where this fits, [check out the full fingerstyle jazz technique roadmap](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) first. **Plain-English takeaway —** Your picking hand thumb does two jobs at once, it plays bass notes and mutes strings that should stay silent, and mastering that double duty is the fastest path to a cleaner fingerstyle sound.## Why Unwanted String Noise Kills a Fingerstyle Sound First, let’s name the actual problem. In fingerstyle playing, your fingers are assigned to specific strings. Your thumb typically covers the low strings. Your index, middle, and ring fingers cover the upper strings. Because multiple strings are in play at any given moment, any string you are not intentionally playing has the potential to ring sympathetically. Sympathetic resonance sounds subtle in isolation. However, across a full chord progression, those ghost tones stack up fast. The result is a smeared, indistinct sound that no amount of tone knob adjustment will fix. Thumb muting addresses this directly. Because your thumb naturally rests near or on the bass strings between notes, it is already positioned to damp the strings it just played. The key is making that damping intentional rather than accidental. [160+ Sean McGowan Fingerstyle Jazz Guitar Lessons at ArtistWorks – Try a Free 7 Day Trial*Start →*](https://artistworks.com/sean-mcgowan) ## Picking Hand Posture Sets the Foundation for Thumb Muting Before you can mute anything cleanly, your picking hand needs a stable, consistent position. This is genuinely non-negotiable. Without a reliable home base, your thumb wanders, and muting becomes inconsistent. Start by letting your hand float over the strings. Your wrist should have a slight arch, so your fingers can drop naturally onto their assigned strings. Your thumb should extend slightly forward, past your index finger. That forward angle gives it the range to both pluck and follow through onto the next lower string. Plant your ring finger or pinky lightly on the guitar body if that helps you stay anchored. Some players prefer to keep all fingers floating. Either way, the goal is a repeatable hand position you can return to without thinking. Once your hand is settled, practice just plucking the low E string with your thumb. Then let the thumb rest on the A string immediately after the pluck. Feel the string stop vibrating under your thumb. That follow-through contact is the core motion of thumb muting. ## The Double Duty Motion: Playing and Damping in One Gesture Here is the mechanical detail that most players miss. Thumb muting is not a separate action you add after playing a note. Instead, it is baked into the follow-through of each thumb stroke. When your thumb plucks downward through a bass string, it naturally lands on the next string below. For example, after plucking the A string, your thumb rests on the low E. That resting contact mutes the low E string. Consequently, the low E does not ring into your next note. This matters most in jazz contexts, where you are often moving through bass notes on multiple strings in quick succession. Each new bass note needs to speak cleanly. Therefore, the previous one must be silenced before the new one sounds. Practice this motion slowly. Pluck the A string, rest on the low E. Then pluck the D string, rest on the A. Work through each adjacent pair until the follow-through feels natural. The motion is small, but its effect on clarity is enormous. ## Coordinating Both Hands for Full String Control Thumb muting from the picking hand handles the bass strings. However, the upper strings are a separate challenge. For those, the fretting hand does most of the work through careful finger placement and controlled releases. If you want to dig into how the fretting hand manages staccato versus sustained notes, [the fretting hand independence breakdown](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/) covers exactly that. The two techniques are closely related. In fact, clean fingerstyle playing is really a conversation between both hands, each one managing its own zone. For now, focus on isolating the picking hand thumb. One common exercise is to fret a simple chord, say a Dm7, and then walk bass notes on the low strings while keeping the upper strings silent. Use only your thumb. Let it damp each bass string as it moves to the next. Your upper fingers stay still. Notice which bass strings ring after you play them. Those are your muting gaps. Similarly, try playing a slow jazz standard like “Autumn Leaves” at half tempo, using only bass notes. Force every note to be short and deliberate. That constraint trains the thumb to mute reflexively. [Get personal video feedback from Sean McGowan with Video Exchange at ArtistWorks*Start →*](https://artistworks.com/sean-mcgowan) ## Thumb Muting: Common Mistakes and How to Fix Them The most frequent mistake is lifting the thumb too high after each pluck. When the thumb lifts away from the string surface, nothing is there to damp. As a result, the previous bass note bleeds into the next one. The fix is to reduce your range of motion. Think of the thumb stroke as a small, controlled push rather than a big downward strum. The tip of the thumb should stay close to the string surface throughout the motion. A second common mistake is anchoring the thumb on the same string for too long. For instance, resting on the A string is correct after playing the low E. However, if you stay there while you play the D string, you mute the A string too early. Instead, think about the thumb as a moving anchor, always resting on the string directly below the one it just played. Finally, some players tense up when they focus on muting. Tension kills the fluid motion you need. Keep your forearm relaxed. The damping contact should feel light, not pressed. ## Applying Thumb Muting Inside Real Jazz Phrases Once the mechanics feel solid in isolation, it is time to apply thumb muting inside actual musical phrases. Start with a simple chord melody idea. Play a melody note on the top strings, then add a bass note below it. Let your thumb mute the previous bass note as it moves. If you want to eventually layer in bass note patterns that shadow the melody, [the guide on adding bass notes to fingerstyle lines](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/) is the natural next step. That concept builds directly on the clean thumb control you are building here. For now, keep phrases short. Pick eight bars of a tune you know. Play them slowly. Listen for any bass note that rings longer than you intended. That is your muting cue. As you return to the [full fingerstyle jazz technique overview](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/), you will see how thumb muting connects to every other technique in the system. Clean bass notes give your upper fingers room to breathe. That clarity is what makes fingerstyle jazz sound intentional rather than cluttered. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, bass string control, fingerstyle, fingerstyle guitar, fingerstyle guitar technique, fingerstyle jazz guitar, guitar lessons, jazz comping, Jazz Guitar, jazz guitar lessons, picking hand posture, playing rhythm, right-hand technique, Sean McGowan, thumb muting --- ### [Shadowing with the Thumb: How to Add Bass Notes to Fingerstyle](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** Shadowing with the thumb is the technique that separates a good fingerstyle jazz player from a great one. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 5 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- Shadowing with the thumb is the technique that separates a good fingerstyle jazz player from a great one. Most guitarists learn to plant the thumb on the low strings and hold it there. That works fine for simple patterns. But real jazz lines move across the neck constantly, and your thumb needs to move with them. This article unpacks the concept of thumb shadowing: how the thumb follows the fingers as one unit, staying in position relative to your whole hand as it shifts. Master this, and you can drop clean bass notes and chord tones under a single-note melody line without breaking your flow. If you are newer to the overall approach, start with [the full map of fingerstyle jazz techniques](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) before diving in here. **Plain-English takeaway —** Thumb shadowing means your picking hand moves as one unit, so your thumb always stays in position to drop bass notes under a melody, no matter where your fingers travel on the fretboard.## What Shadowing with the Thumb Actually Means The word “shadowing” describes the relationship between your thumb and your fingers. Think of your picking hand as a single object. Your fingers handle the melody strings. Your thumb handles the bass strings. The key is that both move together, always. When your fingers shift toward the treble strings, your whole hand moves downward. As a result, your thumb follows. It does not stay anchored while the fingers stretch away. Instead, it maintains the same relative position it always held in the hand shape. For example, when your index finger is on the G string and your thumb is on the E string, that gap is your default spacing. Now slide the entire hand so your index finger reaches the B string. Your thumb should land on the A string. The gap stayed constant. That is shadowing with the thumb in its simplest form. [160+ Sean McGowan Fingerstyle Jazz Guitar Lessons at ArtistWorks – Try a Free 7 Day Trial*Start →*](https://artistworks.com/sean-mcgowan) ## Why a Fixed Thumb Fails on Moving Lines A lot of players learn [thumb muting for a cleaner fingerstyle sound](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/) early on. They get comfortable resting the thumb on the low E or A string. Then they try to play a jazz melody that moves across several strings, and suddenly the thumb is stranded. The melody jumps to the high strings. The fingers stretch away. The thumb, however, stays put. As a result, any bass note the thumb plays sounds disconnected. The dynamic balance between melody and bass collapses. This is the core problem. A stationary thumb works for a guitar part that lives in one register. Jazz lines, though, rarely do that. They climb and drop. They cross string sets. Therefore, the thumb must travel too. ## Building the Hand as One Unit Start slow. Choose a simple two-octave scale on the top four strings. Play it with just your index and middle fingers. Do not involve the thumb yet. Focus on keeping your wrist and palm relaxed as you move across the strings. Next, add the thumb on the A string. Play the scale again. This time, move the entire hand together. Do not let the thumb lag behind. Watch your right hand from above. The thumb should track with every shift the fingers make. Then, try a small variation. As your fingers reach the B and high E strings, slide the hand so the thumb naturally hovers over the D or A string. You will feel a slight rotation in the wrist. That rotation is normal. In fact, it is what allows the thumb to cover the right bass string for each position. ## Combining Bass Notes with a Melody Line Once shadowing with the thumb feels steady, you can start inserting actual bass notes. Choose a short jazz melody, four or eight bars. Play just the melody first, fingers only. Get it clean and musical. Next, identify one or two spots where a bass note would land naturally, typically on beat one or beat three. For each spot, pause the melody and practice dropping the thumb onto the correct bass string, then continuing. Do this slowly and without rushing. After that, connect both actions. The melody continues in the fingers. The thumb drops on its target string, then lifts and follows the hand as the melody moves on. You are not stopping the line. Instead, you are threading the bass note into it. [Get personalized video feedback on your playing from Sean McGowan with Video Exchange at ArtistWorks*Start →*](https://artistworks.com/sean-mcgowan) This is also where [fretting hand independence for mixing staccato and sustained notes](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/) becomes valuable. Your left hand needs to articulate cleanly so the bass note does not blur into the melody. Both hands work together to keep each voice distinct. ## Shadowing with the Thumb Across a Full Chord Progression Scales and short melodies are good starting points. However, the real test is a chord progression with a moving melody on top. In jazz, you often need to voice a chord tone in the bass while running a melody on the upper strings simultaneously. Because your thumb shadows the fingers, you can voice a root or fifth on the E or A string on a chord’s downbeat, then lift and follow the fingers as the melody line continues. The bass note has already rung. The thumb is now free to travel. This approach also pairs naturally with the ideas in [the claw technique for chordal stabs and syncopation](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/). Together, these techniques let you build a layered, orchestrated sound from a single guitar. Eventually, [building speed with single-note lines](https://blog.artistworks.com/single-note-line-fingerstyle-jazz/) becomes the next goal, once the coordination is locked in. ## How to Practice Shadowing with the Thumb Intentionally Slow practice is the only path here. Set a metronome to a tempo where you can think between each note. First, play the bass note. Then, play the melody note. Finally, connect them so they overlap naturally. Record yourself every few sessions. On playback, listen specifically for whether the bass notes sit cleanly under the melody or seem to smear. Your ear will catch problems your hands cannot feel yet. Also, use a mirror or camera to watch the thumb. It should move smoothly and early. If it lurches or arrives late, slow down further. The hand should look calm even when the music moves. ## Putting It All Together in Real Jazz Contexts Shadowing with the thumb is the step that makes fingerstyle jazz feel orchestral rather than mechanical. Once you can keep the thumb in position throughout a moving line, you have genuine independence between bass and melody voices. That is the sound. Return to [the full guide to fingerstyle jazz techniques](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) to see where this fits among the other core skills. Every piece builds on the others, and thumb shadowing is one of the most rewarding to finally feel click into place. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, bass notes under melody, clean playing, comping, fingerstyle, fingerstyle jazz guitar, fingerstyle jazz technique, fingerstyle lessons, jazz comping, Jazz Guitar, jazz guitar lessons, picking hand coordination, right-hand technique, shadowing with the thumb, thumb independence guitar --- ### [How to Add Chordal Stabs with the Claw Technique](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** The claw technique might be the most satisfying thing you can add to your fingerstyle jazz playing right now. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 5 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- The claw technique might be the most satisfying thing you can add to your fingerstyle jazz playing right now. Sean McGowan uses the term to describe a right-hand shape where the thumb, index, and middle fingers pinch together like a crab claw to pluck three strings at once. That single motion gives you a chordal stab on top of a bass line. When you combine it with syncopation, your playing suddenly sounds like a full arrangement. This article breaks the technique down piece by piece, from how to form the shape to how to drill it with a Charleston rhythm. Finally how to vary the feel. If you are building a complete fingerstyle toolkit, the [five essential techniques every player should know](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) give you the full map before you zoom in here. **Plain-English takeaway —** The claw technique uses a three-finger pinch shape to fire chordal stabs over a bass line, and drilling it against a Charleston rhythm gives you syncopation built right into the exercise.## What the Claw Technique Actually Does Most fingerstyle players think of thumb, index, and middle as separate voices. The claw technique collapses them into a single gesture. Instead of walking each finger independently, you squeeze all three together so they land at exactly the same moment. The result is a percussive, punchy chord hit. Because the thumb covers a low string and the index and middle cover two inner strings, you get a three-note voicing in one motion. However, that voicing can sit on top of a melody note, punctuate a bass line, or replace a strummed chord entirely. In short, the claw is less a technique and more a way of thinking about your right hand as a unit. Therefore once that idea clicks, the shapes become intuitive fast. ## Forming the Right-Hand Shape Start with a relaxed, curved hand position. Let your fingers hang naturally over the strings. Then bring your thumb, index, and middle fingers toward each other until they form a loose pinch, like you are picking up a small coin. Your thumb covers the bass string for your chord. Your index finger rests on the G string. Your middle finger rests on the B string. Together, those three fingers span a root-plus-two-voices voicing on any chord you choose. The key is that all three fingers release at the same instant. Practice the release motion slowly without any chord underneath. Feel how the three strings respond together. Because the motion is simultaneous, you get a clean, unified attack rather than a rolled chord. ## Building the Claw on a Single Chord Choose a chord you know well, for example, a Cmaj7 in open position. Fret it and let the shape sit. Now place your right-hand thumb on the low E or A string, whichever is your root, and place index and middle on their target strings. First, vamp on just the root with your thumb. Do this for a full measure to settle the pulse. Then add the claw on top. Strike the root with your thumb and immediately snap the index and middle together. That simultaneous pop is your chordal stab. Keep the vamp simple at first. Alternate between a bare thumb note and the full claw hit. Even that two-element pattern sounds musical immediately because you are implying both bass line and harmony at once. ## Using a Charleston Rhythm to Lock In Syncopation The Charleston rhythm is where the claw technique becomes genuinely exciting. The Charleston falls on beat 1 and the “and” of beat 2. That combination creates an instantly recognizable syncopated feel found throughout jazz, swing, and bossa nova. Here is how to apply it. Play your thumb root on beat 1, then fire the full claw on the “and” of beat 2. Let beat 2 itself remain silent. That gap is what creates the syncopation. The listener expects something on beat 2, and instead they get the hit a half-beat later. Practice this with a metronome set to a relaxed tempo, around 60 to 70 BPM. Count out loud: “1 and 2 and 3 and 4.” Thumb on 1, claw on the “and” of 2, then rest through 3 and 4 before repeating. Once that pattern feels natural, you have the core Charleston claw drill in your hands. ## Short and Long Permutations for Rhythmic Flexibility Once the basic Charleston claw is solid, you can expand your rhythmic vocabulary through four permutations. Each one varies how long you hold the thumb note and the claw note. Think of each hit as either short (muted or dampened quickly) or long (allowed to ring). That gives you four combinations: long-long, short-long, long-short, and short-short. Long-long feels open and resonant. Short-short is clipped and percussive, almost like a muted chord stab. Short-long gives you a quick bass note followed by a ringing chord hit. Long-short does the opposite. These variations matter because real jazz rhythm is never just one flavor. Therefore, working through all four builds the control you need to match a feel to a musical moment. Also be sure to learn a complementary approach to shaping bass notes with the thumb, [check out the shadowing technique covered here](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/). [Get personalized video feedback on your playing from Sean McGowan with Video Exchange at ArtistWorks*Start →*](https://artistworks.com/sean-mcgowan) ## Common Mistakes and How to Fix Them The most common mistake is rolling the fingers instead of releasing simultaneously. If your thumb fires a split-second before the index and middle, the stab sounds sloppy. Slow the tempo down until you can hear all three strings respond at once. The second mistake is gripping too hard. For example; tense claw produces a brittle, thin sound. Instead, keep the hand loose right up until the moment of release. So the finger motion is a quick snap from the knuckle, not a squeeze from the palm. Third, many players skip the muted short version entirely. However, the short note is what gives the claw its percussive edge in a jazz context. Practice the short version separately before combining the four permutations. ## Applying the Claw to Real Chord Progressions The claw technique earns its place when you move it through an actual chord progression. Choose a simple ii-V-I, for example, Dm7 to G7 to Cmaj7. You can apply the Charleston claw pattern across all three chords, keeping your thumb on the root of each. Notice how the chordal stab clarifies the harmony without needing a strummed chord. The listener hears the root in the bass and the voicing in the stab. Together they define the chord fully. That efficiency is exactly why the claw technique appears so often in solo jazz guitar arrangements. As you get comfortable, try layering a melody note underneath the pattern, which is where [fretting hand independence becomes essential](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/). For building speed once the claw feels natural, [single-note line practice](https://blog.artistworks.com/single-note-line-fingerstyle-jazz/) is your next step. Meanwhile, the [complete fingerstyle jazz technique overview](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/) ties all of these skills together into a coherent practice plan you can return to again and again. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** Charleston rhythm guitar, chordal stabs guitar, claw technique, finger picking, fingerstyle guitar, fingerstyle jazz guitar, fingerstyle lessons, guitar lessons, jazz comping, Jazz Guitar, jazz guitar rhythm, right-hand guitar technique, Sean McGowan --- ### [How to Nail Fingerstyle Single Note Line Speed and Accuracy](https://blog.artistworks.com/single-note-line-fingerstyle-jazz/) **Published:** August 11, 2026 **Author:** ArtistWorks **Excerpt:** A clean single note line is the moment fingerstyle jazz stops sounding like guitar playing and starts sounding like music. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Aug 10, 2026 · Updated Aug 10, 2026 · 4 min read SMFeatured in this articleFeaturing Sean McGowan · ArtistWorks educator --- A clean single note line is the moment fingerstyle jazz stops sounding like guitar playing and starts sounding like music. If you have been working through this technique series, you already know about thumb muting, thumb shadowing, and the claw. Now it is time to bring all of those skills into one place and use them to play melodic lines that are fluid, even. Fast enough to actually feel good. This article is about the method that ties everything together, and it connects directly to the full picture laid out in our [guide to essential fingerstyle jazz techniques](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/). The payoff is real. When your right-hand fingers are working as a coordinated unit, speed and accuracy follow naturally. **Plain-English takeaway —** Speed and accuracy in a single note line come from systematically practicing all four right-hand fingers together, not from rushing tempo or isolating technique in a vacuum.## What “Evenness” Really Means in a Single Note Line Most players think speed is the goal. In reality, evenness is the goal. Speed follows. An uneven single note line is one where some notes pop and others disappear. Usually, this happens because one or two fingers are doing most of the work while the others tag along weakly. For example, the index finger tends to overpower the ring finger on most players’ hands. That imbalance shows up fast when you try to play quickly. So the first step is honest listening. Play a simple four-note repeating pattern, one note per finger (p, i, m, a), and record yourself. Then listen back. Notice which notes drop in volume or tone. Those are the fingers that need more intentional practice. [160+ Sean McGowan Fingerstyle Jazz Guitar Lessons at ArtistWorks – Try a Free 7 Day Trial*Start →*](https://artistworks.com/sean-mcgowan) ## Building Finger Combinations Systematically The most effective method is to practice every possible two-finger and three-finger combination before putting all four together. Start with i-m, then m-a, then p-i, then p-m. Next, try i-m-a as a triplet grouping. Finally, add p back in for the full four-finger sequence. This systematic approach matters because each combination asks your hand to shift weight differently. For instance, the m-a pairing is almost always weaker than i-m. However, spending even ten minutes daily on that weaker pairing creates noticeable change within a week. Work these combinations on a single string first. Then, move across strings. Crossing strings is where most players lose evenness because the right hand has to adjust angle slightly with every string change. Practice the adjustment slowly, then build tempo from there. ## How Noise Control and Sound Activation Work Together Here is the part that most technique guides skip. Speed only sounds clean when two things are happening at once. First, each finger must activate the string fully, meaning it follows through the stroke with intent. Second, unwanted string noise must be muted before it accumulates. If you have been practicing [thumb muting for cleaner fingerstyle tone](https://blog.artistworks.com/thumb-muting-cleaner-fingerstyle-sound/), you already understand one half of this equation. The thumb mutes strings behind the melody. Meanwhile, your fretting hand can help by damping notes that should not ring. These two systems, right-hand muting and left-hand control, work together as you build speed. When tempo increases, players often loosen their muting discipline first. As a result, the sound gets muddy. The fix is not to slow down permanently. Instead, identify exactly where the noise enters and address that moment directly. Isolate two bars, loop them, and focus on keeping noise control active even as the tempo climbs. ## Connecting the Claw and Thumb Shadow to Melodic Lines A pure single note line uses all four fingers moving forward through the strings. But in real fingerstyle jazz playing, you rarely play a pure single-note line for more than a few bars. You mix in bass notes and occasional chordal stabs. If you have worked through [adding bass notes with thumb shadowing](https://blog.artistworks.com/shadowing-with-the-thumb-fingerstyle-bass-notes/) and [the claw technique for chordal syncopation](https://blog.artistworks.com/claw-technique-chordal-stabs-fingerstyle-jazz/), you know how each of these elements functions alone. Now the task is weaving them into your melodic line without losing the forward momentum. The practical approach is to map out exactly where the bass notes and chordal stabs fall in a phrase. Then practice the single note line around those moments. Think of it as building the melody first, then inserting the bass and stabs like puzzle pieces. This keeps the single note line intact as the melodic spine of the phrase. [Get personalized video feedback on your playing from Sean McGowan with Video Exchange at ArtistWorks*Start →*](https://artistworks.com/sean-mcgowan) ## Using Left-Hand Independence to Protect Your Melodic Flow Speed in the right hand means nothing if the left hand is causing interruptions. If you have been exploring [fretting hand independence for mixing staccato and sustained notes](https://blog.artistworks.com/fretting-hand-independence-staccato-sustained/), you already have a head start here. The key connection is this: when you play a single note line at speed, the left hand has to move cleanly to the next position without squeezing too early or releasing too late. Either mistake creates a hiccup in the line. Practice moving between two chord positions while keeping a simple melody note ringing through the transition. That exercise isolates exactly the coordination you need. ## Apply the Skills to a Song You Already Know Here is where the practice becomes real. Take a song or arrangement you already play and identify one phrase where the melody could be cleaner, faster, or more even. Apply the combination exercises from this article to just those four or eight bars. You will hear the improvement immediately. The single note line will sit forward in the sound, each note will speak clearly. The overall feel will gain confidence. That is the feedback loop that makes practice feel worth the time. For continued guidance and a full learning path built around these ideas, Sean McGowan’s lessons and arrangements at ArtistWorks offer exactly the kind of structured, mentor-supported environment where these skills can keep growing. His approach connects directly to everything covered in the [complete fingerstyle jazz technique framework](https://blog.artistworks.com/essential-technique-fingerstyle-jazz-guitar/), and his repertoire-based teaching means you are always applying technique to real music. [Learn Fingerstyle Jazz Guitar with Sean McGowan at ArtistWorks!*Start →*](https://artistworks.com/sean-mcgowan) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SMSean McGowan Professor of Music at the University of Colorado Denver, international artist Sean McGowan is an award-winning recording artist and international festival performer. He serves as Professor of Music at the University of Colorado Denver and is the author of five guitar method books, including The Holistic Guitarist, creator of 14 TrueFire courses, and a contributing writer for Acoustic Guitar magazine. At ArtistWorks [View Sean’s School and full bio on ArtistWorks](https://artistworks.com/sean-mcgowan) Connect with Sean [seanmcgowanguitar.com/](https://seanmcgowanguitar.com/)[Instagram](https://www.instagram.com/seanmcgowanguitar/)[Facebook](https://www.facebook.com/sean.mcgowan.355/)[YouTube](https://www.youtube.com/channel/UCQROKrbF7E_PBhUhE6enNtQ) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** evenness in fingerpicking, fingerstyle, fingerstyle jazz technique, fingerstyle lesson, fingerstyle speed and accuracy, jazz soloing, right-hand finger independence, single note line --- ### [Mandolin: A Beginner's Guide to the Instrument and Its Styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** If you've ever searched "mandolin a beginner's guide," you already know the feeling. You heard something bright, percussive, and a little bit mysterious. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 24, 2026 · Updated Jul 24, 2026 · 8 min read MMFeatured in this articleFeaturing Mike Marshall · ArtistWorks educator --- If you’ve ever searched “mandolin a beginner’s guide,” you already know the feeling. You heard something bright, percussive, and a little bit mysterious. Maybe it was a driving chop in a bluegrass band. Maybe it was a swooping melody drifting out of a Brazilian café. Either way, you couldn’t place the instrument, and now you need answers. This article gives you those answers. We’ll cover what the mandolin actually is, where it comes from, and why it shows up in so many different kinds of music. Think of this as your starting map. Each section below points you deeper into a specific style, so you can follow whatever direction excites you most. By the end, you’ll understand the mandolin well enough to start making real decisions about your playing. **Plain-English takeaway —** The mandolin is a fretted, eight-string instrument born in Italy and now at home in bluegrass, Brazilian choro, classical concert halls, and jazz, making it one of the most musically versatile instruments you can pick up.## Mandolin, A Beginner’s Guide to What This Instrument Actually Is The mandolin is a fretted instrument with eight strings, arranged in four pairs called courses. Each course is tuned in unison, so you get a naturally rich, shimmering tone from a single picked note. The tuning follows the same intervals as a violin: G, D, A, E, from lowest to highest. Because of this, any violinist already knows the notes on the neck without learning anything new. The body is usually teardrop-shaped or oval, and the top is often carved, not flat. That carved top produces a focused, cutting sound that projects easily in acoustic settings. You play it with a pick, using a rapid back-and-forth motion called tremolo to sustain notes that would otherwise decay too quickly. Most beginners are surprised by how physically small the mandolin is. The short scale length means your fretting hand doesn’t have to stretch very far. That makes it genuinely approachable, even if you’ve never played a stringed instrument before. [Learn how to play mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Beginner’s Guide to Where the Mandolin Came From: Italy to the World The mandolin was born in Italy during the 17th and 18th centuries. It descended from the mandore, a smaller member of the lute family. Neapolitan builders refined the design, and the instrument spread quickly across Europe. Composers like Vivaldi and Handel wrote serious concert works for it. By the 1700s, the mandolin was a respected solo instrument in European courts. Then something interesting happened. Immigrants carried the mandolin to the Americas. In the United States, it found its way into string band music, then eventually into bluegrass. In Brazil, it became the bandolim and took root in choro music. In each new place, musicians adapted the instrument to local rhythms and sensibilities. As a result, the mandolin you hear today sounds completely different depending on who’s playing it and where. That range is exactly what makes studying this instrument so rewarding. For anyone exploring mandolin, a beginner’s guide approach means understanding that no single genre owns the instrument. ## The Mandolin in Bluegrass: The Chop and the Lead Line Bluegrass gave the mandolin its most iconic role in American music. Bill Monroe, often called the father of bluegrass, built an entire genre around two things the instrument does naturally. First, the percussive “chop,” a muted, rhythmic strum on beats two and four. Second, soaring single-note lead lines played at high speed with a flatpick. The chop functions like a snare drum. It snaps through the mix and locks the band into the groove. Meanwhile, the lead lines cut over banjo and fiddle with a bright, nasal tone that’s impossible to miss. Together, these two techniques define bluegrass mandolin playing. If you want to go deep on this style, [the full story of how the mandolin became the rhythmic and melodic engine of bluegrass](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/) is waiting for you. It covers Monroe’s influence, the chop technique in detail, and how modern players have carried that tradition forward. ## Brazilian Choro and the Bandolim: A Different Kind of Brilliance In Brazil, the mandolin took a completely different path. Local musicians called it the bandolim, and they placed it at the center of choro, an intricate, syncopated style that blends European harmonic traditions with African rhythmic sensibility. The bandolim carries the melody, and it moves fast. Choro demands speed, clarity, and expressive ornamentation on nearly every phrase. The technique looks similar to bluegrass on the surface. You’re still using a flatpick and playing single-note lines. However, the phrasing, articulation, and rhythmic feel are entirely different. Choro melodies breathe in a flowing, conversational way. The music is often through-composed, meaning the player reads intricate written parts rather than improvising. For anyone curious about this style, [the world of Brazilian choro and the bandolim’s role in it](https://blog.artistworks.com/choro-music-brazilian-bandolim/) opens up a rich tradition that most North American players have never explored. It’s one of the most musically sophisticated mandolin styles on earth. [Get personalized video feedback on your playing from Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Classical Mandolin: Concert Music Before Bluegrass Existed Most people discover the mandolin through folk or roots music. Because of that, they’re often surprised to learn that the instrument has a serious classical repertoire. Long before bluegrass existed, composers were writing concert pieces specifically for the mandolin. Vivaldi’s Concerto in C major is one famous example. Beethoven wrote several pieces for mandolin and piano. The instrument held genuine prestige in European concert culture. Classical technique differs from folk approaches in important ways. Players typically use a much lighter touch. Tone production focuses on the quality of the note rather than rhythmic drive. Tremolo becomes an expressive tool rather than a rhythmic one. Today, a small but dedicated community of classical mandolinists performs and records this repertoire. If that tradition interests you, [the centuries-old history of the classical mandolin and how it’s still alive today](https://blog.artistworks.com/classical-mandolin-living-tradition/) explores the repertoire, the technique, and the players keeping this tradition active. ## Mandolin in Jazz and Swing: The Instrument Gets Adventurous The mandolin didn’t stop evolving once bluegrass claimed it. Through the 20th century, adventurous players pushed it into jazz and swing contexts. Jethro Burns brought the mandolin into jazz-inflected territory in the mid-century. Later, David Grisman developed what he called “Dawg music,” a genre that blended bluegrass, jazz, and Brazilian influences into something entirely new. Jazz mandolin demands a different harmonic vocabulary. Players use extended chords, altered voicings, and chromatic lines that don’t appear in traditional bluegrass. The rhythm section changes too. Instead of the chop, jazz mandolinists often comp with softer, more harmonically complex chord shapes. More recently, players like Chris Thile have pushed the instrument even further. Thile moves fluidly between Bach, bluegrass, and original contemporary compositions. For a deeper look at how the mandolin found its voice in jazz, swing, and new acoustic music, [this guide to the mandolin in jazz and beyond bluegrass](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/) covers the full arc of the instrument’s modern evolution. [Watch and learn more*Start →*](https://artistworks.com/mike-marshall) ## Beginner’s Guide to Choosing Your Style: What Kind of Mandolin Player Do You Want to Be? When you’re first approaching mandolin, a beginner’s guide can only take you so far on its own. At some point, you need to pick a direction. The style you choose shapes which techniques you practice, which players you study, and which music you’ll actually enjoy playing. So think about what drew you to the instrument in the first place. Did you hear a bluegrass record? Start there. The chop rhythm gives you an immediately useful skill in any string band context. Did something about choro’s complexity excite you? Follow that thread. Classical repertoire appeals to players who love structured learning and notated music. Jazz and new acoustic music suits players who want harmonic depth and improvisational freedom. Here’s the good news. The mandolin’s core mechanics transfer across all these styles. The tuning stays the same. The pick technique shares a common foundation. So starting in one style never closes a door to another. In fact, most advanced mandolinists draw from several traditions at once. ## Mandolin, A Beginner’s Guide to Getting Started Fast If you’re wondering where to actually begin, the answer is simpler than it seems. First, get a decent instrument. A quality entry-level mandolin in the $200-$400 range is enough to learn on. Second, learn the open strings and basic chord shapes. Major and minor chords in the key of G and D will unlock a huge amount of repertoire. Third, learn to read chord charts or simple tab. You don’t need to read standard notation to get started. Fourth, find music you love and start playing it slowly. Because the mandolin is tuned in fifths, music theory concepts like intervals and scale shapes transfer directly from violin. Additionally, guitar players find the chord logic familiar, even though the tuning is different. So prior musical experience helps, but it’s absolutely not required. Above all, pick one style to focus on for the first six months. Depth in one area builds skills that transfer everywhere else. That focused approach is exactly what this series is designed to support. ## Continue Learning Each section of this article points toward a deeper dive. Here’s the recommended reading order based on your interests. 1. [How the mandolin became the rhythmic and melodic core of bluegrass](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/), start here if bluegrass is what pulled you in. 2. [Brazilian choro and the bandolim’s role in that tradition](https://blog.artistworks.com/choro-music-brazilian-bandolim/), follow this if syncopated, melody-driven music excites you. 3. [The classical mandolin’s history and living repertoire](https://blog.artistworks.com/classical-mandolin-living-tradition/), go here if you want structured study and composed music. 4. [The mandolin in jazz, swing, and new acoustic music](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/), read this if harmonic depth and genre-crossing appeals to you. ## Final Thought The mandolin is one of those rare instruments that belongs to no single tradition and fits into almost any one you love. Whether you came here from a bluegrass festival, a Brazilian music playlist, or a late-night YouTube spiral, you found the right place. This series, starting with mandolin, a beginner’s guide overview right here, walks you through every major style the instrument inhabits. Each article gives you the context, the techniques, and the players to study. TrueFire has the courses to back all of it up. Start wherever your curiosity pulls you, and let the music take it from there. [Learn any style of mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor MMMike Marshall Mandolin master across many traditions · ArtistWorks Mandolin Mike Marshall is a mandolin pioneer whose work spans bluegrass, classical, Brazilian choro, jazz, and progressive acoustic music. His broad mandolin curriculum includes lessons, performances, tab, backing tracks, and Video Exchange feedback. At ArtistWorks [View Mike’s School and full bio on ArtistWorks](https://artistworks.com/mike-marshall) Connect with Mike [mikemarshall.net/](https://mikemarshall.net/)[Bandcamp](https://mikemarshallf5.bandcamp.com/)[Facebook](https://www.facebook.com/mikemarshall.mando/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, bluegrass mandolin chop, Brazilian bandolim choro, classical mandolin repertoire, jazz mandolin technique, mandolin a beginner's guide, mandolin lessons, mike marshall, musical genres --- ### [The Mandolin: How It Became the Heart of Bluegrass](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** The mandolin is everywhere in bluegrass. But most listeners can't explain why it sounds so powerful in that specific context. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 24, 2026 · Updated Jul 24, 2026 · 5 min read MMFeatured in this articleFeaturing Mike Marshall · ArtistWorks educator --- The mandolin is everywhere in bluegrass. But most listeners can’t explain why it sounds so powerful in that specific context. It isn’t just the instrument itself. It’s a combination of a revolutionary body design, one towering pioneer, and a rhythmic technique so effective it replaces an entire drum kit. Understanding those three elements changes the way you hear every bluegrass band. It also changes the way you play. This article unpacks each piece of that puzzle. For the broader picture of where the mandolin fits across genres, check out [the beginner’s guide to the instrument and its many styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/). **Plain-English takeaway —** The bluegrass mandolin sound you love comes from three specific sources: Lloyd Loar’s F5 body design, Bill Monroe’s pioneering style, and the “chop” technique that functions as the band’s snare drum.## The Mandolin Before Bluegrass Arrived The mandolin has a long history before anyone called any music “bluegrass.” Italian immigrants brought bowl-back mandolins to North America in the late 1800s. Those instruments were warm and sweet. They worked well for parlor music. However, they lacked the volume and punch needed to cut through a string band. Early string band players tried various approaches. Some used the mandolin as a melody instrument. Others strummed it for rhythm. But the sound was thin in open-air settings. No one had quite figured out how to make the mandolin a lead voice in a loud acoustic ensemble. Then two things happened almost simultaneously. A gifted instrument designer rethought the mandolin’s shape. And a young Kentucky musician decided the instrument would define his entire artistic identity. [Learn how to play mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## How Lloyd Loar’s F5 Design Changed Everything for the Mandolin Lloyd Loar was a musician and acoustic engineer at Gibson. In the early 1920s, he developed the F5 mandolin. The instrument looked dramatically different from its predecessors. It had a carved, arched top and back, paired f-holes instead of a round soundhole, and a distinctive scroll on the headstock side of the body. Those changes weren’t cosmetic. Because the carved top vibrated more efficiently, the F5 produced a focused, punchy tone. Notes attacked quickly and decayed cleanly. That clarity meant every note stood out in an ensemble. In contrast, the older bowl-back designs blurred together in a mix. Loar signed a number of F5 mandolins between 1922 and 1924. Today, those “Loar-signed” instruments are among the most valuable fretted instruments in the world. More importantly, the design became the template. When you picture a bluegrass mandolin, you are picturing Loar’s work. ## Bill Monroe and the Birth of a New Sound Bill Monroe is not simply an important figure in bluegrass history. He invented the genre. In the mid-1940s, Monroe assembled a band called the Blue Grass Boys. The name eventually gave the music its genre label. Monroe played an F5 mandolin. He played it hard. His right-hand attack was aggressive. His left hand moved with precision at high tempos. The result was a sound that combined country melody, blues feeling, and jazz improvisation. No one had approached the mandolin quite that way before. For example, Monroe used the mandolin as a lead voice, trading phrases with the fiddle and banjo. He treated it like a horn player would treat a trumpet in jazz. Therefore, the instrument suddenly demanded the same attention as any solo voice in the band. Monroe’s influence spread quickly. Players like Lester Flatt and Earl Scruggs passed through his band. They then carried his ideas forward into their own recordings. The “Monroe sound” became the standard, and the mandolin sat at its center. ## The Chop: How the Mandolin Replaced the Snare Drum Here is the technique that truly locks everything together. The chop is a percussive, muted strum played on the offbeats of a measure. In a 4/4 groove, that means beats two and four. Those are exactly the beats a snare drum hits in most popular music. To execute the chop, a player strums across the strings and immediately releases fretting pressure. This kills the sustain instantly. The result is a sharp, dry “thwack.” It sounds more like a rimshot than a musical chord. Because bluegrass bands typically play without a drummer, the chop fills that rhythmic role. The mandolin player becomes the band’s snare drum. Without the chop, the ensemble loses its rhythmic pocket and forward momentum. In addition, the chop interacts with the bass lines that the upright bass player walks. Together they create a complete rhythm section. Many new mandolin players underestimate how important this technique is. Learning the chop well is, in many ways, more urgent than learning fast melody runs. [Get personalized video feedback on your playing from Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## The Template That Bluegrass Players Still Follow Today Monroe’s approach, Loar’s instrument, and the chop technique form a complete system. That system has remained remarkably consistent for more than seventy years. Modern bluegrass players still seek out F5-style instruments. They still study Monroe recordings. They still count the chop as a foundational skill. Of course, players have expanded the vocabulary since Monroe’s era. Speed has increased. Improvisational range has widened. Some players have brought in influences from jazz and new acoustic music, an area worth exploring further if you read about [where the mandolin goes beyond bluegrass](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/). Eventually others have taken the instrument into distinctly different traditions, like the ornate melodic world covered in [the classical mandolin’s centuries-old history](https://blog.artistworks.com/classical-mandolin-living-tradition/). Even so, anyone learning bluegrass mandolin starts with Monroe’s posture, a carved-top instrument, and the chop. That is still the entry point. Nothing in the intervening decades has displaced those fundamentals. ## Your Next Step with the Mandolin Of course the best way to hear all of this in action is to listen to early Monroe recordings, then isolate what the mandolin is doing. First, listen for the chop on the backbeats. Then, listen for how the melody phrases breathe between the rhythm hits. Finally, notice how the F5 tone cuts through the entire ensemble without overpowering it. Once you can hear those elements separately, your playing will follow. The [complete beginner’s guide to the mandolin and its styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/) gives you the wider context for where the instrument lives across genres. From there, you can decide which direction calls to you most. Bluegrass is only one answer. But it is a compelling one. [Learn any style of mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor MMMike Marshall Mandolin master across many traditions · ArtistWorks Mandolin Mike Marshall is a mandolin pioneer whose work spans bluegrass, classical, Brazilian choro, jazz, and progressive acoustic music. His broad mandolin curriculum includes lessons, performances, tab, backing tracks, and Video Exchange feedback. At ArtistWorks [View Mike’s School and full bio on ArtistWorks](https://artistworks.com/mike-marshall) Connect with Mike [mikemarshall.net/](https://mikemarshall.net/)[Bandcamp](https://mikemarshallf5.bandcamp.com/)[Facebook](https://www.facebook.com/mikemarshall.mando/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, Bill Monroe chop, bluegrass, bluegrass mandolin technique, F5 mandolin design, mandolin chop rhythm, mandolin lessons, mike marshall, the chop, the mandolin --- ### [Choro Music: The Beating Heart of the Brazilian Bandolim](https://blog.artistworks.com/choro-music-brazilian-bandolim/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** Choro music might be the most important thing most mandolin players have never heard. If you're exploring the mandolin's range through bluegrass, classical, or jazz, you're already discovering the variety. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 24, 2026 · Updated Jul 24, 2026 · 5 min read MMFeatured in this articleFeaturing Mike Marshall · ArtistWorks educator --- Choro music might be the most important thing most mandolin players have never heard. If you’ve been exploring the mandolin’s range through bluegrass, classical, or jazz, you’re already discovering how wide the instrument’s world is. But Brazil has its own deep tradition, and the mandolin sits right at the center of it. Called the bandolim in Portuguese, the instrument carries an entirely different musical personality in Brazilian hands. This article is about that personality: where choro comes from, what makes it feel the way it does. Why one player named Jacob do Bandolim changed everything. If you want the full picture of what this instrument can do, start with the [mandolin’s broad range of genres and styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/) and then come back here for a deep dive into Brazil. **Plain-English takeaway —** Choro music is a rich Brazilian tradition where the mandolin, called the bandolim, carries serious melodic weight, shaped largely by the defining genius of Jacob do Bandolim.## What Choro Music Actually Is Choro music is a Brazilian instrumental tradition dating back to the mid-1800s. It developed in Rio de Janeiro, where European musical forms like the polka and waltz met African rhythmic sensibilities brought by enslaved people. The result was something entirely new: a music that felt sophisticated and syncopated at the same time. The word “choro” roughly translates to “cry” or “lament” in Portuguese. However, the music itself is rarely sad. Instead, it moves fast, it breathes, and it has a playful edge. Think of it as conversation between instruments, with the melody instrument leading and the rhythm section responding underneath. In a traditional choro ensemble, you’ll hear the seven-string violão (a guitar with a low bass string), the cavaquinho (a small, high-pitched stringed instrument), percussion, and the bandolim carrying the main melody. The bandolim, in other words, is a lead instrument in choro. That role matters. ## The Rhythmic Pulse That Sets Choro Music Apart Most Western players are used to two basic feels: straight time and swing. Choro music uses neither in quite the same way. Instead, it has its own rhythmic momentum, sometimes described as a “ginga,” which roughly means a kind of sway or groove native to Brazilian music. The syncopation in choro lands in unexpected places. For example, certain beats that you’d expect to feel strong are instead anticipated or delayed. This gives the music a constant forward motion that feels almost conversational. It pulls you along without ever feeling rushed. For a mandolin player coming from bluegrass, this can be disorienting at first. In bluegrass, the mandolin often plays on beats two and four in a punchy chop. In choro music, the bandolim is flowing melodically across the bar line, weaving around the rhythm section rather than locking into it. The phrasing is longer, more vocal, and more ornament-heavy. You are no longer the rhythmic anchor. Instead, you are the storyteller. [Learn how to play mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Jacob do Bandolim: The Choro Music Pioneer You Need to Know No discussion of choro music on the bandolim is complete without Jacob do Bandolim. Born Jacob Pick Bittencourt in 1918 in Rio de Janeiro, he took his nickname from his instrument and kept it forever. That tells you everything about how completely he identified with the bandolim. Jacob was largely self-taught. Despite that, he developed a technique that was precise, expressive, and entirely his own. He elevated the bandolim from a folk instrument to a serious solo voice. Before Jacob, the bandolim was sometimes considered a secondary player in choro. After Jacob, no one thought that way again. His recordings, made primarily in the 1940s through the 1960s, remain the standard. Pieces like “Noites Cariocas” and “Doce de Coco” show a player with total command of melody, ornamentation, and phrasing. His right-hand technique was particularly distinctive. He used a tremolo style that was smooth and sustained, not choppy or mechanical. As a result, his melodies sang like a voice rather than clipping like a percussion instrument. Jacob was also a composer. Many of his choro compositions are now considered classics of the genre. In that sense, he gave the bandolim a permanent place in Brazilian music history. ## Comparing Choro Music and Bluegrass: Same Instrument, Different Worlds Here is a listening exercise worth trying. Pull up a Bill Monroe recording, something like “Blue Moon of Kentucky” or “Raw Hide.” Listen for the mandolin’s role: that driving chop on the backbeats, the sharp attack, the tight rhythmic interaction with the bass and fiddle. The instrument sounds punchy, rhythmic, almost percussive. Then find a Jacob do Bandolim recording and press play. The difference is immediate. The bandolim flows. It ornaments. It sings over the top of the rhythm section instead of locking into it. The pick attack is lighter and more controlled. The phrasing is longer and more song-like. Both players are playing the same fundamental instrument. However, they sound like they come from completely different musical universes, because in many ways they do. Monroe built his style on the traditions of the American South, particularly the rhythmic drive of string-band music. Jacob built his on Brazilian tradition, specifically the syncopated, conversational energy of choro. For more context on how Monroe shaped his own instrument’s identity, check out [how the mandolin became the heartbeat of bluegrass](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/). You’ll hear the contrast even more clearly after reading it. And if jazz interests you, [the mandolin in jazz and swing contexts](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/) shows yet another direction the same instrument has traveled. [Get personalized video feedback on your playing from Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## How to Start Exploring Choro Music on Mandolin You do not need to be an advanced player to start exploring choro music. However, you do need to approach it with open ears. First, listen before you try to play anything. Spend time with Jacob do Bandolim’s recordings. Let the feel get into your ear before it tries to get into your fingers. Next, pay attention to the ornaments. Choro melody lines use grace notes, slides, and turns in specific ways. These are not optional decoration. Instead, they are part of the language. A choro phrase without ornamentation sounds flat and incomplete, like speaking a sentence without emphasis. Finally, find the rhythm section and listen to how the bandolim fits against it. The cavaquinho and the seven-string violão create a specific harmonic and rhythmic bed. Once you understand what the bandolim is playing against, the phrasing choices start to make sense. Choro music is not a style you pick up in an afternoon. But every style in the mandolin’s world, from [the classical tradition](https://blog.artistworks.com/classical-mandolin-living-tradition/) to modern approaches, rewards the player who takes the time to listen first. That investment always pays off. ## Your Next Step Into the Mandolin’s Wider World Choro music proves something important: the mandolin is not a single-style instrument. The same eight strings that drive a bluegrass band or carry a Baroque melody can also sing over a Brazilian rhythm section in a style that has been evolving for nearly two centuries. Jacob do Bandolim made the bandolim a serious instrument. The tradition he worked in is alive and growing. Today, players like Hamilton de Holanda are pushing choro in new directions while honoring its roots. As you [build your understanding of everything this instrument can play](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/), let choro music be one of the voices you make room for. It will change the way you hear the mandolin. [Learn any style of mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor MMMike Marshall Mandolin master across many traditions · ArtistWorks Mandolin Mike Marshall is a mandolin pioneer whose work spans bluegrass, classical, Brazilian choro, jazz, and progressive acoustic music. His broad mandolin curriculum includes lessons, performances, tab, backing tracks, and Video Exchange feedback. At ArtistWorks [View Mike’s School and full bio on ArtistWorks](https://artistworks.com/mike-marshall) Connect with Mike [mikemarshall.net/](https://mikemarshall.net/)[Bandcamp](https://mikemarshallf5.bandcamp.com/)[Facebook](https://www.facebook.com/mikemarshall.mando/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, Brazilian bandolim, choro, choro music, choro ornamentation, Jacob do Bandolim, mandolin, mandolin lessons, mandolin styles and genres, mike marshall --- ### [Classical Mandolin: A Living Tradition With Intrigue and Beauty](https://blog.artistworks.com/classical-mandolin-living-tradition/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** Classical mandolin is one of the instrument's oldest and most sophisticated musical identities, and most players stumble onto it almost by accident. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 24, 2026 · Updated Jul 24, 2026 · 5 min read MMFeatured in this articleFeaturing Mike Marshall · ArtistWorks educator --- Classical mandolin is one of the instrument’s oldest and most sophisticated musical identities, and most players stumble onto it almost by accident. You pick up the mandolin drawn to bluegrass or folk, then one day you hear a recording of a Bach sonata played on the instrument, and suddenly the whole picture changes. That depth has always been there. Long before Bill Monroe defined [the mandolin’s role in bluegrass music](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/), the instrument was sitting in European concert halls, inspiring serious composers and virtuoso performers. This article traces that lineage, introduces the major figures who kept it alive, and explains why engaging with the classical tradition will make you a better mandolin player no matter what genre you call home. For a broader look at everything the mandolin can do, start with [this introduction to the instrument and its many styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/). **Plain-English takeaway —** The classical mandolin tradition stretches back centuries, produced a genuine concert repertoire, and continues to reward modern players who explore it.## The Classical Mandolin’s Italian Origins The mandolin’s roots run deep into 17th and 18th century Italy. Instrument makers in Naples developed the bowl-backed mandolin during this period, refining its shape, tuning, and construction into something recognizable as a serious concert instrument. Italian noble families kept mandolin players on staff. Also conservatories taught the instrument formally. This was not a folk curiosity. It was a legitimate part of cultivated musical life. Because Italy was the center of European classical music during this era, the mandolin absorbed the compositional values of its surroundings. Baroque ornamentation, counterpoint, and formal structure all shaped how players approached the instrument. Therefore that influence is still audible in classical mandolin playing today, even two or three centuries removed from its source. [Learn how to play mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Composers Who Took the Mandolin Seriously Several major classical composers wrote specifically for the mandolin, which matters enormously for the instrument’s legitimacy. For example Antonio Vivaldi composed concerti for the instrument. Additionally Giovanni Paisiello wrote a concerto that remains in the repertoire. Of course most famously, Ludwig van Beethoven composed several pieces for mandolin and keyboard, including short sonatas intended for domestic performance. These are not novelty pieces. They reflect genuine compositional investment. Mozart, meanwhile, gave the mandolin one of opera’s most iconic moments. Don Giovanni serenades Donna Elvira’s maid with a mandolin accompaniment in Act II of the opera. Because that scene appears in one of the most performed operas in history, the classical mandolin has stayed in the public consciousness even when the instrument itself seemed to fade. The existence of this repertoire means classical mandolin players are not working with borrowed material. They have original works, written by composers who cared about the instrument’s specific qualities. ## The Transcription Challenge Here is where classical mandolin gets practically interesting. The original classical repertoire, while significant, is relatively limited in scope. A violinist or pianist has centuries of dense, interconnected literature to draw from. A classical mandolin player works with a much smaller pool of dedicated compositions. As a result, transcription becomes essential. Classical mandolin players regularly adapt works written for violin, flute, lute, and keyboard. Because the mandolin is tuned identically to the violin (G, D, A, E), violin music transfers with remarkable ease. Bach’s unaccompanied violin partitas, for example, sit comfortably within the instrument’s range and reward the effort of learning them. This practice does require strong music-reading skills and some knowledge of arrangement. However, it also opens an enormous door. Suddenly, the entire Baroque instrumental canon becomes available material. That is both a technical challenge and an extraordinary creative opportunity. For players who enjoy [jazz and new acoustic music on the mandolin](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/), this same spirit of adaptation shows up in a completely different context. ## Caterina and Mike Marshall: The Modern Standard No discussion of classical mandolin is complete without Caterina and Mike Marshall. These two musicians are widely regarded as the definitive modern voices in the tradition. Their recordings set the bar for what the instrument can achieve in a classical context. Mike Marshall is an American mandolinist with a background that spans bluegrass, jazz, and world music. Caterina Lichtenberg is a German classical mandolinist trained in the European conservatory tradition. Together, they recorded Bach’s works for two violins arranged for mandolin and mandocello, producing albums that became landmarks in the mandolin world. The precision of their playing, the depth of their musicality, and the seriousness of their intent demonstrated that the instrument belongs in the same conversation as any classical string instrument. Their collaboration is especially instructive because it bridges two traditions. Mike Marshall brings an American improviser’s feel for phrasing. Caterina Lichtenberg brings rigorous classical technique. Together, their approach illustrates something important: classical mandolin playing is not about stiffness or restriction. It is about using every tool the instrument offers in service of the music. ## What Classical Playing Reveals About the Instrument Playing classical mandolin forces you to develop specific skills that benefit every other style you play. Tremolo control becomes essential, since classical pieces frequently require sustained melodic lines that a single pick stroke cannot produce. Tone production gets more attention, because there is no rhythm section or distortion to hide behind. Left-hand precision matters at a higher level, since classical counterpoint leaves no room for sloppy intonation. In addition, the repertoire teaches you to think horizontally across the fingerboard. Baroque and Classical-era music is deeply melodic. Therefore, learning it trains your ear and your hands simultaneously. The skills you build here feed directly back into other styles. [Brazilian choro playing on the bandolim](https://blog.artistworks.com/choro-music-brazilian-bandolim/) shares this same premium on clean melodic articulation and quick single-note runs. The connection is not coincidental. These traditions all descend from a common European musical culture. [Get personalized video feedback on your playing from Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Connecting to the Tradition Today Engaging with classical mandolin does not require a conservatory education or a bowl-back instrument. Start with something achievable. Beethoven’s mandolin sonatinas are short, technically accessible, and musically rewarding. A Bach two-part invention arranged for mandolin will challenge your technique without overwhelming you. Free sheet music for much of this repertoire is available through public domain archives. Finding recordings matters just as much as finding scores. Listen to Caterina Lichtenberg’s solo recordings and the Marshall-Lichtenberg Bach albums. Notice the tone, the phrasing, and the dynamic range. Then bring those qualities into your own practice. The classical mandolin tradition connects modern players to something hundreds of years deep. That connection is practical, not just historical. The players who spent time with this repertoire carry it in their hands and ears long after they have moved on to other styles. If you are ready to explore the full range of what the mandolin can do, revisit [TrueFire’s complete guide to the instrument and all of its musical flavors](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/) and start mapping your path from here. [Learn any style of mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor MMMike Marshall Mandolin master across many traditions · ArtistWorks Mandolin Mike Marshall is a mandolin pioneer whose work spans bluegrass, classical, Brazilian choro, jazz, and progressive acoustic music. His broad mandolin curriculum includes lessons, performances, tab, backing tracks, and Video Exchange feedback. At ArtistWorks [View Mike’s School and full bio on ArtistWorks](https://artistworks.com/mike-marshall) Connect with Mike [mikemarshall.net/](https://mikemarshall.net/)[Bandcamp](https://mikemarshallf5.bandcamp.com/)[Facebook](https://www.facebook.com/mikemarshall.mando/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** baroque mandolin repertoire, bowl back mandolin, caterina lichtenberg, classical mandolin, classical music, lute, mandolin lessons, mandolin technique, mandolin transcription, mike marshall, tremolo control mandolin --- ### [Beyond Bluegrass: How the Amazing Mandolin Shines in Jazz and Swing](https://blog.artistworks.com/beyond-bluegrass-mandolin-jazz-swing/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** Beyond bluegrass, the mandolin found a second life that most players never expected. For decades, the instrument was synonymous with a single American tradition. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 24, 2026 · Updated Jul 24, 2026 · 5 min read MMFeatured in this articleFeaturing Mike Marshall · ArtistWorks educator --- Beyond bluegrass, the mandolin found a second life that most players never expected. For decades, the instrument was synonymous with a single American tradition. Then a handful of adventurous musicians started asking harder questions. What happens when you run jazz harmony through a string band? How does a chord substitution sound on eight strings? What if the mandolin improvised the way a saxophone might? Naturally, the answers to those questions produced some of the most compelling acoustic music of the last fifty years. Of course, if you have ever heard a David Grisman record and felt something shift in your chest, you already know the feeling. This article traces how the mandolin escaped its genre box, who made that escape happen, and how you can start exploring that expanded vocabulary yourself. For the full picture of the mandolin’s range across world traditions, [start with our complete beginner’s guide to the mandolin and its many musical styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/). **Plain-English takeaway —** David Grisman’s “Dawg music” opened the mandolin to jazz harmony and improvisation, proving the instrument belongs in any acoustic setting, not just bluegrass.## How One Genre Defined the Mandolin for Decades The mandolin arrived in America with immigrant communities and quickly found a home in old-time and folk music. Then bluegrass happened. Bill Monroe’s ferocious playing set a template so powerful that it became the default definition of the instrument for most listeners. [Learning how Monroe shaped that identity](https://blog.artistworks.com/the-mandolin-bluegrass-sound-chop/) is genuinely useful context. It shows exactly what Grisman and his peers were pushing against. By the late 1960s, ambitious mandolinists were running into a wall. The instrument carried enormous expressive potential. However, bluegrass conventions left little room for jazz harmony, extended chords, or free-ranging improvisation. But the genre’s rules were clear, and that clarity was part of its beauty. So for some players, it was also a constraint. ## Beyond Bluegrass: David Grisman and the Birth of Dawg Music David Grisman grew up loving both bluegrass and jazz. He studied Monroe’s playing deeply. At the same time, he absorbed Django Reinhardt, Charlie Parker, and the bebop vocabulary. Eventually, he stopped choosing between them. Instead, he built something new from both. In the mid-1970s, Grisman formed the David Grisman Quintet. The lineup was revealing: two mandolins (David Grisman and Mike Marshall), guitar, bass, and violin. No banjo, no dobro. The arrangements leaned into jazz phrasing, syncopated swing feels, and harmonic movements borrowed straight from bebop. Grisman called the style “Dawg music,” a nickname that stuck because no existing label quite fit. The records were the proof. Albums like “Hot Dawg” and “Quintet ’80” showed that the mandolin’s bright, articulate attack translated beautifully into jazz contexts. In fact, the instrument’s natural sustain limitations pushed players toward a horn-like, note-by-note melodic approach. In the end, that limitation became a strength. [Learn how to play mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## What “New Acoustic” Actually Means The term “New Acoustic music” appeared in the 1980s as a way to describe a broader movement Grisman helped start. It was never a strict genre definition. Rather, it described an attitude: serious acoustic players drawing on jazz, classical, and world music without abandoning the string band format. Harmonically, New Acoustic music expanded the mandolin’s role considerably. Players began using major seventh chords, minor ninths, and diminished passing chords. Improvisation became central. Instead of trading breaks within a fixed structure, players moved through chord changes the way jazz soloists do. From there, the conversation between instruments became more complex and more free. For example, Grisman’s collaborations with Tony Rice and Jerry Garcia pushed that openness even further. Each player brought a different background. As a result, the music never settled into a single template. That restlessness is part of what makes the New Acoustic tradition so alive today. ## Beyond Bluegrass: Key Players Who Expanded the Sound Grisman opened the door, but many players walked through it. Chris Thile is a visible example in contemporary music. His work with Nickel Creek, the Punch Brothers. His solo recordings has carried the beyond bluegrass conversation into the 21st century. Thile incorporates Bach, modern composition, and pop songwriting alongside jazz improvisation. The mandolin, in his hands, sounds like a complete orchestral voice. Similarly, Mike Marshall explored the intersection of jazz and Brazilian choro on the mandolin. His collaborations with Darol Anger in the Turtle Island String Quartet showed how New Acoustic thinking could absorb influences from across the world. If you want to hear how deep that Brazilian connection runs, [this look at the bandolim and Brazilian choro music](https://blog.artistworks.com/choro-music-brazilian-bandolim/) gives you the full story. Sam Bush came from a slightly different angle. His background in newgrass brought the mandolin into rock and funk territory, proving that the beyond bluegrass impulse was not just about jazz. The instrument was simply more flexible than anyone had given it credit for. [Get personalized video feedback on your playing from Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## The Mandolin’s Tone Is Actually Built for Jazz Here is something players often miss. The mandolin’s physical characteristics make it a surprisingly natural jazz instrument. Its attack is fast and clear. Its sustain is relatively short. Those two qualities together push a player toward articulate, rhythmically precise single-note lines. That is exactly what bebop phrasing rewards. In contrast, instruments with long sustain can blur through chord changes. The mandolin forces clarity. Every note lands individually. As a result, melodic lines have a transparency that suits jazz harmony beautifully. Django Reinhardt’s guitar work, which Grisman studied closely, operates on a similar logic. Additionally, the mandolin’s tuning in fifths means that many jazz chord voicings are physically accessible. Minor sevenths and major ninths are comfortable shapes. The instrument does not fight you. Instead, it rewards a player who thinks harmonically rather than just linearly. The [classical mandolin tradition](https://blog.artistworks.com/classical-mandolin-living-tradition/) developed this harmonic richness from a different direction entirely, so it is worth exploring both paths if extended technique interests you. ## Where to Start Your Beyond Bluegrass Journey If you are new to this territory, start with your ears. Pull up the David Grisman Quintet’s self-titled debut or “Hot Dawg.” Listen for how the mandolin carries the melodic lead through jazz changes. Notice the swing feel in the rhythm playing. Hear how the ensemble breathes together the way a jazz combo does. Next, learn one Grisman melody by ear. “Dawg’s Waltz” is approachable. “Opus 57” is more demanding but enormously rewarding. Transcribing even eight bars will show you how differently Grisman phrases compared to a bluegrass context. Then start thinking about your chord vocabulary. Add major sevenths and minor ninths to your toolbox. Work them into slow jams. The harmonic expansion does not require abandoning what you already know. Instead, it builds on it. For a full map of every direction the mandolin can take you, [return to our complete guide to the mandolin’s many musical styles](https://blog.artistworks.com/mandolin-beginners-guide-styles-sound/). The beyond bluegrass world is wide, and the mandolin is more than ready for it. [Learn any style of mandolin with Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor MMMike Marshall Mandolin master across many traditions · ArtistWorks Mandolin Mike Marshall is a mandolin pioneer whose work spans bluegrass, classical, Brazilian choro, jazz, and progressive acoustic music. His broad mandolin curriculum includes lessons, performances, tab, backing tracks, and Video Exchange feedback. At ArtistWorks [View Mike’s School and full bio on ArtistWorks](https://artistworks.com/mike-marshall) Connect with Mike [mikemarshall.net/](https://mikemarshall.net/)[Bandcamp](https://mikemarshallf5.bandcamp.com/)[Facebook](https://www.facebook.com/mikemarshall.mando/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** beyond bluegrass, David Grisman mandolin, Dawg music style, mando, mandolin, mandolin jazz chords, mandolin lessons, music lessons, New Acoustic music --- ### [Start Improvising on Mandolin and Sound Good Doing It](https://blog.artistworks.com/start-improvising-on-mandolin-and-sound-good-doing-it/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** If you want to start improvising on mandolin, the single biggest obstacle is usually not technique. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 23, 2026 · Updated Jul 23, 2026 · 8 min read SHFeatured in this articleFeaturing Sierra Hull · ArtistWorks educator --- If you want to start improvising on mandolin, the single biggest obstacle is usually not technique. It is the voice in your head that says you are not ready yet. Every player you admire, from David Grisman to Sierra Hull, once stood exactly where you are standing right now, holding a mandolin and wondering what to play when the melody ran out. That feeling is universal. So is the solution: you build improvisation the same way you build anything, one small piece at a time, with the right map in front of you. This article is that map. First, we will look at why ear training and repertoire absorption are the hidden foundation of good improvising. Then, we will walk through your very first real improv moves, the kind you can try today without any advanced technique. After that, we will cover how to step into actual soloing by bending a familiar melody into something fresh. Finally, we will point the way toward the bigger skills, tone, dynamics. Musical storytelling, that separate good improvisers from great ones. **Plain-English takeaway —** You can start improvising on mandolin right now, because the journey begins with simple moves you already have the skills to try.## What Improvisation on Mandolin Actually Means Many beginners imagine that starting improvisation feels like playing random notes and hoping something sticks. In reality, improvisation is structured conversation. You are working inside a key, a chord progression, and a rhythmic feel. The notes are not random at all. Instead, they are chosen, often in real time, from a vocabulary you have built through listening and practice. The mandolin is a fantastic instrument for learning this skill. Its double courses give every note a natural fullness. Its bright attack makes melodic ideas pop in any ensemble. Because the fingerboard mirrors the violin, a huge library of fiddle-tune vocabulary translates directly to mandolin improvisation. Furthermore, the bluegrass and acoustic music traditions that surround the instrument are, at their core, improvisation traditions. Every break you hear at a jam session is improvised to some degree. That means the music you love is already showing you the answer. [Learn mandolin with Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Building Your Ear Before You Build Your Solos Before your fingers can improvise, your ears need to do a lot of quiet work. Think about how a young bluegrass player absorbs music, sitting at the edge of a weekly jam, just listening. They are mapping chord changes, internalizing rhythmic phrasing, and storing melodic shapes without playing a single note. That process is not passive. It is the deepest kind of practice. Great improvising starts with a rich internal library of sounds. When you know fifty fiddle tunes cold, you have fifty sets of melodic ideas ready to borrow from. When you have internalized the arc of a 32-bar standard, your phrases naturally fall in the right places because you feel the structure underneath you. For a deep dive into this foundational ear work to start improvising, [explore how listening builds your improvisation vocabulary](https://blog.artistworks.com/mandolin-improv-beginners-first-variations/). That guide walks you through exactly how to absorb repertoire and use what you hear as raw material for your own lines. Think of it as the bedrock layer that everything else rests on. ## Start Improvising: Your First Real Improv Moves on Mandolin Here is some genuinely good news: you do not need a full toolkit before you can start improvising. In fact, the earliest improv moves are rhythmic and harmonic, not melodic. You are making tiny choices, a different strum pattern, a held note, a small ornament. Those choices are already improvisation. For example, take a melody you know well. Play it straight through once. Then, on the repeat, add a single hammer-on or pull-off to one note. That is it. You have just improvised. The move was small, but the creative process was identical to what David Grisman does on a recording. Rhythm variations are equally powerful to start improvising. Syncopating a phrase, delaying a note by half a beat, or landing a chord slightly early are all choices that transform a static melody into something alive. Because these moves live in the rhythmic layer, they do not require you to know a single scale. [Learn exactly how to make these first harmonic and rhythmic variations](https://blog.artistworks.com/improvised-solos-mandolin-confidence/) in the beginner guide built specifically for this step. It lays out the simplest improv moves you can use in a real musical context, today. ## Stepping Into Soloing: Melody as Your Starting Point Once small variations feel natural, you are ready to take on actual soloing. The most reliable on-ramp is also the most time-tested: start with a melody you already know, then nudge it. Replace one note with a neighboring note. Extend a phrase by one beat. Leave a gap and let the silence breathe. Each of these choices moves you further from the written melody and closer to your own voice. This is how improvised lines are actually born. A player does not sit down and invent a solo from scratch. Instead, they push a familiar phrase slightly out of shape, listen to what comes out, then push a little further. Over time, those nudges stack up into something that sounds entirely personal. [Get personal video feedback on your playing from Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) Motifs are especially useful at this stage. A motif is a short musical idea, often just two or three notes, that you repeat, invert, or vary throughout a solo. It gives the listener something to hold on to. It also gives you a home base to return to when you are not sure where to go next. [See how melody, motifs, and small variations combine into real soloing](https://blog.artistworks.com/next-level-mandolin-improvisation/) in the guide dedicated to this exact step. It will show you a structured process for turning any tune into an improvised solo. ## How to Start Improvising With Scales (Without Getting Lost in Them) Scales often get taught as the entry point to start improvising. In practice, however, they work best as a second layer, not a first. Once you have some melodic vocabulary from actual tunes, scales help you connect ideas and fill in gaps between familiar phrases. The major pentatonic scale is the most friendly starting point on mandolin. It has only five notes. Because it avoids the notes most likely to clash with a chord change, it is very forgiving. You can run up and down it, reverse direction, skip a note. Almost any combination will land acceptably inside a major-key tune. First, learn the scale in one position. Then, practice it slowly over a simple chord progression. Next, replace just one note in a melody you know with the neighboring scale tone. That single swap is the beginning of scalar thinking inside a melodic context. Most importantly, never use a scale as a substitute for musical ideas. Scales are the road, not the destination. ## Shaping Tone and Dynamics as You Start Improvising Once melodic vocabulary starts to feel reliable, something interesting happens. You begin to notice that what you play matters less than how you play it. A single long note, played with a gradual crescendo and a subtle vibrato, can be more expressive than a fast flurry of notes. This is the territory where improvisation becomes storytelling. Pick attack is one of the most powerful variables available to you. A hard pick attack at the tip of the pick produces a bright, cutting sound. A softer attack further back on the pick produces warmth. Alternating between these within a single phrase creates a conversation inside the music itself. Similarly, where you pick in relation to the bridge changes the tonal color dramatically. Dynamics work the same way. Dropping suddenly to a near-whisper before a climax creates tension. Conversely, building gradually over eight bars and then releasing on a strong downbeat gives the listener a satisfying arc. These are storytelling tools. They are fully available to you even at an early stage. [Discover how tone, dynamics. Storytelling combine at the next level of mandolin improvisation](#SUPPORT-4) in the guide that takes these ideas much further. ## Start Improvising and Find Practice Methods to Make it All Actually Stick Improvisation practice is different from technique practice. You are not drilling the same passage until it is clean. Instead, you are building a habit of making choices. That requires a specific kind of repetition: structured freedom. One of the most effective methods is the loop-and-vary approach. Record a simple chord progression on your phone. Then improvise over it for sixty seconds without stopping, no matter what comes out. After that, listen back and find one moment you liked. Isolate that moment and develop it further in your next sixty-second pass. This trains your ears and fingers to work together in real time. Additionally, playing with other musicians accelerates everything. A jam session forces you to commit to your choices. You cannot hesitate, backtrack, or edit. That pressure is uncomfortable at first, but it is also the fastest teacher available. Even a simple duo with a rhythm player changes how you listen and respond. In short, improvisation is a social skill as much as a technical one, and it grows fastest in community. ## Continue Learning Every step of this journey has its own dedicated guide. Work through them in order for the clearest progression, or jump to the section that matches where you are right now. 1. [Build the ear and repertoire foundation that makes improvising possible](https://blog.artistworks.com/mandolin-improv-beginners-first-variations/) 2. [Make your first real improv moves with rhythm and chord variations](https://blog.artistworks.com/improvised-solos-mandolin-confidence/) 3. [Step into soloing by working from melody outward with motifs and variations](https://blog.artistworks.com/next-level-mandolin-improvisation/) 4. [Level up with tone shaping, dynamics, and musical storytelling](#SUPPORT-4) ## Final Thought The decision to start improvising on mandolin is genuinely one of the best choices you can make as a musician. It connects you to a tradition that stretches back through every great acoustic string player who ever took a break at a jam. It makes your playing more personal, more alive, and more fun in every context. The path forward is clear. You have the roadmap in front of you, and every step on it is achievable. All that is left is to pick up the mandolin, make one small musical choice, and listen to what happens next. TrueFire has the courses, instructors, and community to walk with you through every stage of this journey. [Explore Sierra Hull’s complete mandolin video lesson curriculum at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SHSierra Hull Grammy nominated bluegrass mandolinist and singer · ArtistWorks Mandolin Sierra Hull is one of the most celebrated mandolinists of her generation, combining bluegrass virtuosity with modern songwriting, improvisation, and singing. Her school connects traditional mandolin roles such as chop, tremolo, and breaks to a contemporary acoustic voice. At ArtistWorks [View Sierra’s School and full bio on ArtistWorks](https://artistworks.com/sierra-hull) Connect with Sierra [www.sierrahull.com/](https://www.sierrahull.com/)[YouTube](https://www.youtube.com/@ArtistWorksInchttps://www.youtube.com/channel/UCGtXXSDqlPFv1zx8CFGaA8Q)[Instagram](https://www.instagram.com/sierradawnhull/)[Facebook](https://www.facebook.com/SierraHullMusic/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bluegrass, Mandolin **Tags:** basic improv, beginner improv, ear training for mandolin, getting started, mando improv, mandolin improv, mandolin improvisation, mandolin soloing, melodic improvisation mandolin, next level, sierra hull, start improvising --- ### [Mandolin Improv for Beginners: How to Dive Into Variations](https://blog.artistworks.com/mandolin-improv-for-beginners-how-to-dive-into-variations/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** Mandolin improv stops a lot of players cold before they ever make a sound. You sit down with a tune, think "okay, now be creative," and suddenly your brain is juggling chord changes, form, rhythm,… **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 23, 2026 · Updated Jul 23, 2026 · 5 min read SHFeatured in this articleFeaturing Sierra Hull · ArtistWorks educator --- Mandolin improv stops a lot of players cold before they ever make a sound. You sit down with a tune, think “okay, now be creative,” and suddenly your brain is juggling chord changes, form, rhythm, and melody all at once. There’s nothing left over for expression. If that sounds familiar, you’re not failing at improvisation. You’re just trying to do too many things simultaneously. The good news is that there’s a clear, low-pressure path into your first real variations. It starts well before you touch a single melody note. This guide picks up where [the broader mandolin improvisation journey](https://blog.artistworks.com/start-improvising-mandolin-sound-good/) begins, and it digs into the specific first steps beginners need most. **Plain-English takeaway —** Memorize the song’s structure cold first, then experiment with rhythm, chop, and chord voicings before you ever try to change a melody note.## Why Mandolin Improv Feels Frozen at the Start The real culprit is divided attention. Your working memory has a strict limit. When you’re still consciously tracking chord changes, “two bars of G, here comes the C, watch for the turnaround,” there’s simply no headroom left for creativity. Improvisation requires spare mental bandwidth. Without it, you default to muscle memory or you freeze. Therefore, the first job is not to learn new licks. It’s to free up your attention by knowing the song so deeply that the form runs on autopilot. Pick one tune. Play it enough times that you stop thinking about what chord comes next. You want the progression to feel like breathing, something that happens without your conscious involvement. Once that clicks, mandolin improv becomes possible because your mind finally has room to play. [Learn mandolin with Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Locking In the Form Before You Add Anything Start with a simple song. A 16-bar fiddle tune or a basic 12-bar blues works perfectly. First, play it straight through with no embellishment, just clean chord rhythm. Then play it again. And again. Record yourself if you can. Next, listen back and notice where your attention spikes. Those spikes tell you exactly which chord changes aren’t automatic yet. Focus your next practice loop on those spots specifically. Once you can play the full progression without a single moment of “wait, what’s next,” you’ve built the foundation. That foundation is what makes everything below possible. In short, don’t skip this step because it feels boring. It’s actually the most creative investment you’ll make. ## First Experiment: Change Your Attack, Not Your Notes This is the most overlooked entry point into mandolin improv. You don’t change a single pitch. Instead, you change *how* you play the notes you already know. Try picking harder on beat one of a phrase and softer everywhere else. Next, flip it and accent the offbeats. Then experiment with palm muting a few notes. For example, lightly rest your picking-hand palm near the bridge and notice how the tone shifts. Also try varying your pick angle slightly. A flatter pick angle gives you a warmer, rounder attack. A steeper angle gives you more bite and definition. These differences are small on paper, but they’re enormous to a listener. Because you’re not changing the notes, your brain stays relaxed and you can actually hear what you’re doing. This is real mandolin improv. You’re making deliberate choices that change how the music feels. That’s expression, even if every note stays the same. ## Second Experiment: Play With Your Chop The mandolin chop is a rhythm technique most beginners learn early. However, most players treat it as a fixed, unchanging texture once they’ve got it. That’s a missed opportunity. Try varying when you chop within the bar. Instead of always landing the chop on beats two and four, try hitting it a hair early or a hair late. Notice how that tiny shift creates a different kind of groove. Also experiment with how much you mute. A fully muted chop is percussive and dry. A lighter mute lets a little pitch come through and adds harmonic warmth. In addition, try dropping the chop out for a full bar and just strumming open chords. The absence of the chop becomes its own statement. These are genuine backup and chop variations. They add personality to a tune without requiring you to solo. For a deeper look at building melodic ideas on top of this foundation, [the section on melody and motifs](https://blog.artistworks.com/improvised-solos-mandolin-confidence/) is worth your time once you’re ready. ## Third Experiment: Explore Unfamiliar Chord Voicings Once your rhythm feel is flexible, move up the neck. Most beginners stay in first position because those are the chord shapes they learned first. However, the mandolin neck is full of other places to play the same chord. Find the G chord you know. Then find a different G chord shape higher on the neck. It doesn’t have to be pretty at first. Just find it, get it ringing cleanly, and hear how it sounds different. These alternate voicings open up sonic territory that feels fresh without requiring any new theory. In fact, some of the most distinctive sounds in mandolin improv come from choosing an unexpected voicing of a common chord. Because the notes are the same underneath, the song still works. But the color changes completely. [Get personal video feedback on your playing from Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Small Variations Are Real Improvisation Here’s the mindset shift that makes everything above stick. Mandolin improv does not require a blazing solo. It doesn’t require speed, flashy licks, or years of theory study. It requires that you make intentional choices that reflect how you hear the music. Changing your pick attack is a choice. Shifting your chop timing is a choice. Playing a chord voicing you found by exploring the neck is a choice. All of these are improvisation. They’re yours. When you feel ready to build melodic lines and develop real solo ideas, [taking your playing to the next level](https://blog.artistworks.com/next-level-mandolin-improvisation/) covers tone, storytelling, and how speed fits into the picture. But don’t rush there. Stay with the small variations until they feel natural and genuinely expressive. ## Your Next Practice Session Starts Here Go pick one tune you already know. Play it until the form is invisible. Then try one thing: change your pick attack for a full run-through without touching the notes. Notice what happens to the feel of the song. That’s your first step into mandolin improv. It’s smaller than you expected, and that’s exactly why it works. [The full guide to getting started with mandolin improvisation](https://blog.artistworks.com/start-improvising-mandolin-sound-good/) has more context if you want the bigger picture alongside these first experiments. [Explore Sierra Hull’s complete mandolin video lesson curriculum at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SHSierra Hull Grammy nominated bluegrass mandolinist and singer · ArtistWorks Mandolin Sierra Hull is one of the most celebrated mandolinists of her generation, combining bluegrass virtuosity with modern songwriting, improvisation, and singing. Her school connects traditional mandolin roles such as chop, tremolo, and breaks to a contemporary acoustic voice. At ArtistWorks [View Sierra’s School and full bio on ArtistWorks](https://artistworks.com/sierra-hull) Connect with Sierra [www.sierrahull.com/](https://www.sierrahull.com/)[YouTube](https://www.youtube.com/@ArtistWorksInchttps://www.youtube.com/channel/UCGtXXSDqlPFv1zx8CFGaA8Q)[Instagram](https://www.instagram.com/sierradawnhull/)[Facebook](https://www.facebook.com/SierraHullMusic/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, beginner mandolin improvisation, chord voicings mandolin, mandolin chop variations, mandolin improv, mandolin lessons, pick attack technique --- ### [How to Play Improvised Solos on Mandolin With Real Confidence](https://blog.artistworks.com/improvised-solos-mandolin-confidence/) **Published:** July 24, 2026 **Author:** ArtistWorks **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 23, 2026 · Updated Jul 23, 2026 · 5 min read SHFeatured in this articleFeaturing Sierra Hull · ArtistWorks educator --- Improvised solos can feel like a mystery when you’re starting out. You know the tune, you can play it clean. The moment someone says “take a solo,” your mind goes blank. The good news is that you already have everything you need to begin. Your [journey into mandolin improvisation](https://blog.artistworks.com/start-improvising-mandolin-sound-good/) starts right there with the melody you already know. That melody is not a cage. Instead, it’s raw material you can bend, stretch, and reshape into something that sounds entirely your own. **Plain-English takeaway —** The melody you already know is your best starting point for improvised solos: stretch it, break it into small ideas, and let your ear lead the way.## Why the Melody Is Your Best Friend for Improvised Solos Most players think improvisation means abandoning the melody. Actually, the opposite is true. The melody is your anchor. Start by playing it straight, then ask yourself one simple question: what if I changed just one note? That single change is your first improvised idea. For example, hold a note a beat longer than written. Or slide into a note instead of picking it cleanly. These tiny decisions add up fast, and the result sounds musical because it’s still recognizably connected to the tune. This approach keeps your improvised solos grounded. Listeners stay with you because they recognize the shape of the melody underneath your variations. Additionally, that recognition is what makes a solo feel intentional rather than random. [Learn mandolin with Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Building Musical Cells: Small Ideas With Big Impact on Your Improvised Solos Professional improvisers rarely think in long streams of notes. Instead, they think in short phrases called motifs or musical cells. A cell might be just three or four notes with a distinctive rhythm. The magic is in what you do with it next. First, play the cell. Then, repeat it on a different part of the beat. Next, move it up or down a few frets. Finally, invert the direction, going down where you originally went up. Suddenly, four notes become an entire phrase with internal logic. This is exactly how memorable improvised solos get made. The listener hears a small idea develop. That development creates a sense of story, even within a single eight-bar pass. You don’t need a huge vocabulary of scales to do this. You need patience and a willingness to sit with a tiny idea long enough to hear its possibilities. ## Embellishments That Breathe Life Into Simple Lines Slides, hammer-ons, and pull-offs are not decorations. They are tools for expression. A well-placed slide into the root note of a phrase can carry more emotional weight than a flurry of fast notes. Start with just one embellishment type per practice session. For example, take a simple four-note phrase and add a hammer-on to every other note. Notice how the phrase changes feel, not just sound. Because hammer-ons connect two notes smoothly, they push the line forward in a way that picked notes don’t. Pull-offs have the opposite character. They soften the attack. As a result, a phrase with a pull-off near the end naturally tapers off, which creates a sense of resolution. You can learn far more about this expressive territory by exploring [how tone and storytelling shape a solo](https://blog.artistworks.com/next-level-mandolin-improvisation/), where these tools get examined in even greater depth. ## Change the Key to Find Fresh Ideas Here is one of the most underrated tools for developing improvised solos: move the song to a different key. This forces your fingers out of their comfort zone. Shapes you rely on in G won’t sit under your hand in Bb, so you have to find new ones. That search for new shapes is creativity in disguise. Because your muscle memory can’t take over, your ear gets louder. You start listening for where the phrase wants to go instead of defaulting to familiar patterns. Even if you fumble at first, the ideas you stumble onto in a new key are often the most interesting ones. This technique pairs well with the foundational variation exercises covered in [the first steps of mandolin improvisation](https://blog.artistworks.com/mandolin-improv-beginners-first-variations/). Together, they give you both a framework and a fresh perspective to work from. [Get personal video feedback on your playing from Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Improvised Solos: Sing It First, Then Find It on the Fretboard If you can hum a phrase, you already have a melodic idea worth playing. This is one of the most practical techniques any musician can develop. Sing something short, four to six notes at most. Then find it on the fretboard. This process builds your ear-to-hand connection faster than any scale exercise. For instance, you might hum a rising phrase without knowing what notes it contains. As you search for it on the mandolin, you discover the notes by listening, not by reading. That discovery is real musical learning. Make it a habit. Before you pick up the mandolin to practice improvised solos, hum a few melodic ideas. Record them on your phone if that helps. Then treat finding those ideas on the fretboard as a puzzle worth solving. ## Scale Awareness: Your Map for Musical Safety Scales give you a map of notes that work over a given chord or key. When your ear leads you somewhere new during improvised solos, a scale pattern tells you which notes nearby are safe to land on. You don’t need to memorize every scale pattern immediately. Start with one: the major pentatonic pattern in your most comfortable key. Learn where it sits on the fretboard, then practice improvising using only those notes. Because the notes in the pentatonic scale are forgiving over most common chords, almost anything you play will sound musical. Once that pattern feels natural, add one note from outside it. Notice how it sounds. Most importantly, notice how it feels to reach for an unfamiliar note and recover smoothly. That recovery skill is what separates confident improvisers from hesitant ones. ## Putting It All Together: Your First Real Solo Pick one tune you know well. Play the melody once through, cleanly. On the second pass, change one note. On the third, add one embellishment. By the fourth pass, you’re building a real improvised solo, one small decision at a time. This is the whole process in miniature. And it scales up. Everything covered here, motifs, embellishments, key changes, singing first, scale maps, feeds into a larger understanding of how improvised solos work. For the full picture of where this journey leads, revisit the [complete guide to mandolin improvisation](https://blog.artistworks.com/start-improvising-mandolin-sound-good/). The path is shorter than it looks. [Explore Sierra Hull’s complete mandolin video lesson curriculum at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SHSierra Hull Grammy nominated bluegrass mandolinist and singer · ArtistWorks Mandolin Sierra Hull is one of the most celebrated mandolinists of her generation, combining bluegrass virtuosity with modern songwriting, improvisation, and singing. Her school connects traditional mandolin roles such as chop, tremolo, and breaks to a contemporary acoustic voice. At ArtistWorks [View Sierra’s School and full bio on ArtistWorks](https://artistworks.com/sierra-hull) Connect with Sierra [www.sierrahull.com/](https://www.sierrahull.com/)[YouTube](https://www.youtube.com/@ArtistWorksInchttps://www.youtube.com/channel/UCGtXXSDqlPFv1zx8CFGaA8Q)[Instagram](https://www.instagram.com/sierradawnhull/)[Facebook](https://www.facebook.com/SierraHullMusic/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, ear training, embellishments for solos, improv, improvised solos, mando, mandolin improvisation, mandolin lessons, melodic motifs mandolin, music lessons, sierra hull --- ### [Beautiful Tone and a Compelling Story: The Next Level](https://blog.artistworks.com/next-level-mandolin-improvisation/) **Published:** July 24, 2026 **Author:** ArtistWorks **Excerpt:** Reaching the next level as a mandolin improviser means more than learning new licks. You already have some vocabulary and a feel for playing over chord changes. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 23, 2026 · Updated Jul 23, 2026 · 5 min read SHFeatured in this articleFeaturing Sierra Hull · ArtistWorks educator --- Reaching the next level as a mandolin improviser means more than learning new licks. You already have some vocabulary and a feel for playing over chord changes. Now the real question is how to shape what you know so it actually moves a listener. This article is about that shift: from playing notes that are correct to playing notes that matter. We will look at how to build longer, more connected lines, how to vary your dynamics so a solo feels like a journey, how to think about storytelling while you play. How to get more out of every note through better tone and touch. For the full picture of where this all begins, check out [the foundational guide to mandolin improvisation](https://blog.artistworks.com/start-improvising-mandolin-sound-good/) before you dive in here. **Plain-English takeaway —** Once you have basic improv vocabulary, the next step is shaping your solos with dynamics, storytelling, and tone so every note lands with intention.## Next Level Thinking: Moving Beyond Lick-by-Lick Playing Most players hit a wall after they learn a handful of licks. They can play each one cleanly. However, the solo still sounds like a string of separate ideas. The reason is simple: the phrases are not connected to each other. Building longer lines is the fix. Instead of ending a phrase and starting a new one, carry the melodic idea forward. Let the end of one phrase become the beginning of the next. Think of it the way a sentence flows into the next paragraph, rather than stopping cold after every period. A useful exercise is to take two short phrases you already know and practice linking them without a gap. First, play phrase one. Then, start phrase two on the note where phrase one ended. Eventually this becomes a reflex, and your solos gain momentum and continuity. [Learn mandolin with Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## The Next Level: Shaping a Solo with Dynamic Arc A flat stream of notes at the same volume and density sounds exhausting to a listener. For an example in contrast, a solo that breathes, builds, and resolves feels like something. That shape is called a dynamic arc. It is one of the clearest signs that a player has moved to the next level. Think of your solo in three zones. The opening is relatively sparse, with space between ideas. The middle section builds density and intensity. Thereforeinally, the closing resolves tension and brings the listener back down. You do not need to plan every note. You just need to be aware of where you are in that arc. Density is not only about speed. Playing fewer notes at a higher volume can create more intensity than a fast run played quietly. Similarly, dropping suddenly to a single, held note after a dense passage is one of the most powerful things you can do. Listeners feel the contrast immediately. ## Telling a Story While You Play The musicians we genuinely admire do not just execute phrases. They communicate. Thinking of your solo as a narrative with a beginning, a rise, and a resolution is what separates memorable playing from technically correct playing. This does not need to be complicated. Before you start a solo, simply decide on a mood. Is this solo joyful? Restless? Melancholy? That single decision will influence which notes you reach for, how you handle space, and how you resolve phrases. Because that intention is in your mind, it starts to come through your hands. For deeper work on building phrases with a narrative shape, [this guide on melody and motifs](https://blog.artistworks.com/improvised-solos-mandolin-confidence/) is the natural next level to read. It covers exactly how short melodic ideas can grow into something a listener remembers. ## Chasing Tone: Pick Angle, Pressure, and Touch Here is an honest truth: two players can know the exact same scales and licks. One will sound twice as musical. Often, the difference is tone. At this stage, conscious attention to how you hold and use your pick meaningfully elevates how every single idea sounds. Pick angle matters enormously on mandolin. A pick that hits the string at a slight angle produces a warmer, rounder attack. In contrast, a flat attack gives you a brighter, harder edge. Neither is wrong. However, knowing the difference lets you choose. Pick pressure is equally important. Light pressure creates articulate, clear notes with quick decay. More pressure pushes the string further, adds density to the tone, and sustains slightly longer. Experiment deliberately: play the same phrase with three different pressure levels and listen back. The differences are striking. Touch, overall, is the sum of these choices plus your general relaxation. Tension in the picking hand produces a thin, strangled sound. Therefore, relaxing your grip, even mid-solo, opens up the tone immediately. ## Chasing Speed Without Losing Feel Speed is often the thing players chase first. However, at the next level, speed becomes a seasoning rather than the main dish. A fast run is only impressive if the player controls it, shapes it, and places it with intention inside the solo. The safest way to build speed is also the most boring-sounding advice: slow practice with a metronome. What actually works is practicing just past your comfort zone, not so fast that the notes blur. Fast enough that you feel the edge of control. For specific approaches to building that technical foundation, [this overview of first variations for beginners](https://blog.artistworks.com/mandolin-improv-beginners-first-variations/) covers the core mechanics in a way that applies at any stage. Speed also pairs with dynamics. A fast burst into a held note is far more effective than relentless speed for sixteen bars. Because the contrast is dramatic, the listener hears both the run and the silence after it. That contrast is musical, not just technical. [Get personal video feedback on your playing from Sierra Hull at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) ## Putting It All Together: Take Your Expression to the Next Level The goal of all this work is a solo that sounds like you at your best, not a checklist of techniques. Therefore, the practice room is where you build the tools and the bandstand is where you forget about them. Ideally, the dynamic arc, the storytelling instinct, and the tone awareness become reflexes rather than conscious decisions. Start small. Pick eight bars of a tune you know well. Record yourself and listen back once with fresh ears. Ask: does this solo go somewhere? Does it breathe? Does it sound like something I would want to hear again? Those three questions will tell you everything. The musicians we revere never stopped experimenting. Neither should you. Return to [the full mandolin improvisation guide](https://blog.artistworks.com/start-improvising-mandolin-sound-good/) anytime you want to reorient. That hub connects every idea in this series, including the work on [developing a musical feel for improvisation](https://blog.artistworks.com/next-level-mandolin-improvisation/) that brings everything together at the next level. [Explore Sierra Hull’s complete mandolin video lesson curriculum at ArtistWorks*Start →*](https://artistworks.com/sierra-hull) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor SHSierra Hull Grammy nominated bluegrass mandolinist and singer · ArtistWorks Mandolin Sierra Hull is one of the most celebrated mandolinists of her generation, combining bluegrass virtuosity with modern songwriting, improvisation, and singing. Her school connects traditional mandolin roles such as chop, tremolo, and breaks to a contemporary acoustic voice. At ArtistWorks [View Sierra’s School and full bio on ArtistWorks](https://artistworks.com/sierra-hull) Connect with Sierra [www.sierrahull.com/](https://www.sierrahull.com/)[YouTube](https://www.youtube.com/@ArtistWorksInchttps://www.youtube.com/channel/UCGtXXSDqlPFv1zx8CFGaA8Q)[Instagram](https://www.instagram.com/sierradawnhull/)[Facebook](https://www.facebook.com/SierraHullMusic/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** ArtistWorks, basic improv, building longer melodic lines, dynamic arc soloing, improv, mando, mandolin improv, mandolin lessons, mandolin tone and touch, music lessons, next level, next level mandolin improvisation, sierra hull, storytelling while improvising --- ### [ArtistWorks & TrueFire Artist Nominations for the 2026 IBMA Awards](https://blog.artistworks.com/2026-ibma-award-nominations/) **Published:** July 16, 2026 **Author:** ArtistWorks **Content:** [The International Bluegrass Music Association](https://ibma.org/) has announced the nominees for the **2026 IBMA Bluegrass Music Awards**, and we couldn’t be prouder. Eight artists from the TrueFire and ArtistWorks family earned nominations spanning 14 categories, from Song of the Year and Album of the Year to nearly every instrumental category on the ballot. The IBMA Awards are bluegrass music’s highest honor, voted on by the professional membership of the IBMA. Winners will be announced at the 37th Annual IBMA Bluegrass Music Awards on Thursday, October 22 at the Soldiers and Sailors Memorial Auditorium in Chattanooga, Tennessee. Here’s a look at our nominees and where you can study with each of them. ## **Alison Brown: 6 Nominations** ![](https://blog.artistworks.com/wp-content/uploads/2026/07/DSC07595.jpg "DSC07595 - ArtistWorks Blog")Alison shows up all over this year’s ballot. Her collaborations with Steve Martin earned nominations for Song of the Year and Collaborative Recording of the Year (“New Cluck Old Hen”) and Instrumental Recording of the Year (“Let’s Get Out of Here”). She’s also nominated for Banjo Player of the Year, and she appears twice in Music Video of the Year with “New Cluck Old Hen” and “Ralph’s Banjo Special” alongside Kristin Scott Benson and Gena Britt. [Learn banjo with Alison in her school on ArtistWorks.](https://artistworks.com/alison-brown) ## **Bryan Sutton: 4 Nominations** ![Smiling man in a denim shirt plays an acoustic guitar in a dim workshop setting with wooden walls and scattered equipment behind him.](https://blog.artistworks.com/wp-content/uploads/2026/07/810_4324.jpg "810_4324 - ArtistWorks Blog")Bryan’s pairing with Billy Strings on “The Devil Went Down to Deep Gap” earned nominations for Collaborative Recording of the Year and Music Video of the Year, and his duet with Sierra Hull on “Grandfather’s Clock” is up for Instrumental Recording of the Year. Bryan is also once again a nominee for Guitar Player of the Year, an award he has won more times than any other guitarist in IBMA history. [Study bluegrass guitar with Bryan in his school on ArtistWorks.](https://artistworks.com/bryan-sutton) ## **Sierra Hull: 3 Nominations** ![](https://blog.artistworks.com/wp-content/uploads/2026/07/Copy-of-ArtistWorks-DSC_0669.jpg "All rights reserved - ArtistWorks Blog")Sierra is nominated for Female Vocalist of the Year and Mandolin Player of the Year, and her recording of “Grandfather’s Clock” with Bryan Sutton is up for Instrumental Recording of the Year. Two ArtistWorks educators sharing one nomination is the kind of stat we’ll never get tired of. [Learn mandolin with Sierra in her school on ArtistWorks.](https://artistworks.com/sierra-hull) ## **Tony Trischka: 2 Nominations** ![Older man in a blue shirt sitting on a wooden bench outdoors, holding a banjo against an ivy-covered brick wall.](https://blog.artistworks.com/wp-content/uploads/2026/07/Copy-of-ArtistWorks-DSC_2906.jpg "Copy of ArtistWorks-DSC_2906 - ArtistWorks Blog")A living legend of the five-string, Tony earned a nomination for Banjo Player of the Year, and his recording of “Gentle On My Mind” with Billy Strings is up for Collaborative Recording of the Year. [Study banjo with Tony in his school on ArtistWorks.](https://artistworks.com/tony-trischka) ## **Alex Hargreaves: Instrumental Group of the Year** ![](https://blog.artistworks.com/wp-content/uploads/2026/07/DSC08894.jpg "DSC08894 - ArtistWorks Blog")Alex holds down the fiddle chair in the Billy Strings band, nominated for Instrumental Group of the Year. If you’ve seen that band live, you know how much firepower Alex brings to the stage every night. [Learn fiddle with Alex in his school on ArtistWorks.](https://artistworks.com/alex-hargreaves) ## **Missy Raines: Bass Player of the Year** ![Woman in a denim jacket posing with a large double bass against a gray background.](https://blog.artistworks.com/wp-content/uploads/2026/07/Sample-Lessons_1920x1080_Raines.jpg "Sample-Lessons_1920x1080_Raines - ArtistWorks Blog")Missy is nominated once again for Bass Player of the Year, a category she has won more than any bassist in IBMA history. [Study bluegrass bass with Missy in her school on ArtistWorks.](https://artistworks.com/missy-raines) ## **Andy Hall: Resophonic Guitar Player of the Year** ![Man with gray hair and tattoos sitting on the grass, holding a dark red acoustic guitar outdoors.](https://blog.artistworks.com/wp-content/uploads/2026/07/DSC_1954-1.jpeg "DSC_1954 1 - ArtistWorks Blog")The Infamous Stringdusters’ Andy Hall picks up a nomination for Resophonic Guitar Player of the Year, recognition of his standing as one of the premier dobro players in the game. [Learn resophonic guitar & lap steel with Andy in his school on ArtistWorks.](https://artistworks.com/andy-hall) ## **Trey Hensley: 4 Nominations** ![Man wearing a camo cap and denim shirt sits with an acoustic guitar, looking at the camera in a dim room.](https://blog.artistworks.com/wp-content/uploads/2026/07/169_1920-36.jpg "169_1920 36 - ArtistWorks Blog")Trey had a monster year, and the IBMA membership noticed. His record “Can’t Outrun the Blues” is up for both Song of the Year and Album of the Year, and Trey himself is nominated for Male Vocalist of the Year and Guitar Player of the Year. That’s a rare four-category sweep across writing, singing, and picking. [Study flatpicking with Trey in his courses on TrueFire.](https://truefire.com/educators/trey-hensley/e4859) ## **The Full List** Instrumental Group of the Year Billy Strings, featuring Alex Hargreaves Song of the Year “Can’t Outrun the Blues” by Trey Hensley “New Cluck Old Hen” by Steve Martin and Alison Brown Album of the Year “Can’t Outrun the Blues” by Trey Hensley Instrumental Recording of the Year “Grandfather’s Clock” by Bryan Sutton and Sierra Hull “Let’s Get Out of Here” by Steve Martin and Alison Brown Collaborative Recording of the Year “Gentle On My Mind” by Tony Trischka and Billy Strings “New Cluck Old Hen” by Steve Martin and Alison Brown “The Devil Went Down to Deep Gap” by Bryan Sutton and Billy Strings Male Vocalist of the Year Trey Hensley Female Vocalist of the Year Sierra Hull Banjo Player of the Year Tony Trischka Alison Brown Bass Player of the Year Missy Raines Resophonic Guitar Player of the Year Andy Hall Guitar Player of the Year Bryan Sutton Trey Hensley Mandolin Player of the Year Sierra Hull Music Video of the Year “The Devil Went Down to Deep Gap” by Bryan Sutton and Billy Strings “New Cluck Old Hen” by Steve Martin and Alison Brown “Ralph’s Banjo Special” by Kristin Scott Benson, Gena Britt and Alison Brown ## Learn From the Best in Bluegrass There’s a reason the artists teaching on TrueFire and ArtistWorks keep showing up on the IBMA ballot: they’re the players defining what bluegrass sounds like right now. And every one of them is ready to help you take your own playing to the next level, whether that’s through interactive video courses on [TrueFire](http://truefire.com) or personalized Video Exchange feedback on [ArtistWorks](http://artistworks.com). Congratulations to Trey, Alison, Bryan, Sierra, Tony, Alex, Missy, and Andy. We’ll be cheering you on in Chattanooga on October 22. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bluegrass, News **Tags:** IBMA Awards --- ### [Start Improvising on Guitar: Proven Approaches for Beginners](https://blog.artistworks.com/start-improvising-guitar-beginners/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** When you first try to start improvising on guitar, something strange happens. You know the notes. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 8 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- When you first try to start improvising on guitar, something strange happens. You know the notes. You know a few scales. But the moment the backing track starts, your fingers freeze. That gap between knowing music and making music in real time is exactly what this guide tackles. Over the next few minutes, you’ll discover five practical approaches that give beginners a genuine foothold in improvisation. Each one removes a layer of complexity so you can focus on what matters most: feel, choice, and sound. These approaches come from Dave Isaacs, a seasoned guitarist and educator who has helped players at every level unlock their voice on the instrument. By the end, you’ll know which approach to try first and where to go deeper on each one. There are no prerequisites beyond a guitar, a backing track, and a willingness to make some noise. **Plain-English takeaway —** You can start improvising right now by working through five focused approaches, one at a time, until making confident musical choices becomes second nature.## Start Improvising: What that Actually Means for Beginners A lot of beginners think improvisation means playing whatever comes to mind. In reality, it means making deliberate choices, in real time, from a set of musical tools you have already internalized. That distinction is important. Instead of trying to invent everything from scratch, you draw on patterns, sounds, and ideas you have practiced. Then you arrange them in the moment. Think of it like speaking. You do not invent words on the spot. Instead, you reach for vocabulary you already know and combine it in a new way. Improvisation on guitar works exactly the same way. First, you build a small vocabulary. Then you start improvising by combining those building blocks over a groove. The five approaches in this article each build a specific part of that vocabulary. Moreover, they build on each other naturally. Start with one, get comfortable, then move to the next. You do not need to master all five before you begin playing over tracks. In fact, even one approach practiced for a week will change the way you think about the guitar. [Get direct personal video feedback on your playing from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Start Improvising With Rhythm on a Single Note The most surprising thing a beginner can do is play one note and make it musical. However, that is exactly what the first approach asks you to do. [Locking into a groove with a single repeated note](https://blog.artistworks.com/single-note-rhythm-groove/) strips away every decision except rhythm. You are not choosing pitches. You are not navigating scales. Instead, you are focusing entirely on feel, timing, and groove. This matters because rhythm is the foundation of all music. A perfectly chosen note played with no rhythmic confidence sounds weak. Conversely, even a simple note played with conviction and groove sounds intentional and powerful. When you remove pitch from the equation, you can hear your rhythmic instincts clearly. You can feel where you are landing in the bar and adjust. Try it over a simple blues or rock backing track. Pick one note, maybe the root of the key, and experiment with long notes, short notes, syncopated patterns, and rests. Especially notice how space and silence shape the feeling of what you play. You will quickly realize that rhythm is not a background detail. It is the engine. ## Start Improvising and Build Musical Ideas With Cells and Permutations Once you have rhythm in your body, the next step is adding a handful of pitches. [Exploring how short melodic figures can transform your solos](https://blog.artistworks.com/musical-cells-guitar-improvisation/) is the second approach, and it introduces the idea of a musical cell. A cell is a short phrase, usually three or four notes, that you treat as a single unit. The power of cells is that they are small enough to memorize immediately. Because you know the cell by heart, you can begin rearranging its notes, reversing it, starting on a different note, or shifting its rhythm without thinking too hard. That rearranging is what musicians call permutation. It is one of the most powerful tools in jazz, blues, and rock improvisation. For example, try the notes G, A, and C over a G major backing track. Play them in order, then reverse them, then start on C, then skip back and forth. Each new arrangement sounds fresh, even though you are using the same three notes. As a result, you can generate minutes of music from a single tiny idea. That efficiency is what makes cells so useful for players who are just learning to start improvising without getting lost. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Map the Neck With Single String Melody to Start Improvising The guitar fretboard is visually complex, and that complexity is one of the biggest obstacles beginners face. The third approach solves this by giving you [a clear physical path through single string melodic playing](https://blog.artistworks.com/improvise-melody-one-string/). Instead of jumping across multiple strings, you stay on one string and move linearly up and down. This approach rewires how you hear and play melody. On a single string, you can actually see phrases as shapes. A step up is one fret. A leap up is several frets. Because the visual distance matches the sonic distance, your ear starts to connect what you see with what you hear. That connection is called ear-to-hand coordination, and it is crucial for confident improvisation. Additionally, single string playing borrows naturally from the way horn players and singers think. They cannot skip strings. They move through a range one note at a time. Practicing this forces you to think melodically rather than pattern-based. Over time, it becomes a reference point that improves your playing across all strings, not just the one you are practicing on. ## Extract Melody From a Scale Without Playing It Up and Down Most beginners learn a scale by running it from bottom to top, then top to bottom. That exercise is useful for memorizing the notes. However, running a scale is not improvising. [Discovering how to pull fresh melodic ideas out of a familiar scale](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) is the skill that bridges the gap. The approach here is simple. Instead of playing all seven notes of the scale in order, you pick a small cluster of notes from somewhere in the middle. Then you improvise only within that cluster for a while. For instance, take the pentatonic scale and focus on just the second, third, and fourth notes of the pattern. Stay there, try different rhythms, add bends and slides, then move to another cluster. This method keeps you from running up and down like a machine. It also forces you to listen more carefully because you are working with fewer options. Interestingly, that constraint is what makes it musical. The best improvisers often say that limitations free them. When you do not have to think about forty notes, you can put all your attention into phrasing, dynamics, and feel. That is when you truly start improvising rather than just playing through scales. ## Unlock Creative Space With Free Improvisation The fifth approach is the most open and, for many players, the most liberating. [Learning to make every note sound intentional even with no rules](https://blog.artistworks.com/free-improvisation-guitar-intentional/) is the goal of free improvisation. It works by removing the scale entirely. Instead of thinking about correct notes, you think about sound and texture. What does this note feel like? Does it create tension or release? Does it call for a response? Free improvisation trains your ear in a completely different way. Because there is no right answer, you are forced to listen and react rather than follow a plan. This might feel uncomfortable at first. Most beginners want rules because rules feel safe. However, free improvisation is not chaos. It is actually a very disciplined form of listening. You play something, then you respond to what you just played. Over time, you develop a musical instinct that transfers back into every other approach you practice. Start with short bursts, maybe thirty seconds at a time, over a drone or a simple chord. Focus on texture, dynamics, and phrasing. Then gradually extend the time as your comfort grows. You may be surprised by how much this loosens your playing in every other context. In fact, many intermediate players return to free improvisation regularly to break out of creative ruts. [Get coaching on your guitar playing and study directly with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Start Improvising: How to Choose the Right Approach for Where You Are With five approaches available, beginners often wonder which one to try first. The answer is usually the one that feels most manageable right now. If rhythm feels shaky, start with the single note groove approach. If you are comfortable with a scale but feel stuck running it, try the cluster method or single string melody. Moreover, you do not need to work through them in strict order. Each approach develops a different musical skill, so mixing them over the course of a week is perfectly fine. Above all, the most important step is to put on a backing track and actually play. Reading about improvisation builds knowledge. Playing over a track builds instinct, and instinct is what you need most. Set a timer for ten minutes each day. Pick one approach and stick with it for the session. Then, on a different day, try another. Over time, you will notice that ideas from each approach start bleeding into each other. That blending is exactly what you want. It means you are starting to develop your own voice. ## Continue Learning These five approaches work best when you explore each one with focus and patience. Here is the recommended journey through each deep-dive guide: 1. [Lock into the groove with single note rhythm and see how far one pitch can take you](https://blog.artistworks.com/single-note-rhythm-groove/) 2. [Learn how short melodic cells can power your improvisation for years](https://blog.artistworks.com/musical-cells-guitar-improvisation/) 3. [Discover why practicing melody on one string makes everything else click faster](https://blog.artistworks.com/improvise-melody-one-string/) 4. [Find out how to pull genuine musical ideas from a scale instead of just running it](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) 5. [Explore how free improvisation teaches you to trust your ear above everything else](https://blog.artistworks.com/free-improvisation-guitar-intentional/) ## Final Thought The moment you start improvising, even for thirty seconds over a simple chord, something shifts. You stop being someone who plays guitar and start being someone who communicates through it. These five approaches are not tricks or shortcuts. They are genuine musical tools that have helped real players find their voice at every stage of development. Dave Isaacs built them precisely because beginners deserve more than scale diagrams and theory lectures. They deserve methods that work immediately and grow with them over time. Pick one approach today, find a backing track, and press play. The fretboard will feel different by the time you stop. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, basic improv, dave isaacs, easy improv, free improvisation guitar, guitar improv, guitar improvisation for beginners, guitar lessons, improv, musical cell permutation, single string melody guitar, start improvising --- ### [Single Note Rhythm: How to Lock Into the Groove](https://blog.artistworks.com/single-note-rhythm-groove/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** That's the article's real opening line, ready to go. Edit it if you like — whatever's in this box is what the listing shows. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Playing a single note and repeating it might be the most underrated move in all of improvisation. Beginners often assume that good soloing means using lots of notes, clever scales, and fast runs. But that assumption is exactly what gets in the way early on. If you have ever noodled over a backing track and felt like nothing was landing, the problem probably was not your note choices. It was rhythm. This article is about using one note, repeated in different rhythmic patterns, to dial into the pulse of the music underneath you. Before you ever worry about scales or licks, rhythm is what makes music feel alive. That is the core idea behind [getting started with guitar improvisation](https://blog.artistworks.com/start-improvising-guitar-beginners/), and this drill will prove it fast. **Plain-English takeaway —** Playing one note in a deliberate rhythm teaches you to lock into the groove before you ever worry about which notes to pick.## Why Beginners Lose the Feel by Playing Too Many Notes Most new improvisers treat a solo like a race. They want to get from one end of the scale to the other. As a result, the notes pile up, the timing wavers, and the music underneath stops making sense. Here is the real issue: when you are hunting for the next note, you stop listening to the track. You are thinking instead of feeling. Consequently, your playing drifts out of the pocket without you even noticing it. The fix is radical simplicity. Instead of asking “what note comes next,” ask “what rhythm feels right on this note?” That single shift in focus puts you back in contact with the music. ## The Single Note Drill: Starting with Whole Notes First, pull up any slow-to-medium groove. A 12-bar blues backing track works perfectly. Then pick one note, say the root of whatever key the track is in, and forget every other note exists. Play that single note as a whole note every four beats. Just one note per measure. Your only job is to place that note squarely on beat one and let it ring. Because the goal right now is pulse awareness, not expression. This feels too simple. That is the point. If you cannot feel confident and relaxed playing one note per measure, you are not ready to add more notes yet. Stay here until the whole notes feel easy and unhurried. ## Moving to Quarter Notes on a Single Note Once whole notes feel comfortable, move to quarter notes. Play your chosen single note four times per measure, one on each beat. Now something interesting happens. You start to notice the groove underneath more clearly. Because you are not chasing notes, you can hear the kick drum, the bass, the rhythm guitar. That is exactly where you want your attention. In addition, try accenting different beats. Hit beat two a little harder. Then try beat four. Next, let beat one be soft and push beat three. Each accent creates a completely different feel against the same backing track. You are composing rhythm, not just counting. [Get coaching on your guitar playing and study directly with Dave Isaacs at ArtistWorks*Start →*](https://artistworks.com/dave-isaacs) ## Syncopation: When the Single Note Gets Interesting After quarter notes feel comfortable, start landing your single note in between the beats. Play it on the “and” of beat two. Hold it through beat three. Then rest for a beat and come back in on beat four. This is syncopation, and it is what funk, R&B, and blues are built on. A single note repeated with syncopated rhythm is a completely valid musical statement. In fact, some of the most recognizable guitar parts in history are one note played with a distinctive rhythmic pattern. Specifically, listen to how rhythm-focused players treat a single tone before they ever add a second note. They are not being lazy. They are locking in. So give yourself the same permission. There are no wrong rhythmic choices at this stage because the goal is feel, not pitch. ## How Each Rhythmic Choice Creates a Different Mood Here is something worth sitting with: the same single note can feel tense, relaxed, driving, or playful depending only on when you play it. For example, playing a note right on the downbeat feels grounded and confident. Playing it just ahead of the beat feels urgent. Playing it a little behind the beat feels laid back and cool. Moreover, resting for a full measure before you play the note creates anticipation that a barrage of notes never could. This is the rhythmic vocabulary most beginners skip entirely. They jump to [melodic ideas extracted from scales](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) before they have earned the rhythmic foundation those ideas need to land on. Rhythm is the platform. Without it, even great note choices fall flat. ## Varying the Rhythm: An Open-Ended Practice Approach Once you understand the basic principle, turn it into an open practice session. Set a timer for ten minutes. Choose one note. Then simply improvise with rhythm alone. Try whole notes for a while, then quarter notes, then offbeats. Next, try playing in short bursts with gaps between them. After that, try cramming several short notes together in a cluster and then resting. Notice how the conversation with the track changes each time. Because you have removed pitch from the equation entirely, your ear has nowhere else to go except toward time and feel. You will start to hear pockets in the groove you never noticed before. That is real musical awareness developing in real time. This kind of single note rhythmic exploration also connects naturally to what you will discover when you study [musical cells and how they work in improvisation](https://blog.artistworks.com/musical-cells-guitar-improvisation/). A rhythmic pattern on one note is basically a cell with all the pitch information stripped out. So you are already learning the architecture without realizing it. ## Putting the Groove First in Every Solo You Play After a few sessions with this drill, something shifts. You start every solo differently. Instead of reaching for the first scale shape, you listen for a moment first. You feel where the beat is. Then you find a rhythm before you find a note. That order, rhythm first and then pitch, is what separates players who sound musical from players who sound like they are practicing scales. It applies whether you are playing blues, funk, jazz, or anything else. This is also why [the full beginner improvisation guide](https://blog.artistworks.com/start-improvising-guitar-beginners/) puts so much weight on groove awareness before technique. Technique serves the music. Rhythm is the music. Return to the single note drill whenever your solos start feeling scattered or overplayed. One note. One rhythm. Reconnect with the pocket, then build from there. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, dave isaacs, guitar improv, guitar improvisation for beginners, guitar lessons, improv, locking into the groove, rhythm improv, rhythmic awareness guitar, single note, single note rhythm --- ### [Musical Cells: How to Improve Your Guitar Improvisation](https://blog.artistworks.com/musical-cells-guitar-improvisation/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** Musical cells are the smallest building blocks of any improvised guitar line. Understanding them can completely change the way you approach a blank fretboard. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Musical cells are the smallest building blocks of any improvised guitar line. Understanding them can completely change the way you approach a blank fretboard. A cell is simply a short figure, typically three or four notes, that expresses a melodic shape moving up or down by some interval. Think of it like a word. On its own, it means something. Combined with other cells, it becomes a phrase. If you’ve ever felt lost when trying to improvise, this framework gives you a concrete starting point. In fact, it connects directly to the [five beginner improvisation approaches covered in our pillar guide](https://blog.artistworks.com/start-improvising-guitar-beginners/). So instead of guessing what to play next, you’ll have a repeatable, manageable process for building real musical ideas. Image placeholder: hero**Plain-English takeaway —** Musical cells are short three-to-four-note figures that act like words in a melodic vocabulary, giving you a practical, repeatable framework for improvising instead of staring at a blank fretboard.## What Musical Cells Actually Are A musical cell is any brief melodic idea, usually three or four notes, that has a recognizable shape. For example, three notes moving upward by a half step and then jumping down a minor third form a cell. That shape is memorable. Because it’s short, your ear locks onto it immediately. Cells are not random clusters of notes. Instead, they have direction. They move somewhere, either upward, downward, or with a combination of both. That directional quality is exactly what makes a cell feel musical rather than accidental. Consider the opening of a classic blues riff. Most of the time, you’ll find a short figure repeated, varied, or answered by another figure. That short figure is a cell. In fact, nearly every memorable guitar line you’ve ever heard is built from cells working together. [Get direct personal video feedback on your playing from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## The Connection Between Musical Cells and Licks Here’s something useful to recognize: a lick is either a single cell or a combination of more than one. When you already know a handful of licks, you already know cells. You just haven’t been thinking of them that way. For example, take a classic pentatonic lick you’ve played a hundred times. Break it apart and you’ll likely find two or three distinct melodic shapes inside it. Each of those shapes is a cell. Because you can identify them separately, you can start mixing and matching them in new ways. This is why [thinking about licks differently](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) opens up your vocabulary so quickly. You’re not learning more material. Instead, you’re reorganizing what you already have into a more flexible system. ## Try This: The Four-Note Box Exercise Here is one of the most practical exercises you can do with this concept. Extract any four adjacent notes from the minor pentatonic scale, specifically the four notes that sit in a small box shape on two strings. Then experiment with every possible order those four notes can be played in. Four notes produce twenty-four possible orderings. Of course, not every ordering will sound equally musical. However, many of them will surprise you. You’ll stumble onto shapes that feel fresh because you’ve never played them in that sequence before. Next, try repeating one of those orderings two or three times in a row. Then vary the rhythm slightly. As a result, you’ll start hearing how repetition and small variations turn a raw cell into a real musical statement. This is exactly how professional improvisers build solos, one small idea developed over time. ## Musical Cells Are Like Words in a Language The most helpful way to think about this is linguistic. Musical cells work like words. A single word carries meaning. However, a sentence combines words in a specific order to say something richer. Your improvisation works exactly the same way. When you chain two cells together, you create a phrase. For instance, you might play a cell that rises and another that falls. Together, they create a sense of question and answer. That conversational quality is what makes a solo feel like communication rather than a display of notes. This is also why [improvising on a single string](https://blog.artistworks.com/improvise-melody-one-string/) is such a powerful teaching tool. A single string forces you to hear the melodic shape of each cell in isolation, without the visual shortcuts of box patterns. As a result, your ear gets stronger faster. Additionally, [locking into the groove with single-note rhythm](https://blog.artistworks.com/single-note-rhythm-groove/) matters here too. A cell played in the right rhythmic pocket lands with far more impact than the same notes played without rhythmic intention. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Breaking Free From Running Scales One of the most common beginner traps is treating the scale as the solo itself. You start at the bottom, run up to the top, and then wonder why it doesn’t sound like music. The reason is simple: scales are a resource, not a performance. Musical cells solve this problem directly. Instead of running the whole scale, you pick two, three, or four notes from it and focus entirely on shaping those notes into something expressive. For example, try playing only the first, third, and fifth notes of the minor pentatonic. Then experiment with bending, sliding, and varying the rhythm of just those three notes. Because you’re working with less material, you’re forced to develop it more creatively. That constraint is actually a gift. In fact, [going beyond running scales up and down](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) is one of the fastest ways to sound more musical immediately. ## Building Your Improvisation Practice Around Cells The practical payoff of thinking in cells is that it gives you a process. You don’t stare at the fretboard hoping something good appears. Instead, you start with one small figure and ask: what can I do with this? First, play the cell as written. Then, transpose it to a different starting note within the same scale. Next, reverse the direction of the pitches. After that, vary the rhythm so the same notes arrive on different beats. Finally, combine that cell with a second cell to build a longer phrase. This process is repeatable every single practice session. Because it’s structured, it removes the anxiety of the blank fretboard. Over time, your vocabulary grows naturally, and your solos start to sound like something you meant to play. That sense of intention is the real goal. For more on how to make every note sound deliberate, [free improvisation and intentional note choice](https://blog.artistworks.com/free-improvisation-guitar-intentional/) takes this idea even further. And if you want the full picture of how all these approaches fit together, the [complete guide to getting started with improvisation](https://blog.artistworks.com/start-improvising-guitar-beginners/) ties everything into one roadmap. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) Learn guitar with Dave Isaacs at ArtistWorks! --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, beginner improvisation practice, cells, dave isaacs, guitar improv, guitar improvisation framework, guitar lessons, improv, Improvisation, melodic building blocks, musical cells, pentatonic licks vocabulary --- ### [Improvise Melody on One String and Sound Better](https://blog.artistworks.com/improvise-melody-one-string/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** When you first try to improvise melody on guitar, the fretboard can feel overwhelming. You know a scale shape, but jumping between strings breaks your concentration. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- When you first try to improvise melody on guitar, the fretboard can feel overwhelming. You know a scale shape, but jumping between strings breaks your concentration. You end up chasing your fingers instead of hearing the music. There is a simpler starting point, and it lives on one string. Restricting yourself to a single linear path forces you to listen to the melodic shape you are actually creating, note by note. This is one of the most practical approaches covered in the broader guide on [getting started with guitar improvisation](https://blog.artistworks.com/start-improvising-guitar-beginners/). It works even if you have only been playing a few months. Image placeholder: hero**Plain-English takeaway —** Improvising on a single string removes fretboard complexity so you can finally hear the melodic shape you are building, not just the scale you memorized.## Why Single-String Playing Helps You Improvise Melody More Clearly Most beginners learn scale shapes as boxes. That is useful for mapping the fretboard. However, those shapes can actually work against you when you want to improvise melody in an expressive, singable way. The problem is visual. When you jump across six strings, your attention goes to finding the right fret on the right string. As a result, your ear disconnects from the melodic line. You are navigating, not singing. One string changes that completely. Because every note sits in a straight row, you can feel the distance between pitches physically. A step feels like one fret. A skip feels like two or three. That physical feedback connects directly to what your ear hears. ## Start to Improvise Melody with Three Notes and a Familiar Shape Here is the simplest version of this idea. Find three notes on your high E string. Play them descending: a whole step, then another whole step. That is exactly the melodic shape of “Hot Cross Buns.” You almost certainly already know how it sounds. Now, instead of just playing the melody, explore those three notes freely. Go up, go down, repeat one note, skip to the top. You are improvising melody with a tiny, well-defined set of stepping stones. Because the boundary is so tight, your brain stops worrying about what note comes next. Instead, you start shaping phrases. You might linger on the middle note or land hard on the bottom one. Those are melodic decisions, and they matter far more than scale knowledge. [Get direct personal video feedback on your playing from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Think in Shapes, Not Just Notes Here is a mental shift that makes single-string improvisation click faster. After you play a short phrase, ask yourself: was that line going up, going down, or zigzagging? Thinking about the shape of your phrase is thinking melodically. A phrase that rises feels like a question. A phrase that falls feels like resolution. A zigzag pattern creates tension and forward motion. For example, try playing your three notes in a zigzag: low, high, middle, high, low. Notice how it feels restless compared to a simple descending line. Both patterns use the same three notes. However, the shape is completely different, and that shape is what a listener actually hears. This is a skill that goes far beyond single-string playing. In fact, it connects directly to what the [guide on building melodic ideas from a scale](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) covers once you are ready to expand your vocabulary. ## Visualizing the Path as a Line Borrow an idea from ear-training teachers: draw the phrase in the air or in your mind as you play it. If your notes go up, the imaginary line goes up. If they come back down, the line curves back. This sounds simple. It is. However, it rewires how you think while you improvise melody. Instead of scanning a scale diagram in your head, you are drawing a picture. That picture is the melody. Straight lines tend to create momentum. Curved lines tend to breathe and resolve. Zigzag lines create rhythmic urgency. None of those shapes require complex theory. They only require you to listen and draw. Practice this slowly. Play three or four notes, then stop and name the shape out loud: “that went down and then bounced back up.” Over time, you will start choosing shapes intentionally before you play them. ## Improvise Melody with a Single-String Pentatonic Scale to expand the Palette Once three notes feel comfortable, expand to the full pentatonic scale on one string. On the high E string in the key of A minor, that gives you five notes with a characteristic skip built in. Specifically, the skip from the fourth degree to the fifth creates the sound that makes pentatonic lines feel bluesy and expressive. That skip is important. It means your melodic path is not just a smooth staircase. It has a jump in it, and that jump adds personality. Use the same shape-thinking approach with these five notes. Draw straight lines, curves, and zigzags across that wider palette. Because you are still on one string, the navigation stays simple. Your attention stays on sound. This also connects naturally to the concept of [musical cells and short repeating ideas](https://blog.artistworks.com/musical-cells-guitar-improvisation/). A two or three-note fragment from your single-string palette can become a cell you develop and vary across a whole phrase or chorus. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Locking In the Groove While You Shape the Melody Melody without rhythm is just pitch. So as you explore single-string shapes, keep one ear on the beat. This does not mean playing metronomically stiff. It means knowing where the downbeats are and landing on them intentionally. Try this: pick a shape, then play it starting on beat one. Then play the same shape starting on beat two. Notice how the feeling changes completely even though the notes are identical. This connects to the broader idea of [locking into a groove with single-note lines](https://blog.artistworks.com/single-note-rhythm-groove/), which is worth exploring once your melodic shapes feel consistent. Rhythm and melody are partners, not separate topics. ## Improvise Melody: Putting It All Together on the Fretboard When you feel ready to move beyond a single string, you will have something valuable: a clear sense of melodic shape. That is exactly what gets lost when beginners jump straight into full scale patterns. Return to the single-string approach any time your playing feels scattered or mechanical. It resets your ear fast. It reminds you that to truly improvise melody, you need to hear the line, not just execute the scale. The [complete beginner improvisation guide](https://blog.artistworks.com/start-improvising-guitar-beginners/) maps out where this fits in a larger learning path. Single-string work is not a shortcut or a limitation. It is the foundation for every melodic idea you will ever play. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, beginner guitar improvisation, dave isaacs, guitar improv, guitar lessons, improv, improvise melody, melodic shape on guitar, melody, pentatonic melody phrasing, simple improv, single-string guitar improvisation --- ### [Melodic Ideas: How to Go Beyond Linear Scale Patterns](https://blog.artistworks.com/melodic-ideas-how-to-go-beyond-linear-scale-patterns/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** Strong melodic ideas don't come from running a scale top to bottom and calling it improvisation. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Strong melodic ideas don’t come from running a scale top to bottom and calling it improvisation. That approach is a workout, not a musical statement. So if you’ve read through [the full beginner’s guide to guitar improvisation](https://blog.artistworks.com/start-improvising-guitar-beginners/) and you understand your scale shapes, the next step is learning how to actually turn those notes into something that sounds like music. This article breaks down a concrete method: isolate small cells within your scale, then rearrange and combine them the way a composer would. You’ll stay in one position, move between a few simple fragments, and gradually build real melodic vocabulary without wandering all over the neck. Image placeholder: hero**Plain-English takeaway —** Real melodic ideas come from working small fragments of a scale in varied combinations, not from playing the whole scale straight through.## Why Running the Scale Isn’t Enough for Melodic Ideas First, let’s name the problem directly. A scale run gives you access to the right notes. However, access is not the same thing as musical thought. When you play C to C and back, you’re demonstrating knowledge, not making a statement. Think about how melodies actually work. Most of them orbit around a small handful of notes. Because of that, they feel memorable and purposeful. A scale run, in contrast, treats every note as equal and moves in only one direction. As a result, it sounds like an exercise even when the notes are perfectly correct. So instead of practicing the whole scale as one long phrase, start treating it as a collection of smaller pieces you can reach into at any time. ## Spotting the Cells Inside Your Scale Take one octave of any scale you’re comfortable with. For example, use a simple five-note pentatonic box or the first seven notes of a major scale. Now look at just the first three or four notes. That cluster is your first cell. Next, identify another small group. Maybe it’s notes three through six, or the top four notes of the octave. Each small cluster has its own distinct feel because the intervals between the notes are slightly different. In other words, each cell already has a personality before you do anything with it. This is the same principle at work in [the practical guide to improvising with musical cells](https://blog.artistworks.com/musical-cells-guitar-improvisation/). However, here you’re sourcing those cells directly from a scale shape you already know, which makes the starting point even simpler. [Get direct personal video feedback on your playing from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## How to Apply the Permutation Process to Scale Cells Once you have two or three cells identified, start moving through their notes in different orders. Play the first cell forward, then backward. Start on the middle note instead of the first. Skip a note, then come back to it. For example, if your cell is the notes G, A, B, and C, try A, C, G, B. Then try B, G, A, C. None of these combinations require new technical skill. Instead, they require musical curiosity about what the same four notes can do in different arrangements. Because this process is systematic, it removes the pressure of inventing something from nothing. You’re not composing from scratch. Instead, you’re exploring a small space very thoroughly, and that exploration is where melodic ideas naturally start to emerge. ## Melodic Ideas Moving Between Cells to Create Musical Conversation Playing one cell on a loop gets old quickly. So the next step is learning to move between two cells in a way that feels like a conversation. Think of it as call and response at a small scale. Play your first cell for a bar or two. Then shift to your second cell for a bar or two. Finally, return to the first. That simple back-and-forth already creates tension and resolution, which is the core of melodic development. Meanwhile, pay attention to where one cell ends and the other begins. Sometimes a shared note creates a smooth pivot. In other cases, the leap between cells adds energy. Both are useful. However, you should notice what’s happening rather than just stumbling through it. Awareness of the transition is what lets you eventually control it on purpose. This sense of conversation also connects to what you’ll explore in [free improvisation techniques that make every note sound intentional](https://blog.artistworks.com/free-improvisation-guitar-intentional/). Of course, that material goes further. For now, two cells in dialogue are enough. ## Stay in One Position and Let the Music Come to the Hands One of the biggest mistakes early improvisers make is moving around the neck to chase notes. As a result, the physical layout becomes the main obstacle, and the musical thinking shuts down. So stay in one region. Pick a comfortable fretboard position and commit to it. This limitation is actually a gift. Because your hand doesn’t have to travel, your mind is free to focus on the musical ideas themselves. [Improvising on a single string](https://blog.artistworks.com/improvise-melody-one-string/) takes this concept to an extreme. The principle is the same: constraint forces creativity. Additionally, staying in one position makes it easier to hear what your cells sound like in relation to the root note of the scale. That’s the ear training happening in real time. In other words, you’re building the instinct to hear intervals, not just finger them. [Check out the Session Players Toolkit with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## Building Your Melodic Ideas Gradually Over Time Once two cells in one position feel natural, add a third cell. Then try shifting your position by one or two frets while keeping the same cell logic. Eventually you’ll cover the full neck, not by learning every scale shape at once, but by expanding gradually from a solid center. Similarly, you can grow the scale itself. If you started with a pentatonic, add one note and see how it changes the character of your cells. Because you’re already fluent in the smaller vocabulary, that new note has context and meaning rather than just being an extra option. This gradual approach mirrors what [locking into the groove with single-note rhythm](https://blog.artistworks.com/single-note-rhythm-groove/) teaches about building musicality one layer at a time. Strong melodic ideas and strong rhythmic feel grow by the same method: focused repetition in a limited space, then a small expansion when you’re ready. ## From Scale Knowledge to Musical Voice The scale is raw material. The cells are your tools. The permutations are how you learn what those tools can do. Together, they turn scale knowledge into actual melody, which is the whole goal. For a broader look at how this approach fits into your overall development, revisit [the complete guide to improvisation for beginners](https://blog.artistworks.com/start-improvising-guitar-beginners/). That roadmap shows you where these melodic ideas fit among all the other skills. Now go pick two cells, stay in one spot, and start the conversation between them. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, dave isaacs, fretboard position playing, guitar improv, guitar lessons, guitar permutation technique, improv, Improvisation, melodic ideas, musical conversation improvisation, scale cells for improvisation, Soloing, soloing with scales --- ### [Free Improvisation: Make Every Guitar Note Sound Intentional](https://blog.artistworks.com/free-improvisation-guitar-intentional/) **Published:** July 17, 2026 **Author:** ArtistWorks **Excerpt:** Free improvisation might be the most misunderstood concept in guitar education. Most players hear "free" and assume it means random, sloppy, or undisciplined. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 17, 2026 · Updated Jul 17, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Free improvisation might be the most misunderstood concept in guitar education. Most players hear “free” and assume it means random, sloppy, or undisciplined. In fact, free improvisation is one of the most focused practices you can do. It strips away the safety net of scales and forces you to listen to what your instrument is actually saying. If you’ve been working through [the five core approaches to improvising](https://blog.artistworks.com/start-improvising-guitar-beginners/), this is the one that asks the deepest question: not “what scale fits here?” but “what effect do I want to create?” That shift changes everything. This article will show you how to work without a scale map, how to treat every note as a valid choice. How to build a practice around something called tone painting that keeps your playing purposeful even when there are no rules. Image placeholder: hero**Plain-English takeaway —** In free improvisation, scales are optional tools, not required rules, so your job is to focus on the sonic effect you want and let that guide every note you play.## What Free Improvisation Actually Means on Guitar Free improvisation does not mean playing without thought. Instead, it means playing without a predetermined harmonic map. You are not tracking which scale degree you are on. You’re not checking whether a note fits the chord. You are listening to the sound coming out of your amp and asking one question: does this serve the feeling I’m going for? That is a harder question than “is this note in the pentatonic box?” However, it is also a more honest one. When you remove the rule of scale correctness, you replace it with the rule of sonic intention. Every choice has to be deliberate, because nothing is automatically safe and nothing is automatically wrong. This is not an advanced concept reserved for jazz players or experimental musicians. In fact, beginners sometimes take to it more easily than intermediate players. Intermediate players often carry a lot of anxiety about wrong notes. Because free improvisation reframes the whole question, that anxiety has nowhere to land. ## Tone Painting: A Better Frame Than “Playing Free” The phrase “free improvisation” can feel paralyzing, especially if you’ve spent years learning scales and positions. So here’s a more useful frame: tone painting. Think of your guitar as a brush and the sonic space as a canvas. Your job is not to play correctly. Your job is to paint a specific feeling. For example, pick a single word before you start. Try “restless.” Now play anything, but make every note serve that feeling. Notice how quickly your choices sharpen. Suddenly you are choosing spiky rhythms, bends that don’t resolve, and dynamics that push rather than settle. That is free improvisation working the way it is supposed to work. The word or image you choose becomes your compass. Because you have a compass, nothing is random. Even a “wrong” note can serve the painting if you respond to it with intention. [Get direct personal video feedback on your playing from Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) ## No Wrong Notes: Understanding the Real Stakes of Free Improvisation Here is the idea that unlocks free improvisation for most players: every note creates a musical effect. Specifically, every note creates either tension, release, color, or some combination of all three. A note that clashes with the underlying harmony creates tension. That tension is not a mistake. It is a resource. The question is not whether the note fits. The question is what you do next. If you hit a note that sounds jarring, you have two options. First, you can move away from it quickly and the tension resolves. Second, you can lean into it, let it sustain, and build on it. Both are valid. In fact, the second option is often more interesting. This is the core skill of free improvisation: responding to what you just played rather than following a predetermined path. [Using musical cells the right way](https://blog.artistworks.com/musical-cells-guitar-improvisation/) builds a similar muscle. Cells are also about developing an idea in real time rather than running a scale from top to bottom. ## Your Full Toolkit Goes Way Beyond Pitch Most guitarists think improvisation is primarily about note choice. In free improvisation, pitch is just one ingredient. Rhythm, dynamics, texture, and even noise are equally valid materials. You can build an entire improvised moment out of a single repeated note if you vary the attack, the timing, and the pressure on the string. Consider dynamics alone. A passage that starts barely audible and swells to full volume tells a story. That story exists even if every note is the same pitch. Similarly, rhythm can carry a mood independently of what notes you are playing. [Locking into a groove with rhythm on a single note](https://blog.artistworks.com/single-note-rhythm-groove/) is a direct gateway into this kind of thinking. Texture is also on the table. Percussive muting, pick scrapes, harmonics, and feedback are all sonic tools. In free improvisation, these are not cheats or gimmicks. They are colors on your palette, and you should use them when the painting calls for them. ## Free Improvisation: Practical Steps to Start Playing with Intention The fastest way to develop free improvisation is to give yourself a clear brief before each take. Pick a mood or a visual image, something specific like “abandoned building at dusk” or “a conversation that turns into an argument.” Then hit play on a simple backing track, anything with a steady pulse. Let your sonic choices serve that brief. Do not monitor your scale use. Instead, monitor your feeling. After each pass, ask yourself one question: did that sound like what I was going for? If yes, notice what you did. If no, adjust one variable on the next take. Maybe the dynamics were too even. Maybe the rhythm was too predictable. Small adjustments add up fast. Keep your takes short at first. Eight bars is enough. [Building melodic lines one string at a time](https://blog.artistworks.com/improvise-melody-one-string/) is a related technique that helps you stay focused when the harmonic map disappears. In addition, [extracting melodic cells from a scale rather than running it](https://blog.artistworks.com/melodic-ideas-scale-beyond-up-down/) gives you a bridge between structured and free playing. ## Bringing Intention Back to Everything You Play Free improvisation is not a detour from real guitar playing. It is, in fact, the destination that all structured practice is pointing toward. Once you understand that every note creates an effect and that your job is to shape those effects into a feeling, you will bring that awareness back to everything you play, including your blues licks, your chord melodies, and your solos over a standard backing track. Return to [the full beginner improvisation roadmap](https://blog.artistworks.com/start-improvising-guitar-beginners/) when you are ready to see how this approach connects to the other four. The five approaches work together. Free improvisation is the one that ties them all to your artistic voice. Start with a mood. Pick up the guitar. Paint something. [Learn guitar with Dave Isaacs at ArtistWorks!*Start →*](https://artistworks.com/dave-isaacs) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** dave isaacs, free improv, free improvisation, guitar improv, guitar improvisation practice, guitar lessons, intentional note choice, playing without scales, tone painting guitar --- ### [How to Practice Improvisation: A Beginner's Guide That Works on Any Instrument](https://blog.artistworks.com/how-to-practice-improvisation-a-beginners-guide-that-works-on-any-instrument/) **Published:** July 16, 2026 **Author:** ArtistWorks **Content:** Improvisation is one of those skills that sounds magical when someone else does it well and feels impossible when you try to do it yourself. You know you should be practicing, but what exactly? Just playing scales over a backing track? Noodling until something clicks? Learning licks and trying to string them together? Every beginner eventually hits the same question: ***how can I practice improvisation in a way that actually produces progress?*** In this guide, we’ll walk through a practical, structured approach that works across every instrument and every style (and how [ArtistWorks](https://artistworks.com/) can help get you to that next level you’ve been dreaming of). ## Table of Contents - [Why Improvisation Needs a Practice Routine](#why) - [How to Practice Improvisation: Start With the Melody](#melody-first) - [Andy Hall on the Melody-Improvise-Melody Method](#andy) - [An Improvisation Practice Routine You Can Use Every Day](#routine) - [How to Get Better at Improvising: Habits That Actually Work](#better) - [Music Practice Tips That Accelerate Your Improvisation](#tips) - [Deliberate Practice Improvisation: What Focused Repetition Means](#deliberate) - [How to Build Improvisation Skills for the Long Haul](#build) ## Why Improvisation Needs a Practice Routine Most beginners approach improvisation the same way: they put on a backing track, pull out their instrument, and hope something interesting happens. Sometimes it does. Most of the time, though, the session ends in the same place it started, with the same handful of licks played the same handful of ways, and no real sense that anything new has been added to their playing. Real improvisation growth requires a routine. The routine doesn’t have to be complicated, but it does have to be **intentional**. When you know what you’re working on, why you’re working on it, and how you’ll know when it’s improving, every practice session moves your playing forward instead of running in place. This article gives you that structure, along with the daily habits and long-term strategies that turn improvisation from a scary skill into a natural way of playing. ## How to Practice Improvisation: Start With the Melody Practicing improvisation starts with a piece of advice you’ll hear from almost every great teacher: know the melody before you try to embellish it. [Andy Hall](https://artistworks.com/andy-hall) puts it directly: **you should never be improvising over a song whose melody you can’t play**. The melody is the reference point every improvised phrase relates back to. When you know it cold, your improvisation has a home to return to. When you don’t, everything you play tends to sound generic no matter how technically clean it is. The practical version of this advice is the melody-first practice sequence: - **Learn the melody first.** Sing it. Play it. Play it in different keys and positions. Get it under your fingers so completely that you’d recognize it anywhere. - **Alter the melody in small ways.** Change one or two notes. Add a slide or a bend. Move a phrase up an octave. Small alterations are your first improvisation reps. - **Use the melody’s rhythm with different notes.** Keep the rhythmic shape of the original melody and change the pitches. This is a powerful bridge between playing the melody and full-blown improvisation. - **Improvise over the form, then return to the melody.** Take one chorus to improvise freely, then play the melody again as an anchor. Alternate. The melody-improvise-melody-improvise pattern gives your ear a home base while you explore. ## Andy Hall on the Melody-Improvise-Melody Method ArtistWorks resophonic guitar & lap steel instructor [Andy Hall](https://artistworks.com/andy-hall) demonstrates the melody-first approach in the lesson above, using the classic bluegrass song “Wabash Cannonball” as the vehicle. He plays the melody through once, then improvises through once, then returns to the melody, then improvises again. The alternation is what makes the method work. Each melody statement grounds you back in the song. Each improvisation chorus gives you a chance to try something new. Andy also shares a quote from the great jazz guitarist [Charlie Christian](https://www.youtube.com/watch?v=Ce9Jtl9D6FQ&pp=ygURY2hhcmxpZSBjaHJpc3RpYW4%3D), who when asked how he improvised, reportedly said he didn’t really know. He just knew a thousand melodies. The takeaway for any beginner: the more melodies you learn, the more musical vocabulary you have to draw from when it’s your turn to solo. Repertoire is the deepest practice tool an improviser has. ## An Improvisation Practice Routine You Can Use Every Day An improvisation practice routine works best when it’s short, focused, and repeatable. A 30-minute daily session, structured like this, will produce real progress: 1. **5 minutes: warm-up on your instrument.** Scales, long tones, basic technique. Get your hands and ears awake. 2. **5 minutes: learn or review a melody.** Pick one song. Play the melody in the key it lives in. Sing it while you play. Focus on time and tone. 3. **10 minutes: melody variations.** Alter the melody in small ways. Change a few notes. Change the rhythm. Keep the shape recognizable while you experiment. 4. **5 minutes: full improvisation over the form.** Play through the song and improvise. Try to relate what you play back to the melody without literally repeating it. 5. **5 minutes: reflect and record.** Record the last chorus of your improvisation. Listen back once. Notice one thing that worked and one thing to refine tomorrow. Doing this daily for three months will change your improvisation dramatically. The routine is deceptively simple, and the depth comes from consistency. ## How to Get Better at Improvising: Habits That Actually Work How to get better at improvising comes down to a handful of habits that compound over time: - **Practice with backing tracks in a loop.** Andy mentions this technique explicitly. Loop a track and play over it until you find yourself trying new ideas. The repetition builds fluency. - **Know your fretboard, keyboard, or fingerboard.** Whatever your instrument, understanding where notes live in multiple places on the instrument gives you options in real time. Beginners often lock into one position. Great improvisers move freely. - **Learn songs, not just scales.** Songs teach you how melodies actually work. Scales teach you where notes live. You need both, and songs are more musical. - **Record yourself and listen back.** Your ear will catch things your fingers missed. Consistent self-listening is one of the fastest paths to improvement. - **Play with other musicians as often as possible.** Real-time musical conversation is a different skill from solo practice. Both matter. ## Music Practice Tips That Accelerate Your Improvisation Music practice tips that specifically accelerate improvisation focus on structure and reflection more than on new techniques. A few worth adopting: - **Set a clear intention before each session.** “I’m going to work on melody-first improvisation over ‘Wabash Cannonball'” beats “I’m going to practice for an hour and see what happens” every time. - **Use a timer.** Focused ten-minute blocks produce better results than unfocused hour-long sessions. - **Slow down.** If you can’t play an idea cleanly at a slow tempo, you can’t play it musically at a fast tempo. Slow practice is where real improvement lives. - **End every session with reflection.** Write down one thing you learned and one thing to work on tomorrow. The habit of reflection turns practice into progress. - **Practice in small daily doses.** Improvisation skill accumulates through consistency more than through intensity. ## Deliberate Practice Improvisation: What Focused Repetition Means Deliberate practice is different from “just playing.” It targets a specific skill, works on it slowly and carefully, and pushes just past what’s currently comfortable. An example of deliberate improvisation practice: take one melodic phrase you love from a song. Play it exactly as written. Now play it starting on a different note. Now play it in a different rhythm. Now play it descending instead of ascending. Now play it over a chord where it doesn’t quite fit and adjust the notes to make it work. That’s twenty minutes of deliberate practice on a single phrase, and it produces more improvisation growth than an hour of unfocused noodling. The mental cost is real. Deliberate practice feels harder than freestyle playing because it demands attention. That difficulty is a feature. If it feels easy, you’re probably not building new skill. ## How to Build Improvisation Skills for the Long Haul How to build improvisation skills over a career, rather than over a weekend, comes down to a longer view of what you’re doing. Improvisation is a language you keep expanding for the rest of your musical life. The players who impress you most are still adding vocabulary, still transcribing melodies, still working on phrasing, still recording themselves to see what’s changed. That work never stops, and that’s part of what makes music such a rewarding lifelong pursuit. For a deeper dive into the mindset side of confident improvisation, our companion blog post on [how to improvise music confidently](https://blog.artistworks.com/how-to-improvise-music-confidently-a-beginners-guide-for-any-instrument/) covers the mental habits that pair naturally with the practice techniques in this article. ## Take Your Improvisation Practice to the Next Level How to practice improvisation is one of those questions that seems abstract until you have a clear routine. Learn the melody. Alter the melody. Alternate between playing the melody and improvising over the form. Build repertoire. Record yourself. Reflect. Repeat daily. That’s the whole framework, and it’s enough to keep you growing as an improviser for as long as you want to keep playing music. Start a free trial at [ArtistWorks](https://artistworks.com) and learn with personal guidance**.** Submit videos of your playing, receive personalized feedback from world-class faculty across nearly every instrument, and build the improvisation practice habits that will carry you through every jam, session, and performance to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** Andy Hall, Beginner Music, Charlie Christian, Cross-Instrument Skills, Deliberate Practice, Improvisation, Melody-First Method, Music Practice, Practice Routine, Soloing, Video Exchange Learning --- ### [Bluegrass Guitar: How To Improvise Melody-First Solos](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** Bluegrass guitar asks you to do two things at once. You are the band's rhythmic engine. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 5 min read --- Bluegrass guitar asks you to do two things at once. You are the band’s rhythmic engine. You are also a lead voice stepping forward to carry the melody when your break arrives. That dual role confuses a lot of players, and most of the confusion lives in one bad habit: abandoning the melody the moment the spotlight hits. Understanding how bluegrass guitar balances these two jobs is the foundation of everything in [the full ensemble improvisation guide](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/). This article breaks down the flatpicking approach specifically, from how you think about a break to how your pick hand generates the tone and drive that makes the whole band lock in. Work through the ideas here in order, because each one builds on the last. **Plain-English takeaway —** A great bluegrass guitar break stays rooted in the song’s melody, powered by a strong flatpicking right hand, and always serves the band rather than outrunning it.## What Bluegrass Guitar Actually Expects From You First, let’s be clear about the role. In a bluegrass band, the guitar almost never stops contributing rhythmically. Even during a lead break, the best flatpickers maintain a sense of forward pulse. That pulse is what locks the bassist and mandolin together. Second, you carry the melody when everyone else steps back. The band and the audience have already heard the song sung. Your break is essentially the vocal melody on strings. Because of that, listeners will feel it immediately if the melody disappears into scale fragments. So the job is not “play rhythm, then play lead.” Instead, it is “play rhythm that hints at lead, then play lead that remembers rhythm.” That mindset shift changes everything about how you practice. ## Start With the Melody, Not the Scale The single biggest mistake in early-intermediate bluegrass breaks is reaching for the pentatonic box instead of the song’s actual melody. For example, if you are playing “Old Joe Clark,” the audience knows that melody. Your break should sound like “Old Joe Clark,” not like a G major scale workout. Therefore, before you touch the guitar, sing or hum the melody slowly. Then find those notes on the fretboard, one phrase at a time. Keep them. Those are your skeleton notes. Next, you can decorate. Add a slide into a long note. Drop in a hammer-on between two melody pitches. Use a pull-off to soften a phrase ending. However, do this only after the skeleton is solid. Decoration only works when the listener can still hear the bones underneath. Additionally, land on the strong beats. The first and third beats of a measure are where the melody needs to be present. Fill the weak beats with ornaments or open strings, but do not bury a melody note in the middle of a run and expect it to register. [Learn with Grammy-nominee Michael Daves at ArtistWorks*Start →*](https://artistworks.com/michael-daves) ## Bluegrass Guitar Tone Lives in Your Right Hand Most players practice left-hand licks endlessly and wonder why their break sounds thin or mechanical. The answer is almost always the right hand. Specifically, it is pick angle, pick depth, and the way you release the string after you strike it. Hold the pick firmly but not rigidly. Strike the string with a slight downward angle rather than perfectly parallel to the soundhole. This produces that bright, cutting tone you hear from players like Tony Rice or Clarence White. In contrast, a flat, parallel pick attack produces a softer, blurrier sound that gets lost in the mix. Pick depth matters just as much. Shallow picking produces thin tone. Instead, let the pick travel through the string just far enough that you feel a slight resistance on the exit. That resistance is the string doing its job. Furthermore, practice the right hand in isolation. Mute all six strings with your left hand, then run scales and licks with your right hand only. Listen to the evenness, the attack, and the drive. If the rhythm feels wobbly, slow down and fix it there before adding left-hand complexity. ## Ornaments That Serve the Melody Slides, hammer-ons, pull-offs, and crosspicking are the core ornament toolkit in bluegrass guitar. Each one should connect two melody notes or add vocal-style inflection, not replace the melody with technique. Slides work especially well entering a note from a half-step below. For instance, if the melody lands on B, slide from Bb into B rather than attacking it directly. This mimics the way a vocalist bends into a pitch and gives the phrase a live, breathing quality. Hammer-ons and pull-offs add grace note detail between skeleton notes. However, keep them short. One or two grace notes per phrase is usually enough. More than that and the melody gets cluttered. Crosspicking is where bluegrass guitar gets its rolling, banjo-like texture. Specifically, it involves a repeating pattern across three adjacent strings in a steady eighth-note pulse. This technique references what [banjo players build entire breaks around](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/), and hearing both approaches side by side reveals a lot about how the style evolved. [Learn with Grammy & IBMA Award Winning Guitarist Bryan Sutton at ArtistWorks*Start →*](https://artistworks.com/bryan-sutton) ## Bass Runs and Walk-Ups: Leading the Band’s Ear During rhythm playing, the guitar’s most powerful tool is the bass run. A well-placed walk-up or walk-down between chords signals the next chord change to every player on stage. As a result, the whole band moves together rather than reacting to each other. For example, moving from G to C, you can walk up G, A, B, and land on the bass note of C. This happens in the last beat before the change. Keep it simple and in time. Bass runs also create momentum. They push the groove forward rather than sitting statically on each chord. In addition, they give the guitar a melodic contribution even during rhythm support, which is exactly the dual-role thinking this whole article is about. ## Putting It Together: Backing Up Other Soloists When someone else takes their break, your job shifts again. Now you are supportive texture, not a lead voice. Mandolin players depend on this, and [learning how the chop and lead interact on mandolin](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/) will help you understand exactly what they need from you. Keep your rhythm steady, your volume slightly below the soloist. Choose chord voicings higher up the neck when the break gets busy down low. This creates space in the sound rather than competition. Furthermore, resist fill licks during another player’s break. Save your ideas for your own break. The best ensemble players know that restraint is a skill, not a limitation. ## Your Next Step in the Ensemble Conversation Bluegrass guitar is a conversation, not a solo instrument with accompanists. Every choice you make with your flatpick, whether on a bass run, a break, or a quiet backup strum, affects what every other player on stage can do. Returning to [the full ensemble improvisation guide](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) after working through this material will show you exactly how the guitar’s role connects to fiddle, bass, and banjo in real-time. Start slow, nail the melody skeleton, then add ornaments and drive. The band will feel the difference immediately. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bluegrass, Guitar **Tags:** ArtistWorks, bass runs bluegrass, bluegrass, bluegrass guitar, bluegrass ornaments, flatpicking technique, guitar, melody-first breaks --- ### [Bluegrass Band: How To Improvise](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** A bluegrass band works like a great conversation. Someone makes a statement, someone else responds, and the whole group leans in to listen. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 8 min read --- A bluegrass band works like a great conversation. Someone makes a statement, someone else responds, and the whole group leans in to listen. The best improvisers in bluegrass are not the loudest voices in the room. Instead, they are the players who lift every other voice when their turn comes and make space when it doesn’t. That insight changes how you practice, how you listen, and how you play. This guide gives you the full picture. First, we’ll frame what bluegrass improvisation actually is at the structural level. Then we’ll walk through each of the five core instruments, covering the specific role each one plays in the ensemble conversation. Finally, we’ll hand you off to five deep-dive guides, one for every instrument. Whether you’re a guitarist who wants to understand why the banjo player chops differently on your break, or a fiddler trying to decode the bass player’s choices, this is your map. **Plain-English takeaway —** Great bluegrass improvisation is a structured ensemble conversation where every instrument takes turns soloing and backing up, and the musicians who master both roles are the ones who make the whole band shine.## What Bluegrass Improvisation Actually Is: Structure Before Flash A bluegrass band does not improvise the way a jazz combo does. There are no open-ended chord changes drifting for twenty minutes. Instead, the structure is clear and shared. The song repeats its form, typically an A part and a B part, and each player takes a “break,” which means one full pass through the melody as a solo. Everyone else supports. Then the next player steps up. The form is tight, but within it, each player has real freedom. Because the form is agreed upon, the improvisation lives in the details. A guitarist might play the same melody slightly differently each night. A fiddler might add a crying slide on a repeated section. A banjo player might lean harder on a particular roll to match the energy of the room. The structure creates the conversation, and the improvisation is how each player responds to what they just heard. This matters for practice, too. If you only woodshed your own breaks in isolation, you are preparing for a solo performance, not a band. The real skill in a bluegrass band is listening across the ensemble in real time and adjusting. More on that in a moment. [Learn with Missy Raines, Sierra Hull, and Alison Brown at ArtistWorks*Start →*](https://artistworks.com/) ## The Two Jobs Every Bluegrass Band Player Rotates Through All Night Every single player in a bluegrass band holds two roles. First, they take a break. Second, they back up everyone else’s break. Most beginners focus almost entirely on the first job. However, seasoned players will tell you that the second job is where reputation is built. [Mastering the full rhythm-and-solo cycle](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) is the foundation of every instrument’s contribution. When you are not soloing, your job is to support the person who is. That means playing with restraint, keeping your volume in check. Responding to what the soloist is doing rather than playing your own pre-planned part. In short, backing up well requires the same ears as soloing well. The best players in a bluegrass band are identifiable even when they are not soloing. Their rhythm playing has personality. Their dynamics shift when the soloist pushes. They leave space instead of filling it. Above all, they listen first and play second. Build that habit early, and your whole approach to the instrument will change. ## Guitar in the Bluegrass Band: Engine and Melodic Voice The guitar holds a unique position. On one hand, it drives the rhythm. On the other, it steps forward to deliver single-note breaks that are fluid and melody-focused. This dual identity shapes everything about how a guitarist approaches a session. When a guitarist takes a break, the goal is not speed for its own sake. Instead, the break should trace the song’s melody clearly enough that a listener could sing along. Flatpicking technique makes this possible. A clean, confident pick attack produces single notes that cut through the band without any extra volume. The rhythm guitar drops back, and the melody floats out front. For a detailed breakdown of [how flatpicking technique connects rhythm playing to melodic solos](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/), the guitar deep-dive covers it fully. That guide walks through how to think melody-first when you step into a break, so your guitar contribution serves the song rather than just showcasing your chops. ## Banjo in the Bluegrass Band: Finding the Melody Inside the Roll The three-finger roll is the defining sound of bluegrass banjo. It creates a challenge that is unique to the instrument. The roll produces a near-constant stream of notes. Because of that, a melody can get buried inside the motion if the player isn’t careful. The great banjo players solve this by shaping dynamics and accent within the roll itself. Think of the roll as a river. The melody is a boat on that river. Your job is to make the boat visible. You accent the melody notes slightly, let supporting notes sit quieter, and use rhythmic phrasing to give the break shape. The result is a break that grooves and sings at the same time. If you play banjo and want to go deeper, [the guide on building melodic shape inside the roll](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/) takes this concept apart note by note. It explains how to identify the melody, how to map it onto your roll patterns, and how to phrase so the band hears the song through your solo. [Learn with Bryan Sutton, Darol Anger, Mike Marshall, and Tony Trishka at ArtistWorks*Start →*](https://artistworks.com/) ## Fiddle in the Bluegrass Band: Phrasing a Break Like a Singer The fiddle is the most vocal instrument in any bluegrass band. It bends, slides, and shapes notes the way a human voice does. Because of that, a fiddle break carries more expressive weight than almost any other instrument in the ensemble. The challenge is harnessing that expressiveness without turning every break into a showcase. Fiddle improvisation in bluegrass is fundamentally about phrasing. A great fiddle break breathes. It has natural pauses, rhythmic pushes, and quiet spots that make the loud moments land harder. Bowing choices drive this. A shorter bow stroke produces a choppier phrase. A longer bow stroke produces a legato line that floats. Combining them gives a break shape and momentum. The [deep-dive on fiddling with a vocalist’s sense of phrasing](https://blog.artistworks.com/bluegrass-fiddle-improvisation-break/) goes into the mechanics of this in detail. That guide covers slides, ornaments, and bowing techniques that help you think like a singer rather than like a technician. Your break will feel more connected to the song, and the whole band will respond. ## Mandolin in the Bluegrass Band: From Percussive Timekeeper to Melodic Lead The mandolin chop is one of the most distinctive sounds in bluegrass. Short, percussive, and rhythmically precise, it locks in with the bass to create the band’s core pulse. In fact, a solid mandolin chop is often the difference between a band that grooves and one that just plays the right notes. However, the mandolin does not stay in the rhythm role all night. When the mandolinist takes a break, the instrument pivots completely. Instead of chopping, the player produces single-note lines and double stops that carry the melody. This pivot is a skill in itself. The physical motion changes, the volume changes, and the musical intention changes. For a full look at [how to lock in the chop and then step into a lead break confidently](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/), the mandolin guide handles both sides of the role in depth. It explains the mechanics of the chop, how to keep it light and rhythmic, and then how to shift your mindset when your break arrives. ## Upright Bass in the Bluegrass Band: Improvising With Taste and Restraint The upright bass is the foundation of a bluegrass band. Every other instrument floats on what the bassist is doing. Because of that responsibility, bass improvisation in bluegrass follows a different logic than on any other instrument. The goal is not to add more notes. Instead, the goal is to keep the groove so solid that everyone else plays better. Bass improvisation in this context means choices about rhythm, movement, and subtle variation rather than flashy runs. A bassist might vary a walking line slightly between verses. They might add a single passing note that lifts a chord change. They might pulse harder on the downbeat to push the band through a big chorus. None of this calls attention to itself, and that is the point. If you play bass in a bluegrass band, [the guide on improvising tastefully without pulling focus from the soloist](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/) is essential reading. It makes the case that restraint is a skill and that the most musical thing a bassist can do is keep the ground steady while everything above it blossoms. [Learn with Michael Daves, Brittany Haas, and Noam Pikelny at ArtistWorks*Start →*](https://artistworks.com/) ## Continue Learning Each instrument in a bluegrass band carries its own set of demands, and the best way to improve your ensemble playing is to go deep on your own role while staying curious about everyone else’s. Here are all five supporting guides in the order that makes the most sense for your practice journey: 1. [Flatpicking melody-first solos while holding down the rhythm](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) 2. [Finding the melody inside the banjo roll](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/) 3. [Phrasing a fiddle break like a vocalist](https://blog.artistworks.com/bluegrass-fiddle-improvisation-break/) 4. [Mastering the mandolin chop and stepping into a lead break](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/) 5. [Improvising on upright bass with taste and restraint](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/) ## Final Thought Every great player in a bluegrass band has two things in common. They have big ears, meaning they listen actively to everyone around them. And they have restraint, meaning they know when not to play. The flashiest break in the world does not matter if you are stepping on the soloist’s moment or rushing the groove when you back up. The players who stand out in any bluegrass band are the ones who make the room sound better the whole way through, not just on their eight bars. TrueFire has in-depth courses built around each of these instruments and the specific demands of playing in an ensemble. Whether you are building your first break or refining a role you have played for years, there is a direct path forward from here. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Bluegrass, Fiddle, Guitar, Mandolin **Tags:** bluegrass, bluegrass band, bluegrass banjo, bluegrass bass, bluegrass fiddle, bluegrass guitar, bluegrass improvisation, bluegrass jam, bluegrass mandolin, bluegrass roles, ensemble improvisation, Improvisation --- ### [Bluegrass Fiddle: How To Make Your Break Sing](https://blog.artistworks.com/bluegrass-fiddle-improvisation-break/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** Bluegrass fiddle players have one advantage that no other instrument in the band can fully replicate: the bow. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 5 min read --- Bluegrass fiddle players have one advantage that no other instrument in the band can fully replicate: the bow. It lets you breathe, swell, cry, and whisper in ways that feel almost human. If you have ever watched a great fiddler take a break and thought, “that sounded like a person singing,” you were hearing something intentional. The fiddle’s closest musical relative is the voice, and the best bluegrass fiddlers know it. This article is about leaning into that relationship on purpose. We will look at how bowing shapes feel, how ornaments add emotional pull. How leaving space between phrases can make your break more powerful than filling every beat. For the full picture of how every instrument fits into the ensemble conversation, start with [the complete player’s guide to bluegrass improvisation](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/). **Plain-English takeaway —** Think like a singer first: in bluegrass fiddle improvisation, phrasing, breath, and emotional storytelling matter more than technical flash.## The Bluegrass Fiddle and the Human Voice The fiddle sits closest to the human vocal range of any instrument in the band. That is not a coincidence. Early American fiddlers heard singers and tried to match them, so the tradition built up a vocabulary of bends, swells, and cries that mirror how a voice moves through a melody. When you approach your break, try humming the melody first. Notice where you naturally breathe, where you hold a note for emphasis, and where the phrase falls into a natural rest. Those instincts are your roadmap. In fact, many veteran fiddlers say that if you cannot hum the break, you cannot play it. This singer’s mindset separates bluegrass fiddle from other styles. It is less about running scales and more about telling a short story in eight or sixteen bars. ## Bowing Is the Source of Everything Your bow hand is your rhythm section, your dynamics department, and your emotional engine all at once. Most beginners focus almost entirely on left-hand fingering, and their breaks sound mechanical as a result. However, the bow is where bluegrass fiddle truly lives. A short, punchy bow stroke pushes the tune forward. A long, slow draw gives a note weight and presence. For example, landing on the root of a chord with a firm, slightly accented bow stroke makes the whole phrase feel resolved. Meanwhile, a light, fast bow on a passing note tells the listener to keep moving. Practice varying your bow speed and pressure on a single open string before adding any fingers. Once you feel how much control you have, the rest of the technique starts to make sense. [Learn with IBMA Distinguished Achievement Award winner Darol Anger at ArtistWorks*Start →*](https://artistworks.com/darol-anger) ## Slides, Double Stops, and the Bluegrass Cry If bowing is the engine, then ornaments are the personality. Three tools in particular give bluegrass fiddle its emotional warmth: slides, double stops, and subtle vibrato. A slide into a note mimics the way a singer approaches a pitch from below. Instead of landing cleanly on a note, you creep up to it. That small gesture adds ache and longing without any extra complexity. Similarly, a slide off the end of a phrase, just a brief drop in pitch, feels like a voice trailing away. Double stops are two strings played simultaneously. They thicken the sound and add a chordal richness that sits beautifully in the ensemble. Use them strategically, not on every note. A well-placed double stop on a chord tone at the peak of a phrase can lift the whole break. Vibrato on long tones is the final layer. Keep it subtle and use it selectively. A note that sustains without vibrato, then blooms into it, communicates more than vibrato applied to everything. ## Space and Silence Make the Notes Hit Harder This is the lesson most intermediate players skip. They want to fill the break from bar one to bar sixteen, afraid of leaving any empty air. However, a vocalist never does that, and neither should you. Rests are rhythmic events. A deliberate silence after a strong phrase creates tension. Then, when you re-enter, the next note hits with twice the impact. Think of it as a call, then a breath, then an answer. Start by identifying one or two natural resting points in the melody. Let the bow stop. Let the band breathe underneath you. You might feel exposed at first. The ensemble will actually sound more cohesive because you gave everyone room to be heard. This connects closely to how other instruments manage space. For instance, [how a banjo player finds the melody inside the roll](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/) involves a similar discipline of restraint. Meanwhile, [the upright bass approach to tasteful support](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/) is built almost entirely around knowing when not to add notes. ## Setting the Kick-Off and Backing Up the Singer The fiddle often leads a tune off, and that moment carries real weight. Your kick-off sets the tempo, the feel, and the emotional temperature for everyone on stage. Play it too timid and the band comes in unsure. Play it too rushed and you lose the groove before it starts. A good kick-off is deliberate and slightly stretched on the front end. Let the first couple of notes breathe. Give the band a clear pulse to lock into before the full group enters. When you are backing up a singer or another lead instrument, your job shifts entirely. Long tones and shuffle rhythms are your tools here. Long tones cushion the melody without competing with it. A slow, sustained note on the fifth of the chord adds harmonic depth while the singer has room to move. Shuffle rhythms, meanwhile, keep the groove alive without demanding attention. The goal in backup is to be felt rather than heard as a separate voice. Think of it as humming quietly behind someone who is telling a story. For more on how each instrument supports the others during breaks and backup, [the ensemble improvisation guide](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) maps out the full conversation. ## From Thinking Vocal to Playing Vocal The shift from a fiddle break that sounds competent to one that sounds like a vocalist is not about adding more notes. It is about committing to a phrase, following it through with the bow, and letting space do its work. Start with one tune you already know. Hum it slowly and notice every breath. Then play it back, matching those breaths with bow lifts. Add one slide, one double stop, and let one rest land fully. Record yourself and compare it to how a singer delivers the same tune. For more on how melody-first thinking applies across the band, [how guitarists flatpick melody-first solos](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) covers the same principle from a flatpicking angle. And if you are curious how the mandolin player pivots from chop to lead, [that breakdown is worth a read too](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/). The best bluegrass fiddle break is always a vocal performance. It just happens to use strings and a bow. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bluegrass, Fiddle **Tags:** ArtistWorks, bluegrass fiddle, bluegrass jam, bluegrass ornaments, bowing technique, fiddle, fiddle improvisation, fiddle phrasing, fiddle solos --- ### [Bluegrass Mandolin: How To Master the Chop and Lead](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** Bluegrass mandolin sits at one of the most fascinating intersections in American acoustic music. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 5 min read --- Bluegrass mandolin sits at one of the most fascinating intersections in American acoustic music. You are the band’s timekeeper and its melodic voice, often within the same eight-bar phrase. That dual role is what makes bluegrass mandolin so demanding and so rewarding. Most players find the chop early. However, learning to pivot cleanly from rhythm into a lead break and back again is where real growth happens. This article focuses on exactly that journey. It also covers the techniques that make your breaks sing: tremolo for sustained melody, double stops for richness. Dynamic contrast for emotional shape. For the bigger picture of how every instrument fits together, start with [the full guide to bluegrass ensemble improvisation](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/), then come back here to dig into the details. **Plain-English takeaway —** The mandolin’s chop gives the band its rhythmic backbone, and mastering the transition from that rhythmic role into a melodic break is the defining skill of bluegrass mandolin.## Why the Bluegrass Mandolin Chop Is the Band’s Snare Drum First, understand what the chop actually does. It is a percussive, muted strum landing on beats two and four. In bluegrass, that is exactly where a snare drum would land if there were one. Because there is no drum kit, the chop fills that role completely. Without it, the band loses its rhythmic anchor. The technique is specific. Fret a chord shape, but release pressure immediately after the strum so the strings mute. The result is a short, bright “chick” sound rather than a ringing chord. The attack comes mostly from the forearm and wrist, not just the pick. Many players new to bluegrass mandolin try to get this sound from pick angle alone, and the notes ring too long as a result. Dynamics matter here too. When the band is pushing hard in a high-energy instrumental, your chop should sit in the pocket with real authority. However, during a quiet verse or a subtle fiddle break, you can lighten up considerably. Because the chop is percussion, you control the band’s feel more than you might realize. [Learn with Grammy-nominee Mike Marshall at ArtistWorks*Start →*](https://artistworks.com/mike-marshall) ## Rhythm Before Lead: Why Your Time-Keeping Matters Most Before any solo, your bandmates need to feel the groove. In bluegrass, as in most acoustic music, a locked-in rhythm player is worth far more than a flashy soloist who rushes. Therefore, treat the chop as your primary instrument, not a warm-up activity. A simple test: record yourself chopping through a whole song at a steady tempo with a metronome. Then listen back. Most players are surprised by how much their time wanders during transitions, especially when approaching a solo. For example, many players unintentionally rush the bar before their break starts. That tells every other player something is coming, and it disrupts the flow. In contrast, the best bluegrass mandolin players stay invisible rhythmically right up to the first note of their break. The break appears out of nowhere, landing exactly on the beat. That consistency is a skill, and it takes deliberate practice. ## Tremolo: How the Mandolin Sustains a Melodic Line Unlike a fiddle or a voice, the mandolin’s notes decay quickly after they are struck. Tremolo solves this problem. It is a rapid alternating down-up strumming motion on a single note or course, creating the illusion of sustained sound. Because of that sustain, you can finally sing a long melodic phrase without chopping it into short rhythmic bursts. Good tremolo feels effortless to the listener. In practice, it comes from a loose wrist and consistent pick depth. Start slowly and build speed gradually. Many players tighten up when they try to play tremolo fast, and that tightness kills the tone immediately. Instead, think of the pick bouncing lightly off the strings rather than digging through them. Tremolo is especially useful when the melody sits on a single note for more than one beat. For instance, if a phrase hangs on the root of the chord, tremolo carries that note forward with warmth. The [fiddle’s approach to sustaining melody and singing through a break](https://blog.artistworks.com/bluegrass-fiddle-improvisation-break/) shares interesting parallels here, so that article is worth reading alongside this one. ## Bluegrass Mandolin: Double Stops and Crosspicking for Fuller Breaks Single-note lines are clean and clear, but they can sometimes feel thin in the mix. Double stops, two notes played simultaneously, add harmonic richness without cluttering the texture. A third or sixth below the melody note is the most common choice. Choose intervals that fit the chord underneath, and the line will bloom. Crosspicking is another way to fill space. It is a picking pattern that moves across three strings in a rolling sequence, similar to the banjo’s roll. As a result, crosspicking creates a flowing, continuous sound that bridges the gap between the choppy rhythm side of bluegrass mandolin and the lyrical melody side. It works especially well on medium-tempo tunes where straight single-note lines feel too sparse. Both techniques reward slow practice. Therefore, isolate a two-bar phrase, add double stops or a crosspicking pattern, and repeat it until the left and right hands sync up naturally. [Learn with Mike Marshall and Andy Hall at ArtistWorks*Start →*](https://artistworks.com/) ## Dynamic Contrast: Staccato Versus Tremolo in Your Break Great breaks have shape. They rise and fall, push forward and pull back. Dynamic contrast is how you create that shape on bluegrass mandolin. Staccato playing, short and clipped notes, creates urgency and rhythmic drive. Tremolo creates flow and emotion. Using both within a single break keeps the listener engaged. Think of a break as a conversation. Some sentences are clipped and direct. Others are long and flowing. The contrast between them is what gives the passage meaning. In the same way, alternating between staccato runs and tremolo-held notes creates a musical sentence structure that feels natural and expressive. Similarly, volume contrast matters. Drive hard into the peak of your break, then lay back on the return. That dynamic shape tells the band and the audience where you are in the musical arc. ## Putting the Bluegrass Mandolin Pivot Together in a Real Break The pivot from chop to lead and back is the defining technical challenge of bluegrass mandolin. Practically speaking, the last chop before your break should land with the same feel as every other chop. Then, on the downbeat of bar one, you are playing melody. The transition is abrupt by design, and that contrast is what makes it powerful. Practice the pivot in isolation. Play four bars of chop, then four bars of lead, then return to chop. Do this slowly, then at tempo. Focus on landing the first melody note cleanly and the first return chop just as cleanly. Over time, the pivot becomes instinct. For a broader view of how the mandolin’s role fits alongside every other instrument, revisit [the player’s guide to bluegrass ensemble improvisation](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/). You can also explore how the [guitar handles the balance between rhythm and melody in a break](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/), how the [banjo finds melody inside its roll](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/), and how the [bass serves the band without stealing the spotlight](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/). All of those roles connect directly to how you play your part as a bluegrass mandolin player. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bluegrass, Mandolin **Tags:** ArtistWorks, bluegrass, bluegrass jam, bluegrass mandolin, crosspicking mandolin, double stops mandolin, mandolin chop technique, mandolin improvisation, mandolin solos, tremolo mandolin --- ### [Bluegrass Upright Bass: How to Improvise With Confidence](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** Bluegrass upright bass is the most underrated instrument in the genre. It is also the most misunderstood when it comes to improvisation. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 6 min read --- Bluegrass upright bass is the most underrated instrument in the genre. It is also the most misunderstood when it comes to improvisation. Most players assume the bass has no creative role until a solo break arrives. That assumption leads to stiff, mechanical playing that does the opposite of what a great bluegrass upright bass player does. The truth is that the bass improvises constantly. Every note choice, every walk, every subtle push on the beat is a decision. Done well, those decisions hold the band together and make everyone else sound better. If you want to understand where the bass fits in the bigger picture of ensemble creativity, the [guide to how a bluegrass band improvises together](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) is the place to start. This article goes deeper on the bass specifically, covering the choices that matter and the ones you should almost never make. **Plain-English takeaway —** Bluegrass upright bass improvisation is the art of choosing which supporting notes to play and how to play them, because restraint is the entire craft.## Your Job as a Bluegrass Upright Bass Player First, let’s set the foundation. Your job is feel and groove. Everything else follows from that. In a bluegrass band, the bass is the harmonic anchor and the rhythmic spine. You are the lowest voice and the steadiest one. The band builds on top of you. When your pulse is solid and your note choices are clear, the other players relax. When your pulse drifts or your notes are muddy, everyone tightens up without knowing why. So improvisation on the bass starts with a question: does this choice serve the feel and groove? If the answer is yes, play it. If the answer is no, hold back. That is not a limitation. That is the craft. [Learn with IBMA Bass Player of the Year Missy Raines at ArtistWorks*Start →*](https://artistworks.com/missy-raines) ## The Walking Pulse: Your Most Powerful Bluegrass Upright Bass Tool The heartbeat of your playing is the steady two-beat pulse on beats one and three. However, calling it simple would be a mistake. The way you place those root notes, the amount of swing in your timing, the weight of your attack, these are all expressive choices. A light, quick attack reads as bright and pushy. A deeper, rounder attack settles the groove and invites everyone to lean back slightly. Neither is wrong, but each creates a different feeling in the room. Great bass players choose intentionally. In addition, dynamics matter enormously. Not every tune calls for the same volume or intensity. A slow gospel waltz needs a different feel than a hard-driving breakdown. Listen to what the fiddle and guitar are doing, and match the energy. Your pulse should feel inevitable, not mechanical. ## Walk-Ups and Walk-Downs: Leading the Band’s Ear Once your pulse is locked, the next layer of improvisation is the connecting walk. A walk-up or walk-down leads the listener’s ear from one chord to the next. For example, moving from G to C, you might walk G, A, B, C instead of jumping straight to the root. That simple move signals the transition clearly and gives the whole band a reference point. However, timing is everything here. A walk that arrives late sounds like a mistake. A walk that arrives exactly on the downbeat sounds like intention. Practice your walks slowly, and place that final note right on the beat. Because walks use passing tones and chromatic notes, they create momentary tension that resolves on the chord change. That tension is a form of expression. Use it deliberately, and vary your approaches so the band does not hear the same walk every time. One more thing: not every chord change needs a walk. Sometimes the straight jump from root to root is exactly right. Overusing walks clutters the texture. Restraint, again, is the point. ## Locking with the Mandolin Chop The relationship between the bluegrass upright bass and the mandolin chop is the rhythmic core of any bluegrass band. The mandolin chops on beats two and four. You anchor beats one and three. Together, you create the full rhythmic framework that every other player solos over. Therefore, your single most important ensemble skill is listening to the chop and locking with it. When the bass and mandolin are aligned, the rhythm feels almost physical. The band breathes together. When those two parts drift apart, even slightly, the whole groove becomes uneasy. To tighten that lock, spend practice time playing along with a mandolin recording or a metronome on two and four. Feel where the chop lives in the beat and place your notes to complement it, not compete with it. For more on how the mandolin balances chop and lead duties, [this look at the mandolin’s dual role in a bluegrass band](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/) is worth your time. ## Tasteful Fills That Stay Under the Melody Between the pulse and the walks, there is one more expressive space: the subtle fill. A fill might be a ghost note, a slight rhythmic anticipation, or a low flourish during a rest in the melody. However, fills must stay invisible. If anyone notices the fill, it was probably too much. Think of fills as seasoning. A small amount changes the flavor of the whole dish. Too much, and that is all you can taste. Similarly, the best bass fills are felt rather than heard. They add momentum without drawing the ear away from the soloist. This is where you connect most directly with the rest of the ensemble. For example, when the fiddle takes a breath between phrases, a subtle fill from the bass keeps the energy moving. Because the fiddle is carrying the melody and the emotional weight of the break, your job is to support that storytelling without interrupting it. For a deeper look at how the fiddle shapes a solo around the vocalist’s approach, [this article on making a fiddle break sing](https://blog.artistworks.com/bluegrass-fiddle-improvisation-break/) shows exactly what you are supporting. ## When the Bluegrass Upright Bass Takes a Solo Break Occasionally, you will get a break. When that moment comes, keep it rhythmic and uncluttered. The worst bass solos try to do everything at once, with fast runs and wide leaps that lose the groove entirely. Instead, think of your solo as a demonstration of everything you do behind everyone else. Play the chord tones clearly. Add one or two walk figures you have been using all night. Let the rhythm breathe. The goal is not to prove you can play fast. The goal is to show that the bass has a voice worth hearing for a moment before handing the spotlight back. A rhythmic, confident bass break surprises the audience in a good way. It fits the song. It reinforces the groove rather than derailing it. ## Foundation First, Every Single Time Ultimately, bluegrass upright bass improvisation is a discipline of service. Every note you choose should ask: does this make the band sound better? Does this serve the feel? If yes, commit to it fully. If not, step back. The [full guide to bluegrass ensemble improvisation](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) describes this instrument-by-instrument dynamic across the whole band. As you develop your bass voice, read that overview alongside this one. Understanding how the [guitar’s flatpicking role](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) and the [banjo’s melodic rolls](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/) work above you will sharpen your instincts for what the bass should and should not do beneath them. The best bass players are the ones everyone notices only when they leave the room. That is not invisibility. That is mastery. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Bluegrass **Tags:** ArtistWorks, bass fills bluegrass, bass improvisation techniques, bluegrass, bluegrass bass, bluegrass jam, bluegrass upright bass, mandolin chop lock, walking bass lines bluegrass --- ### [Bluegrass Banjo: How To Use the Melody To Improvise](https://blog.artistworks.com/bluegrass-banjo-improvisation-melody-roll/) **Published:** July 10, 2026 **Author:** ArtistWorks **Excerpt:** Bluegrass banjo is almost alone among improvising instruments in that the picking hand never fully stops. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 9, 2026 · Updated Jul 9, 2026 · 6 min read --- Bluegrass banjo is almost alone among improvising instruments in that the picking hand never fully stops. Three-finger rolls create constant motion whether you are playing a bluegrass banjo break or sitting in the background. That single fact changes everything about how you approach a bluegrass banjo solo. On guitar or fiddle, improvising means deciding what to play and when to play it. On banjo, the roll is already happening. Your job is to shape it, emphasize the right moments. Let the melody rise to the surface rather than drown inside the pattern. If you have ever wondered why your breaks feel busy without quite saying anything, this is the issue to solve. For a broader picture of how each instrument contributes to the group conversation, start with [the full ensemble improvisation guide](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/) before diving in here. **Plain-English takeaway —** Banjo improvisation is about shaping the notes that already exist in the roll rather than adding more notes on top of it.## The Roll Problem Every Bluegrass Banjo Player Faces The three-finger roll is not just a technique. It is the engine. Because it runs almost continuously, it creates a wall of sixteenth notes that can blur together into pure texture if you are not careful. Many early-intermediate players sound busy but unclear. The notes are there, but no single note stands out enough to carry the melody. Understanding this problem is the first step toward solving it. In other words, the roll does not need to change. What needs to change is which notes inside the roll get emphasis. The right hand stays busy. The left hand, the pick attack, and your choice of fingering decide which notes the listener actually hears. [Learn with Grammy Winner Alison Brown at ArtistWorks*Start →*](https://artistworks.com/alison-brown) ## Melody on the Strong Beats: Where the Notes That Matter Live Think of the roll as a frame. The melody notes live on the downbeats and the strong eighth-note positions inside each measure. Your goal is to land the correct pitch on that strong beat and let the roll fill the space around it naturally. For example, take a simple G major melody. Identify the note that belongs on beat one. Now build your roll so that note falls at the top of the pattern. Everything else becomes support. This approach requires knowing your melody note by note before you improvise, even loosely. That is not a limitation. Instead, it is the foundation that makes the roll sound musical rather than mechanical. Melodic-style banjo takes this idea to its extreme, where every melody note falls in sequence across strings almost exactly as it would in a single-note guitar line. However, straight melodic playing is only one side of the coin. ## Two Approaches: Melodic Style Versus Drive-Forward Playing In bluegrass banjo improvisation, you have two distinct modes available. First, melodic style places every melody note precisely in the correct rhythmic position. It sounds note-for-note accurate and works especially well on slower tempos or tunes with long, singable lines. Second, drive-forward playing prioritizes the roll’s forward energy. You hit the important melody notes but allow the roll to push through the less critical beats. The melody is implied rather than stated exactly. As a result, the break feels powerful and rhythmic rather than delicate. Knowing when to use each approach is the real skill. For instance, a slow ballad calls for melodic clarity. A hard-driving fiddle tune at full speed calls for roll-forward energy. Most breaks blend both. You start with melodic precision on the opening phrase, then shift into roll-forward drive as intensity builds. ## The Cry: Left-Hand Tools That Give a Break Emotional Weight Notes alone do not make a break feel alive. Slides, chokes (string bends), and hammer-ons are the left-hand tools that give bluegrass banjo improvisation its emotional signature. These are not decorations. They are the vocabulary that makes the instrument cry. A slide into a melody note creates anticipation. A choke at the top of a phrase creates tension before the release. A hammer-on adds a small rhythmic push that makes the roll feel like it is breathing. These techniques work because they change the shape of the note, not just the pitch. The key is placement. Use a slide or choke on a melodically important note, not on every note. Overuse flattens the emotional arc. Instead, save these tools for the moments that need weight, specifically the note that resolves a phrase or lands on the root at the end of a turnaround. ## Bluegrass Banjo: Moving Up the Neck Across a Full Break One of the clearest ways to arc a solo from subtle to powerful is to move up the neck as the break progresses. The lower positions on a banjo are warm and grounded. The higher positions are bright and cutting. Starting low and moving up gives the listener a sense of arrival. This works in bluegrass banjo because the same chord shapes exist across multiple positions. Therefore, you can begin a break in open position, shift to a partial barre shape around the fifth fret. Then push further up for the final phrase. Each register shift adds intensity without increasing volume. Of course, volume can increase too. Position changes give you an additional layer of control that volume alone cannot provide. Practice this arc deliberately. Play a simple 16-bar break and force yourself to change positions at bar 9 and again at bar 13. Notice how the momentum builds even if the note choices stay simple. [Learn with Grammy-nominee and IBMA Award Winner Tony Trischka at ArtistWorks*Start →*](https://artistworks.com/tony-trischka) ## Backing Up Gracefully: Keeping the Banjo Out of the Way A full break is only part of the job. Between breaks, the banjo needs to back up without bulldozing the fiddle or the bass. This is where vamping becomes essential. A vamp is a quieter, more transparent roll pattern that sits in the texture rather than on top of it. For a deeper look at how the whole band navigates space between solos, the piece on [upright bass improvisation and restraint](https://blog.artistworks.com/bluegrass-upright-bass-improvisation/) covers the same principle from the low end. Similarly, [how the mandolin chop creates room for other instruments](https://blog.artistworks.com/bluegrass-mandolin-chop-lead-breaks/) shows how that midrange instrument approaches the same challenge from a rhythmic angle. Pull back your pick attack, avoid the high strings during someone else’s break, and let the rhythm breathe. The banjo has a naturally bright, penetrating sound. Because of that, a little volume reduction goes a long way. ## Bluegrass Banjo: Applying the Melody-First Framework to a Real Break Now bring it all together. Pick a tune you know well. Sing or hum the melody before you play it. Identify the three or four notes in each phrase that carry the most meaning. Then build your roll so those notes land on strong beats. Add one slide, one hammer-on, and one choke across the break. Shift positions once, in the second half. Back off the volume on the last few bars and let the fiddle or guitar re-enter cleanly. That is a complete, shaped break. It draws on everything that makes bluegrass banjo improvisation distinct from every other instrument in the band. For the full picture of how your banjo break fits into the ensemble conversation, return to [the player’s guide to all five instruments improvising together](https://blog.artistworks.com/bluegrass-band-improvisation-ensemble-guide/). And if you want to hear how the approach translates to the flatpicked guitar side of the band, [the guide to melody-first guitar breaks](https://blog.artistworks.com/bluegrass-guitar-breaks-flatpick-melody/) covers the same melody-before-decoration philosophy from a different angle. [Start learning with ArtistWorks*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** ArtistWorks, banjo, banjo improvisation, bluegrass banjo, bluegrass jam, bluegrass solos, break phrasing, melodic banjo style, three-finger rolls --- ### [Call and Response: How to Make Your Guitar Solos Sound Musical](https://blog.artistworks.com/call-and-response/) **Published:** July 7, 2026 **Author:** ArtistWorks **Content:** You’ve learned the minor pentatonic scale. You can play it up and down without thinking. And when you try to solo with it, you sound like someone playing a scale, because that’s exactly what you’re doing. Every beginning guitarist eventually hits this wall, and the technique that gets you past it is called **call and response**. It’s one of the simplest, most powerful ways to turn scales into music, and it’s the foundation of blues, rock, jazz, and country soloing traditions. ## Table of Contents - [What Is Call and Response?](#what) - [How to Phrase a Guitar Solo Using Call and Response](#phrase) - [Seth Rosenbloom’s Call and Response Example](#seth) - [Musical Improvisation Techniques That Build on the Idea](#techniques) - [How to Make Solos Sound Musical: The Space Principle](#musical) - [Melodic Improvisation Tips: Building Your Vocabulary](#melodic) - [Jazz Improvisation Phrasing: Call and Response Beyond Blues](#jazz) - [A Beginner’s Practice Routine for Call and Response Improvisation](#practice) ## What Is Call and Response? Call and response is a phrasing approach borrowed from the oldest traditions in American music. In gospel, blues, and jazz, a call is a musical statement made by one voice, and a response is another voice answering the call. You hear it in church, in Louis Armstrong records, in every 12-bar blues ever recorded. When you bring the concept into your soloing, you’re playing both parts of that conversation yourself. The mechanic is simple. You play a short phrase (the call). You leave a beat of space. You play another phrase that answers the first (the response). Then you repeat, vary, or extend the idea across the form of the song. The result is a solo that sounds like a conversation, with each phrase leading naturally to the next. Listeners follow it more easily. Musicians want to play with you more. And your own musical vocabulary starts to grow because you’re forced to think in phrases rather than in scale runs. ## How to Phrase a Guitar Solo Using Call and Response Learning how to phrase a guitar solo is something all beginners eventually face, and call and response is one of the best skills to master early. Over a 12-bar blues, the form breaks naturally into three four-measure lines. Each line becomes an opportunity for a call-and-response conversation: - **Measures 1–4:** Play a call in measures 1 and 2. Leave space, then answer with a response in measures 3 and 4. - **Measures 5–8:** Repeat the same call at measure 5 (or a close variation). Respond in measures 6 through 8. - **Measures 9–12:** Play another call at measure 9, then resolve with a response that lands cleanly at the end of the form. The key habit is leaving space between the call and the response. Beginners tend to fill every beat with notes. Great soloists leave room for the phrase to breathe and for the listener to absorb it. If you can pull yourself out of the habit of playing constantly and start hearing your solo as a series of statements with pauses between them, your playing will sound dramatically more musical almost immediately. ## Seth Rosenbloom’s Call and Response Example ArtistWorks blues guitar instructor [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom) demonstrates this exact approach in the lesson above. He uses a simple five-note motif built out of the minor pentatonic scale (root, root, flat third, fourth, fifth, and back to the root) as both the call and the response, then plays it through a full 12-bar blues form. The takeaway from Seth’s demonstration is worth pausing on. A single short motif, used deliberately across the form, sounds more musical than an entire scale run played end to end. The lesson: a small vocabulary used well produces more interesting music than a large vocabulary used sloppily. ## Musical Improvisation Techniques That Build on the Idea Musical improvisation techniques stack on top of call and response as your ears and hands develop. A few natural next steps: - **Repeat with variation.** Play the call, then play a response that’s almost the same as the call but with one small change (a different ending note, a rhythmic tweak, a bent note). Repetition-with-variation is how great soloists build tension and interest. - **Change registers.** Play the call low on the neck and the response higher up. The pitch shift adds emotional lift to the answer. - **Contrast dynamics.** Play the call softly. Answer with a louder response. Or reverse it. The dynamic shift makes the conversation feel alive. - **Use rhythm as a hook.** A memorable rhythmic figure repeated across calls and responses becomes the signature of your solo. Rhythm sticks in the listener’s ear more than any specific note choice. - **Build tension and resolution.** Let your calls create tension by hanging on non-resting notes. Let your responses release the tension by landing on the root or the third of the current chord. ## How to Make Solos Sound Musical: The Space Principle Making solos sound musical comes down to one word more than any other: space. Beginners fear silence because they associate it with running out of ideas. Experienced soloists welcome silence because they know it’s the frame that makes each phrase land. Seth calls space “one of the most undervalued things in soloing.” When you’re playing call and response, the space between is doing musical work. It gives the listener time to absorb what just happened. It sets up anticipation for what comes next. And it gives you time to plan your response with intention instead of playing whatever falls under your fingers. A practical exercise: over your next 12-bar blues, force yourself to play notes only in the first half of each four-bar line. Let the second half of every line stay silent. It will feel wrong at first. By your fifth chorus, it will feel like the most musical thing you’ve done all year. ## Melodic Improvisation Tips: Building Your Vocabulary Melodic improvisation builds on a simple truth: the real vocabulary of soloing comes from phrases, motifs, and licks. Your goal as a developing improviser is to build a personal library of small musical ideas you can pull from in real time. How to build that library: - **Transcribe short phrases from players you love.** A three or four-note phrase is enough. You don’t need to transcribe entire solos to learn from them. - **Sing the phrase before you play it.** If you can sing it, you can play it. Singing forces the phrase into your ear before it lives in your fingers. - **Move the phrase into different keys and positions.** A phrase you can only play in one place isn’t yet part of your vocabulary. Practice it in every key. - **Use the phrase in a solo the same day you learn it.** Fresh vocabulary needs to be used immediately or it fades. Improvise with your new phrase over a backing track that day. ArtistWorks has a helpful companion blog post on [the five ways guitarists block their own progress](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/), several of which relate directly to soloing habits that keep beginners stuck. ## Jazz Improvisation Phrasing: Call and Response Beyond Blues Jazz improvisation phrasing uses call and response in ways that extend well beyond the 12-bar blues form. Jazz soloists trade “fours” (four-measure exchanges) with drummers, weave call-and-response phrases into 32-bar standard forms, and build entire choruses out of motifs that answer each other across chord changes. The core habit is identical to the blues version. Play a phrase, leave space, play a phrase that answers. The difference in jazz is the harmonic ground under your feet. Chords change faster, sometimes every two beats. Your calls and responses need to acknowledge the changes as they pass. That’s a slightly more demanding version of the same skill, and it’s approachable once you’re comfortable with call and response in a simpler blues context. ## A Beginner’s Practice Routine for Call and Response Improvisation A focused 30-minute daily routine to build call and response soloing skills: 1. **5 minutes: warm up on the minor pentatonic scale.** Play it slowly. Focus on tone and time. 2. **10 minutes: pick one motif.** Choose a short four- or five-note phrase. Play it over a 12-bar blues backing track as both the call and the response, over and over. 3. **10 minutes: introduce variation.** Play the motif as the call, then create small variations for the response. Different ending note, different rhythm, different bend. 4. **5 minutes: reflect and record.** Record a full 12-bar chorus of your call-and-response soloing. Listen back with kind ears. ## Take Your Call and Response Improvisation Further Call and response is one of the most transformative habits a beginning guitarist can build. It reshapes how you think about soloing, how you use silence, how you develop musical vocabulary, and how you communicate with the rest of the band. Every hour you spend inside this framework pays off in every solo you play for the rest of your musical life. [Start a free trial at ArtistWorks](http://artistworks.com/tp/improvise-fearlessly) and explore our promotions during Improvisation Month to save 40% on most annual plans. Submit videos of your playing, receive personalized feedback from world-class faculty like [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom), and build the improvisation skills that will carry you through every jam and session to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Proven Chord Progression Patterns: Why Music Feels So Familiar](https://blog.artistworks.com/chord-progression-patterns-music-familiar/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** A chord progression is the skeleton beneath almost every song you have ever loved. Think about the last track that stopped you mid-scroll, and made you reach for your instrument. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 8 min read --- A chord progression is the skeleton beneath almost every song you have ever loved. Think about the last track that stopped you mid-scroll, made you reach for your guitar, or brought back a specific memory. Odds are strong that it was built on one of a handful of harmonic patterns that composers and songwriters have returned to for centuries. That is not laziness. It is something deeper, rooted in the way Western ears are trained to hear movement, tension, and resolution. In this pillar article, we cover five things. First, what a chord progression actually is and how it works. Second, why certain patterns feel so satisfying to hear. Third, how musicians name and share these patterns across instruments and keys. Fourth, how your instrument choice shapes the emotional color of any progression. Finally, we map the five foundational progressions you need to know. Together, those five sections give you a working framework for understanding most of the Western music you will ever encounter. **Plain-English takeaway —** A small set of chord progressions powers the vast majority of Western music, and understanding why they work gives you a practical foundation for learning, writing, and communicating about music on any instrument.## What a Chord Progression Actually Does At its most basic level, a chord progression is a sequence of chords arranged to create movement and meaning. Chords do not just add color. They create a sense of direction, pulling the listener from one emotional place to another. Most progressions resolve, meaning they return to a chord that feels like “home.” In Western music, that home is the tonic, the I chord. Because of that, every chord you play in a progression is heard in relation to the I chord. Some chords feel stable. Others feel tense and unresolved. The movement between those states is what gives music its emotional shape. For a deeper look at the mechanics of how chords interact within a key, [explore this breakdown of how progressions are built and why they move the way they do](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/). Understanding that foundation makes the rest of this article click much faster. [Learn Bluegrass Bass with 10x IBMA Bass Player of the Year Missy Raines at ArtistWorks*Start →*](https://https://artistworks.com/missy-raines) ## Why Certain Chord Progressions Feel Familiar ### The Science of Tension and Release Western ears are conditioned by decades of listening. As a result, certain harmonic movements feel almost inevitable. The V chord, for example, creates strong tension. When it resolves to the I chord, the brain releases that tension like a held breath finally let go. This response is not accidental. It is the result of how overtones stack and clash, and how musical culture has reinforced those relationships over centuries. That conditioning is why you can hear four bars of a chord progression and already feel where it is going. Your ear has already heard thousands of songs built on the same harmonic logic. So instead of feeling repetitive, familiar patterns feel satisfying, even comforting. ### How Emotion Is Mapped onto Harmony Minor chords carry a different emotional weight than major chords. Because of that, the same four chords in a different order can shift a song from triumphant to melancholic. The I-V-vi-IV progression, for instance, rotates through major and minor harmony in a sequence that Western listeners find deeply moving. That balance of brightness and shadow is a big reason why [this single chord pattern appears in so many hit songs across so many genres](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/). Meanwhile, progressions that stay mostly in major territory, like the I-IV-V, tend to feel open and energetic. In contrast, progressions built around minor chords or chromatic movement can feel darker or more complex. Understanding that emotional map helps you choose the right progression for the feeling you want to create. ## How Musicians Name and Share Chord Progressions ### The Nashville Number System If you have spent any time around professional session musicians, you have probably heard people calling out numbers instead of chord names. That system is called the Nashville Number System. It assigns a number to each chord based on its position in the key. The I chord is always the tonic, the IV is always the subdominant, and so on. Because the system is based on position rather than pitch, a progression written in numbers works in any key without rewriting. That portability is enormously practical. For example, a chart written as I-IV-V reads the same whether the band is playing in G, A, or Bb. The guitarist just capos up, the keys player shifts their hand position, and everyone reads the same chart. In addition, this system makes it easier to transpose songs on the fly, which is a common need in live and studio settings. ### Jazz Charts and Roman Numeral Notation Jazz musicians use a similar logic. However, jazz notation typically uses Roman numerals and adds chord quality information. You can see at a glance whether a chord is major, minor, or dominant. A ii-V-I in jazz shorthand tells you the ii chord is minor, the V is dominant. The I is major. That additional detail matters in jazz because the harmonic color of each chord is central to the genre’s sound. Both systems ultimately do the same thing. They let musicians communicate a chord progression without being locked to a specific key or instrument. [For a full walkthrough of how these notations work in practice, especially in a jazz context, this deep dive into the ii-V-I is a great next step](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/). [Learn Roots Music Arranging and Songwriting with Cathy Fink & Marcy Marxer at ArtistWorks*Start →*](https://artistworks.com/cathy-marcy) ## How Your Instrument Shapes a Chord Progression’s Feel A chord progression does not exist in a vacuum. The same progression can feel completely different depending on who is playing it and on what instrument. On guitar, open chords ring with natural harmonics and sustain. Bar chords add density and compression. On piano, a player can voice a chord across a wide range, placing the bass note in the left hand and the upper harmony in the right. As a result, the same I-IV-V sounds warmer on acoustic guitar, more percussive on electric, and grander on keys. ### Voicing, Range, and Attack Voicing matters enormously. A guitarist playing a first-position G chord is including open strings that create natural resonance. Meanwhile, a pianist playing the same chord in root position is producing a more neutral sound that sits differently in a mix. Neither version is wrong. They are simply different tools for the same harmonic job. Technique also plays a role. Fingerpicking a chord progression creates space between notes, which lets each pitch ring out individually. Strumming creates a wall of sound where the chord is heard as a single unit. Because of that, the emotional impact of the same progression can shift dramatically based on nothing more than your right hand. String players, horn players, and vocalists experience chord progressions differently still. They are often playing a single note within a chord, so their relationship to the progression is more linear. However, understanding the underlying chord progression helps any single-note player make better melodic choices. The progression is the road; the melody is the route you take along it. ## The Five Chord Progressions Every Musician Should Know ### I-V-vi-IV Chord Progression: The Modern Pop Backbone This is the most widely used chord progression in contemporary popular music. It works because it cycles through both major and minor harmony in a balanced, emotionally resonant way. The shift from the V chord to the vi minor is particularly effective, creating a moment of unexpected warmth that hooks listeners every time. For a complete breakdown of why this progression dominates modern songwriting, [read the full analysis of the I-V-vi-IV](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/). ### I-IV-V Chord Progression: The Foundation of Rock and Americana The I-IV-V is arguably the most important chord progression in American music. It powers rock and roll, country, folk, and Americana. Because it stays entirely in major harmony, it has a natural openness that invites singing and improvisation. Furthermore, it is simple enough to learn in an afternoon and deep enough to spend a lifetime exploring. [This guide to mastering the I-IV-V across rock, blues. Americana](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) will give you everything you need to start using it immediately. [Learn Blues Guitar with Seth Rosenbloom at ArtistWorks!*Start →*](https://artistworks.com/seth-rosenbloom) ### ii-V-I Chord Progression: The Language of Jazz The ii-V-I is the most important chord progression in jazz. In fact, most jazz standards are essentially a series of ii-V-I progressions moving through different keys. The ii chord sets up tension. The V chord intensifies it. Then the I chord resolves it with a satisfying sense of arrival. Because it moves in fourths, it feels natural to the ear. However, the harmonic detail within each chord is where jazz musicians do their most interesting work. [For a complete guide to this foundational jazz progression](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/), including how to voice each chord and improvise over it, that resource has you covered. ### 12-Bar Blues Chord Progression: The Original Framework The 12-bar blues is not just a chord progression. It is a full musical form, a container that has held everything from Delta blues to Chicago electric blues to rockabilly. Because it has a clear, repeating structure, it gives musicians a shared framework to improvise within. The form is predictable enough that a group of musicians who have never played together can lock in immediately. [For a thorough look at how to play and navigate the 12-bar blues](https://blog.artistworks.com/chord-progression-12-bar-blues/), that article walks through every variation you need to know. ### I-vi-IV-V Chord Progression: Timeless Through Every Decade The I-vi-IV-V is sometimes called the “50s progression” because of its heavy use in doo-wop and early rock and roll. However, it has never really gone away. Instead, it keeps resurfacing in pop, R&B, and indie music in slightly updated forms. The vi minor chord gives it an emotional depth that the straight I-IV-V lacks. As a result, it tends to feel both nostalgic and immediate at the same time. [Explore why the I-vi-IV-V still sounds fresh today](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/) and how modern artists continue to find new life in this classic framework. ## Continue Learning Chord Progressions These five progressions are your entry points into the full harmonic vocabulary of Western music. Start with whichever one pulls you in first, then work through the others in the order that matches your musical interests. 1. [Why the I-V-vi-IV is in every hit song](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/) 2. [How to master the I-IV-V in rock, blues, and Americana](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) 3. [How to play the jazz ii-V-I](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) 4. [How to play the 12-bar blues](https://blog.artistworks.com/chord-progression-12-bar-blues/) 5. [Why the I-vi-IV-V still sounds fresh](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/) ## Final Thought Every chord progression you have studied in this article is waiting for you to play it. They are not abstract theory. They are the exact patterns that built the songs on your playlist, the recordings that made you want to pick up an instrument in the first place. Learning them is not about memorizing rules. It is about giving yourself a working map of how music moves. TrueFire’s courses take you from understanding these patterns on paper to hearing them, feeling them, and playing them with confidence. Start with the progression that excites you most, and let the rest follow naturally. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Saxophone, Tips, Voice **Tags:** arranging, ArtistWorks, chord progression, chord progression patterns, harmony and tension in music, Nashville Number System, songwriting, Western music theory --- ### [The Mighty I-V-vi-IV Chord Progression: The Powerful Hit Song Roadmap](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** Every chord progression has a personality, and the I-V-vi-IV might just be the most universally loved one in Western pop music. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 5 min read --- Every chord progression has a personality, and the I-V-vi-IV might just be the most universally loved one in Western music. You have heard it in pop radio hits, rock anthems, folk ballads, and even country tearjerkers. It crosses decades, genres, and artists so consistently that comedians have made entire YouTube videos playing dozens of songs over the same four chords. But what actually makes this progression so irresistible? Understanding the answer will not just satisfy your curiosity. It will change how you hear music and how you write it. For a broader look at why certain harmonic patterns feel so natural to our ears, check out this [overview of the most foundational progressions in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). This article goes deeper on the I-V-vi-IV specifically, breaking down exactly why it works and how to start using it right away. **Plain-English takeaway —** The I-V-vi-IV chord progression is everywhere in modern music because it creates a satisfying loop of tension and resolution, built-in emotional contrast, and an almost instinctive sense of forward motion that keeps listeners hooked.## What the Chord Progression Actually Means First, let us decode the Roman numerals. In any major key, each scale degree gets a chord built on it. The I chord is your home base, the tonic. The V chord is the dominant, and it creates tension that pulls strongly back toward I. The vi chord is the relative minor, sharing notes with I but carrying a darker, more reflective mood. Finally, the IV chord is the subdominant, stable and warm, sitting just below the dominant in harmonic weight. Together, those four chords cover six of the seven notes in any major scale. Because of that, the chord progression sounds full, colorful, and harmonically complete. In the key of G, for example, you are playing G, D, Em, and C. In the key of C, it is C, G, Am, and F. The shapes change, but the emotional logic stays exactly the same. ## Why This Chord Progression Tension and Resolution Cycle Feels So Good The I-V-vi-IV chord progression works because it never fully resolves and never fully hangs in mid-air. Instead, it loops in a way that always feels like it is going somewhere. The V chord creates the tension. Then the vi chord redirects that tension into something more emotional, rather than landing cleanly back on I. Next, the IV chord eases things back toward stability before the whole cycle starts again. That looping quality is important. Most classical harmony moves toward a definitive ending cadence. In contrast, this progression cycles. It keeps the listener leaning forward, waiting for something that feels just around the corner. For musicians, that creates a built-in energy that almost plays itself. [Learn Piano with Zachary Deak at ArtistWorks!*Start →*](https://artistworks.com/beginner-piano) ## The Major-to-Minor Contrast That Keeps Listeners Engaged Here is the detail that separates the I-V-vi-IV from simpler progressions. The move from the V chord to the vi chord is genuinely surprising on a subtle level. You expect the V to resolve to I. Instead, the vi arrives. Because vi is a minor chord, it introduces a shade of emotional weight without derailing the overall major feel of the progression. That contrast is the secret ingredient. The I and V chords feel bright and forward-moving. Then the vi chord adds a reflective, slightly bittersweet color. Finally, the IV chord smoothly bridges back to the top. As a result, a single chord progression can carry multiple emotional textures inside one loop. That is why a songwriter can use it for a joyful chorus and a wistful verse without the harmony feeling out of place in either. ## Truly a Popular Chord Progression: Decades of Examples Across Every Genre The reach of this chord progression across genres is remarkable. In the 1960s, artists like The Beatles used variations of it extensively. In the 1980s and 1990s, it powered pop hits from diverse artists. By the 2000s, it had become so common in pop songwriting that producers treated it almost as a default starting point. Specifically, songs like “Let It Be,” “No Woman No Cry,” “With or Without You,” “Don’t Stop Believin’,” and “Someone Like You” all share this same harmonic skeleton. The melodies, rhythms, and arrangements differ wildly, but the underlying chord progression provides the same emotionally satisfying loop every time. That consistency across styles is exactly what makes it so worth understanding deeply as a musician. If you are also building your vocabulary for rock and blues contexts, the [I-IV-V breakdown for those styles](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) is a natural companion to this one. Similarly, if jazz harmony interests you, the [fundamentals of the jazz ii-V-I](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) shows how a different genre solves the same tension-and-resolution challenge with completely different tools. ## How to Find Your I, V, vi, and IV in Any Key Finding this chord progression in a new key is straightforward once you internalize the pattern. Start on your root note. Count up to the fifth scale degree for your V chord. Move to the sixth scale degree for your vi chord, and remember that one is always minor. Then drop to the fourth scale degree for your IV chord. For example, in the key of D, you are playing D major, A major, B minor, and G major. In the key of A, it is A major, E major, F# minor, and D major. Practice the progression slowly in at least three different keys. After that, try looping it and humming a melody over the top. You will likely find that melodic ideas arrive quickly, because the progression is so naturally singable. You might also notice where the vi chord wants to linger. Many great songs give that minor chord extra breathing room. That small arrangement decision can shift the entire emotional feel of a song without changing a single note of the chord progression itself. ## Now Put It to Work in Your Playing The best way to internalize any chord progression is to play it until you stop thinking about it. Start with a key that is comfortable for your instrument. Loop the I-V-vi-IV for five minutes while you experiment with strumming patterns, fingerpicking, or rhythmic variations. Notice how different tempos change the emotional character. Once it lives in your hands, start listening for it in the songs you already love. You will hear it constantly, and that recognition is genuinely useful creative information. Understanding why a chord progression works across so many contexts is part of what the [guide to foundational harmonic patterns in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/) is designed to help you build. This progression is one of the clearest examples of those principles in action. The I-V-vi-IV is not a shortcut or a cliché. It is a deeply logical harmonic tool, and knowing it inside out makes you a more intentional musician. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Saxophone, Tips, Voice **Tags:** ArtistWorks, chord progression, I-V-vi-IV progression, major to minor contrast, songwriting harmony, tension and resolution in music, zachary deak --- ### [Chord Progression Essentials: Master the I-IV-V to Unlock Rock, Blues, and Americana](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** Every musician hits a moment when three chords suddenly unlock a hundred songs. That moment almost always involves the I-IV-V chord progression. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 5 min read --- Every guitarist hits a moment when three chords suddenly unlock a hundred songs. That moment almost always involves the I-IV-V chord progression. It is the most foundational pattern in modern Western music, and it shows up everywhere: rock anthems, delta blues, bluegrass jams, and classic Americana. If you have ever wondered why certain songs feel immediately familiar, this progression is often the reason. For a broader look at how this pattern fits alongside other essential patterns, check out [the complete guide to essential Western chord progressions](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). In this article, we are going to break down exactly how the 1-4-5 works, why it resonates so deeply. How to start using it right away. **Plain-English takeaway —** The I-IV-V chord progression is the three-chord engine behind rock, blues, and Americana, and understanding it gives you instant access to a huge library of songs.## What the I-IV-V Chord Progression Actually Means First, let’s talk about where these numbers come from. In any major key, the notes of the scale are numbered one through seven. Each number, or scale degree, can serve as the root of a chord. So, in the key of G major, the I chord is G, the IV chord is C. The V chord is D. That is the entire 1-4-5 in G. Because this chord progression uses only the first, fourth, and fifth scale degrees, it draws entirely from the major scale. As a result, every chord belongs naturally to the key. There is no reaching outside the scale for borrowed notes or unusual voicings. That is partly why the pattern feels so settled and complete. The chord built on the fifth degree also deserves special attention. In music theory, the V chord has a natural pull back toward the I. Therefore, the movement from V back to I creates a strong sense of resolution. That push-and-pull is the engine driving the whole progression. [Learn with Guthrie Trapp at ArtistWorks*Start →*](https://artistworks.com/guthrie-trapp) ## Why This Progression Feels So Energetic and Complete The I-IV-V chord progression generates a particular emotional quality. It feels forward-moving, grounded, and confident. The I chord establishes the home base. Then the IV chord lifts the energy slightly. Finally, the V chord creates tension that demands a return to the I. That cycle of tension and release is deeply satisfying to listeners. In fact, it is one of the reasons this chord progression has survived across centuries and genres. It does not overstay its welcome, and it never feels arbitrary. Every chord has a job, and each one does it well. Because the pattern involves only three chords, it is also highly practical. Guitarists can play a full 1-4-5 in open position with beginner-level chord shapes. For example, in the key of A, the three chords are A, D, and E. Many players encounter exactly that combination within their first few weeks of lessons. Similarly, pianists find the 1-4-5 approachable because the hand positions stay close together. ## Where You Hear the I-IV-V in Real Music This chord progression shows up constantly across American roots music traditions. In rock and roll, it became the default harmonic language in the 1950s. Chuck Berry, Little Richard, and Buddy Holly all leaned heavily on the 1-4-5 structure. Their songs spread the pattern to every corner of popular music. In blues, the chord progression also plays a central role, though it often appears in expanded form. The [12-bar blues structure](https://blog.artistworks.com/chord-progression-12-bar-blues/) stretches the 1-4-5 across a 12-measure framework, adding a characteristic turnaround at the end. That structure is worth studying on its own, because it adds rhythmic and harmonic detail to the basic three-chord framework. Bluegrass and Americana depend equally on this progression. Songs like “Wagon Wheel” and countless fiddle tunes use the 1-4-5 as their backbone. Country music, especially older country, returns to it again and again. The simplicity of the pattern leaves room for melody, storytelling, and instrumental improvisation to shine. Of course, the I-IV-V is not the only foundational pattern worth knowing. For instance, the [I-V-vi-IV pattern in pop and rock](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/) adds a minor chord that changes the emotional color considerably. And if you want to explore how the [1-6-4-5 variation shapes doo-wop and early rock](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/), that progression adds another layer of harmonic interest. The 1-4-5, however, remains the starting point for all of them. ## Playing the I-IV-V in Different Keys One of the most useful skills you can build is transposing this chord progression into several keys. Start with G major. The chords there are G, C, and D. Then try A major, where the chords become A, D, and E. After that, move to E major, giving you E, A, and B7. Each key has a slightly different feel under your fingers. In addition, experiment with different strumming patterns and rhythmic approaches. The 1-4-5 in a straight-ahead rock groove sounds entirely different from the same chord progression played with a shuffle blues feel. Meanwhile, picking an arpeggio pattern through the same three chords gives you something closer to a folk or country ballad texture. The chords stay the same, but the rhythm completely changes the character. Try recording yourself playing the chord progression in a loop. Then improvise a melody or solo over the top. Because all three chords belong to the same key, most of the notes from that major scale will work. For example, in G major, the G major pentatonic scale fits naturally over all three chords. That is why the 1-4-5 is also an ideal context for beginning to learn improvisation. ## Making the 1-4-5 Your Harmonic Foundation The I-IV-V chord progression is not just a beginner exercise. It is a foundational framework that working musicians return to throughout their careers. Understanding why it works, not just how to play it, gives you a harmonic vocabulary you can apply in any genre. From here, you can start connecting the 1-4-5 to more complex harmonic ideas. The [2-5-1 progression at the core of jazz harmony](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) is closely related, since it also centers on movement toward the I chord. Understanding the 1-4-5 first makes that more complex pattern easier to grasp. Return often to [the overview of essential chord progressions in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/) as you build your vocabulary. Each progression you learn adds a new color to your playing. The I-IV-V chord progression is, above all, the place where that journey begins. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Bluegrass, Fiddle, Mandolin, Piano, Saxophone, Tips **Tags:** 1-4-5 guitar chords, Americana harmony, bluegrass, bluegrass bass, blues chord structure, chord progression, Guthrie Trapp, I-IV-V progression, roots music --- ### [The Reliable Essence of Jazz: Master the ii-V-I Chord Progression](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** Every chord progression tells a story, and the ii-V-I chord progression tells perhaps the most satisfying story in all of Western harmony. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 5 min read --- Every chord progression tells a story, and the ii-V-I chord progression tells perhaps the most satisfying story in all of Western harmony. If you’ve spent any time with jazz, R&B, or even classical music, you’ve heard this sequence. It’s the engine behind countless standards, the sequence every jazz student learns first. The harmonic move that gives sophisticated music its sense of direction. Understanding how the 2-5-1 works will change the way you hear music. For a broader look at why certain progressions feel inevitable, start with [the complete guide to essential chord progressions](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). Then come back here, because the ii-V-I deserves its own deep dive. **Plain-English takeaway —** The ii-V-I chord progression is jazz’s foundational sequence, and its logic of tension, action, and resolution appears in virtually every style of Western music.## What the ii-V-I Chord Progression Actually Is First, let’s get concrete. In the key of C major, the ii-V-I chord progression is Dm7, G7, Cmaj7. That’s it. Three chords, moving in a clear direction, each one serving a specific harmonic role. Because these chords come directly from the major scale, the progression feels both logical and inevitable once you hear it. The Roman numerals simply tell you the scale degree each chord is built on. So in G major, the same chord progression becomes Am7, D7, Gmaj7. In F major, it’s Gm7, C7, Fmaj7. As a result, once you understand the pattern, you can drop it into any key instantly. That’s one reason jazz musicians love it so much. [Learn Bass Guitar with Grammy Winner Nathan East at ArtistWorks*Start →*](https://artistworks.com/nathan-east) ## The Three Roles: Tension, Action, and Resolution Here’s where the real magic happens. Each chord in the sequence plays a specific emotional role. Those roles stack together in a way that feels deeply satisfying. The ii chord builds tension. Specifically, Dm7 in the key of C creates a mild but noticeable harmonic pull. It’s not quite settled, because it’s pointing somewhere. Think of it as the setup. Next, the V chord drives action and anticipation. G7 is where the real harmonic pressure lives. The dominant seventh chord contains a tritone interval, which is one of the most restless sounds in Western music. Your ear desperately wants that interval to resolve. As a result, the V chord creates a strong gravitational pull toward the I. Finally, the I chord delivers resolution and rest. When Cmaj7 arrives, all that tension releases. Your ear lands somewhere it recognizes as home. Because the journey from ii to V to I mirrors how our ears process tension and relief, the progression feels both satisfying and complete. ## Why Jazz Adopted the 2-5-1 as Its Default Language Jazz musicians didn’t invent the ii-V-I chord progression. However, they did develop it further than any other tradition. In bebop and post-bop jazz, the 2-5-1 became the central unit of harmonic construction. Entire standards are essentially strings of ii-V-I progressions moving through different keys. For example, in a jazz standard, you might see a ii-V-I in C, then a quick ii-V-I in F, then another in G. Each one functions as a miniature harmonic sentence. Because jazz composers and improvisers think in terms of these units, learning the ii-V-I gives you a working map of how jazz harmony moves. In addition, the progression became the basis for jazz vocabulary. Scales, arpeggios, and melodic patterns are all organized around ii-V-I motion. So if you’re studying jazz improv, [learning how to navigate this sequence is the clearest path forward](https://blog.artistworks.com/chord-progression-12-bar-blues/). ## The ii-V-I Beyond Jazz: Pop, R&B, and Classical Music Here’s something that surprises a lot of players. The ii-V-I chord progression isn’t just a jazz thing. In fact, you’ll find this sequence woven into pop, R&B, neo-soul, gospel, and even Baroque-era classical music. In R&B and soul, the 2-5-1 often appears in a slightly simpler voicing. The jazz extensions get stripped back, but the underlying logic stays the same. Similarly, in gospel music, the ii-V-I drives the emotional lift in countless arrangements. The harmonic language feels richer than a basic [I-IV-V chord progression](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) because the ii chord adds a layer of color that the IV chord doesn’t quite deliver. [Learn Fingerstyle Jazz Guitar with Martin Taylor MBE at ArtistWorks*Start →*](https://artistworks.com/martin-taylor) Even pop songs use this sequence more than listeners realize. In contrast to the [I-V-vi-IV pattern that dominates modern pop](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/), the ii-V-I tends to sound more deliberate and harmonically polished. When a pop producer wants a moment to feel sophisticated, the 2-5-1 is often the tool they reach for. ## How to Hear and Feel the Chord Progression in Action Theory is useful, but your ears need the experience. So here’s a simple exercise. Pick up your guitar and play Dm7, G7, and Cmaj7 slowly, one chord at a time. Don’t rush the transitions. Instead, sit with each chord for a few seconds and notice how your sense of tension changes. When you land on Dm7, the sound is pleasant but unsettled. Then when G7 arrives, feel how it pushes. Finally, resolve to Cmaj7 and notice the release. That physical experience of tension and resolution is exactly what composers and improvisers are working with when they use this sequence. Next, try the [I-vi-IV-V progression](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/) in the same key and compare. Notice how different the emotional arc feels. Because the ii-V-I has stronger harmonic gravity, it tends to pull you forward more deliberately than four-chord loops do. ## Making the ii-V-I Chord Progression Part of Your Playing The ii-V-I chord progression rewards practice in every key. Start in C, then move to F, then Bb. Work your way around the circle of fifths. Because jazz standards tend to modulate frequently, recognizing the 2-5-1 in multiple keys is a genuine survival skill. Beyond recognition, experiment with voicings. A basic shell voicing on guitar uses just three strings and still captures the character of each chord. As you build fluency, you can layer in extensions like the ninth or thirteenth, which are the colors jazz guitarists use to add depth. For a wider picture of how this progression fits into the larger harmonic vocabulary, revisit [the overview of essential chord progressions](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). The ii-V-I chord progression is the place where harmony starts feeling like a language. Once it clicks, you begin to hear music differently. You’ll catch the 2-5-1 in standards, in R&B grooves, in film scores, in places you never expected. That kind of hearing is what separates players who play notes from players who play music. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Saxophone, Tips **Tags:** 2-5-1, ArtistWorks, chord progression, dominant seventh resolution, harmonic tension and resolution, ii-V-I jazz harmony, jazz guitar voicings, jazz music, nathan east --- ### [Chord Progression Essentials: How to Play the 12-Bar Blues](https://blog.artistworks.com/chord-progression-12-bar-blues/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** Every musician hits a moment when the 12-bar blues chord progression just clicks. Suddenly, sessions open up, jams make sense, and the whole history of American music starts to feel navigable. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 5 min read --- Every guitarist hits a moment when the 12-bar blues chord progression just clicks. Suddenly, sessions open up, jams make sense, and the whole history of American music starts to feel navigable. This structure is not just one option among many. In fact, it is the single most widely played framework in blues, rock, and early country music. Understanding it deeply will change how you hear recordings, how you communicate with other players, and how you build solos. For context on where the 12-bar sits among the broader family of foundational patterns, start with [the overview of essential progressions in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). Then come back here, because this structure deserves its own close look. **Plain-English takeaway —** The 12-bar blues chord progression is a repeating, three-chord form built on the I, IV, and V chords, and learning its inner logic will unlock blues, rock, and countless other styles at once.## What the Chord Progression Actually Contains First, let’s be clear about the ingredients. The 12-bar blues chord progression uses only three chords: the I chord, the IV chord, and the V chord. In the key of A, those are A, D, and E. In the key of E, they become E, A, and B. Because every chord set comes from the same root relationships, you can move the whole form to any key without changing a single concept. The layout is exactly 12 bars long, hence the name. Most commonly, those bars break down like this: four bars on the I, two bars on the IV, two bars back on the I, one bar on the V, one bar on the IV, and then two final bars on the I. However, you will hear small variations all the time, especially in the last two bars, which is called the turnaround. ## Why Dominant 7th Chords Change Everything Here is something that separates the blues from other styles. In a standard pop or rock chord progression, the I chord is usually a plain major chord. In the blues, every chord, including the I and the IV, is typically played as a dominant 7th. So instead of A major, you play A7. Instead of D major, you play D7. That shift matters enormously. Dominant 7th chords carry a natural tension. They want to resolve. When every chord in the form shares that quality, the whole progression feels restless and emotionally charged. As a result, the music never quite settles, even when it repeats, and that tension is exactly what gives the blues its characteristic ache. For comparison, look at how [the 1-4-5 in rock and Americana](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) handles those same three chords. The functions are identical. However, the voicing choices and the emotional temperature are completely different. [Learn Harmonica with 2x Grammy Winner Howard Levy at ArtistWorks!*Start →*](https://artistworks.com/howard-levy) ## The Standard 12-Bar Form, Bar by Bar Walk through the form once slowly. Use the key of G for this example, so the chords are G7, C7, and D7. - Bars 1-4: G7 (four bars on the I) - Bars 5-6: C7 (two bars on the IV) - Bars 7-8: G7 (back to the I) - Bar 9: D7 (the V chord) - Bar 10: C7 (back to the IV) - Bars 11-12: G7, then a turnaround That turnaround in bars 11 and 12 is where players get creative. Sometimes the last two bars are just the I chord. Often, however, the player moves through a short melodic or harmonic phrase that leads the ear back to the top. Because that turnaround is so common, learning a handful of turnaround licks is essential for any blues player. ## Quick Starts: Getting the Form Under Your Fingers Many players stall because they try to learn the blues as a soloing exercise first. Instead, start with rhythm guitar. Plant yourself on the I chord and count four solid bars. Then move to the IV chord for two bars. If you lose your place, simply count out loud. Most importantly, keep the pulse steady. A loose rhythm will derail even the best chord knowledge. Once the form feels natural, try playing it in different keys. For example, move from E to A to G in the same practice session. Each key will feel slightly different under your fingers. Eventually, the whole structure becomes muscle memory, and you can focus entirely on feel and phrasing. In addition, listen actively. Put on a Freddie King or Muddy Waters record and follow along, counting bars as you listen. You will start to hear the IV chord landing before the player even touches it. ## Chord Progression Variations That Show Up in Real Songs The straight 12-bar is the foundation. However, real songs bend it in interesting ways. One common variation is the “quick change,” where the progression jumps to the IV chord in bar 2 before returning to the I. This creates a slightly busier opening and appears in countless Chicago blues recordings. Another variation involves the V-IV-I ending rather than the more circular turnaround. Some songs also stretch or compress sections for dramatic effect, particularly in slow blues where a bar might breathe wider than the strict pulse suggests. Therefore, once you know the standard form cold, your ear will catch these variations naturally. Similarly, pay attention to how [the jazz 2-5-1 chord progression](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) borrows some of the same tension-and-release logic. The approaches differ significantly. Nevertheless, the underlying pull toward resolution connects both forms. [Learn Blues Guitar with Seth Rosenbloom at ArtistWorks!*Start →*](https://artistworks.com) ## Using the Form to Build Solos and Improvise The 12-bar blues chord progression is not just a rhythm tool. It also maps your solo choices. Because the IV chord arrives at bar 5, you can use that moment to lift your solo upward or add a melodic peak. When the V chord arrives at bar 9, that is the natural point of highest tension. As a result, saving your sharpest lick for bar 9 is a classic move that never sounds accidental. Beginners often solo without thinking about chord position. However, connecting your note choices to the chord changes, even loosely, will make your playing sound intentional immediately. For more on how harmonic movement shapes creative choices, [the I-vi-IV-V breakdown](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/) covers related ground on chord function and emotional direction. ## Putting It All Together at the Jam The reason so many players love the 12-bar blues chord progression is simple: everybody knows it. Walk into any open jam and call a blues in A. Within seconds, everyone locks in. First, the drummer finds the groove. Next, the bass player outlines the changes. Then, everyone else falls into place. That shared language is rare and valuable. For a broader view of how this progression fits alongside patterns like [the I-V-vi-IV and other pop staples](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/), revisit [the essential chord progressions guide](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). The 12-bar lives in good company. However, it stands apart because of its endurance, its emotional range, and how quickly it connects players across every level of experience. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Saxophone, Tips **Tags:** 12-bar blues form, ArtistWorks, blues chords, blues guitar, blues harmonica, blues music, blues rhythm guitar, blues turnaround licks, chord progression, dominant 7th chords, howard levy, seth rosenbloom --- ### [Chord Progression Guide: Why The I-vi-IV-V Still Sounds Fresh](https://blog.artistworks.com/chord-progression-i-vi-iv-v-guide/) **Published:** July 1, 2026 **Author:** ArtistWorks **Excerpt:** Every musician eventually discovers that a chord progression can feel completely different depending on where it starts. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jul 1, 2026 · Updated Jul 1, 2026 · 5 min read --- Every guitarist eventually discovers that a chord progression can feel completely different depending on where it starts. The I-vi-IV-V is proof of that. It shares its four chords with some of the most-played progressions in rock and pop history. Yet its particular order gives it a warmth and momentum all its own. You have heard this pattern in countless hit songs, from doo-wop classics to modern pop anthems. In this article, we will break down why the 1-6-4-5 works, how it differs emotionally from its close relatives. How you can start using it right away. For deeper context on how this progression fits into the broader landscape, check out [the full overview of essential progressions in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). **Plain-English takeaway —** The I-vi-IV-V chord progression uses the same four chords as other classic pop patterns, but its specific order creates a uniquely uplifting, singable arc that has driven hit songs for over seven decades.## What the I-vi-IV-V Chord Progression Actually Means First, let us get clear on the formula. The Roman numerals refer to scale degrees. In the key of C, that gives you C major, A minor, F major, and G major. In the key of G, you get G major, E minor, C major, and D major. The pattern transfers to any key. Because of that, it is immediately useful on guitar regardless of your preferred key center. The lowercase “vi” matters here. It signals a minor chord. That minor chord sits right after the bright I chord, and as a result, it creates a brief emotional dip. Then the IV and V bring you back up and push you home. That rise-and-fall motion is exactly what makes this chord progression feel alive and expressive. ## Why This Progression Feels Instantly Familiar This chord progression became a cornerstone of 1950s and 1960s pop. Think of the doo-wop era. Groups built entire repertoires on this loop. Producers loved it because it supported vocal melodies so naturally. The minor vi chord gives a singer somewhere emotional to land, while the IV and V propel the melody forward. However, its popularity never really faded. Instead, it evolved. Later decades absorbed it into ballads, soft rock, country, and pop. Because the loop is so smooth, songwriters return to it instinctively. It is, in short, one of those patterns that feels like it has always existed. ## The I-vi-IV-V vs. the I-V-vi-IV: Same Chords, Different Feel This is the most important distinction to understand. The I-vi-IV-V and the I-V-vi-IV use identical chords. However, their order changes everything. The I-V-vi-IV, covered in detail in [this breakdown of the Axis progression](https://blog.artistworks.com/chord-progression-i-v-vi-iv-hit-songs/), starts by moving up to the V chord immediately. That gives it an urgent, anthemic quality. Many stadium rock and pop songs rely on exactly that upward push. In contrast, the I-vi-IV-V drops to the vi chord first. That downward emotional step creates a gentler opening. As a result, the progression feels warmer and more intimate. Then, the IV and V rebuild the energy. Finally, you land back on I, and the loop begins again. Try this exercise. Play the I-vi-IV-V four times in C major. Then immediately switch to the I-V-vi-IV. Notice how your sense of gravity shifts. Both sound familiar. But the emotional weight falls in a different place. That contrast is the whole lesson. Chord sequence, not just chord choice, shapes a song’s feel. ## Why the 1-6-4-5 Is So Singable and Loopable One reason this chord progression stays fresh is its relationship to melody. The vi chord is the relative minor of the I chord. Because of that, singers can stay on similar notes while the harmony shifts beneath them. That creates the sensation of effortless melody even when the chord progression is doing a lot of work. In addition, the progression loops without any awkward jump. When the V chord resolves back to I, the motion feels natural and inevitable. Therefore, writers can repeat the cycle many times without listeners losing interest. Most classic pop songs built on this progression run the loop through verses, choruses, and bridges with only small variations. Furthermore, the structure works in slow ballads and uptempo pop alike. Tempo does not break the pattern. That flexibility is a big reason it appears across so many genres and eras. ## Using This Progression in Your Playing and Writing Start simple. Pick a key, build your four chords, and loop them at a comfortable tempo. For example, in the key of A, you have A major, F-sharp minor, D major, and E major. Those are all friendly guitar chord shapes. In addition, they sit in a range that suits vocal singing. Once the loop feels solid, experiment with rhythm. Straight strumming works well. However, an arpeggiated pattern reveals the progression’s melodic potential even more clearly. Then try emphasizing the vi chord with a slight dynamic swell. That small detail can make the emotional dip feel intentional and expressive. Also, try combining this progression with others. For instance, [the foundational 1-4-5 pattern](https://blog.artistworks.com/chord-progression-i-iv-v-essentials/) pairs naturally with the 1-6-4-5 in song structures. Many country and rock songs use the I-IV-V for the verse and shift to the I-vi-IV-V for the bridge or chorus. That contrast gives the song a lift at exactly the right moment. If you are drawn to exploring jazz harmony, [the 2-5-1 progression](https://blog.artistworks.com/chord-progression-jazz-ii-v-i/) and [the 12-bar blues structure](https://blog.artistworks.com/chord-progression-12-bar-blues/) both offer useful counterpoints to this progression’s pop sensibility. ## Putting the I-vi-IV-V to Work Right Now The best way to own this chord progression is to play it in multiple keys before your next practice session ends. Start in C major. Then move to G major. Next, try A major. Each key will feel slightly different under your fingers. However, the emotional arc stays consistent. After that, find a song you already love that uses this pattern. Play along. Notice how the melody sits against each chord. In particular, pay attention to how the vocal line behaves over the vi chord. That is where most of the emotional storytelling happens in songs built on this progression. Finally, write something original with it. Eight bars is enough to start. Record yourself, even on your phone. Listen back and trust what you hear. The I-vi-IV-V has launched thousands of songs. Because its structure is so reliable, it gives you a stable foundation from which your own ideas can grow. For a broader picture of how this progression connects to the other essential patterns every guitarist should know, revisit [the full guide to foundational chord progressions in Western music](https://blog.artistworks.com/chord-progression-patterns-music-familiar/). Understanding the relationships between these patterns is what transforms chord knowledge into real musical fluency. [Learn from Masters at ArtistWorks*Start →*](https://artistworks.com) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Saxophone, Tips, Voice **Tags:** 1-6-4-5 guitar chords, 50s, 60s, chord progression, chord sequence emotion, doo wop, I-vi-IV-V progression, nashville numbers, pop chord patterns, pop music --- ### [How to Improvise Music Confidently: A Beginner's Guide for Any Instrument](https://blog.artistworks.com/how-to-improvise-music-confidently-a-beginners-guide-for-any-instrument/) **Published:** June 30, 2026 **Author:** ArtistWorks **Content:** There’s a moment every musician hits eventually. You know the notes. You’ve practiced the scales. You’ve heard great players solo, ad-lib, comp, or trade phrases in real time and make it sound effortless. And yet the moment you try the same thing yourself, your hands freeze, your mind blanks, and the music in your head refuses to come out of the instrument. Learning how to improvise confidently is the work that gets you past that moment. The good news is that it’s a learnable skill that develops with focused, patient practice. In this guide, we’ll walk through the mental blocks that hold beginners back, the foundational habits that produce real improvisation confidence, and the techniques that work across guitar, piano, voice, bass, drums, horns, and any other instrument you play. ## Table of Contents - [Why Improvisation Feels Scary at First](#scary) - [Improvisation for Beginners: Foundations to Build On](#foundations) - [How to Stop Overthinking When Playing](#overthinking) - [Music Improvisation Tips That Work on Any Instrument](#tips) - [Musical Confidence Tips: Building the Mindset](#confidence) - [A Beginner’s Practice Routine for Improvisation](#routine) - [Where to Go Next at ArtistWorks](#next) ## Why Improvisation Feels Scary at First Improvisation feels scary because it strips away the safety net of a written part. You’re committing to musical choices in real time with no chance to take them back. Every note you play is a decision, and most beginners assume that any “wrong” decision will collapse the performance. So they freeze, default to safe scale runs, or refuse to try at all. The first thing to understand is that improvisation is more forgiving than it looks. The best players don’t make perfect choices every time. They make musical choices most of the time and recover gracefully when something doesn’t quite work. That recovery, in fact, is part of what defines a mature improviser. Once you accept that occasional mistakes are simply part of the language, the fear shrinks dramatically. ## Improvisation for Beginners: Foundations to Build On Improvisation for beginners works best with a few solid foundations to lean on. Here’s what you need to get started: - **A handful of scales or modes for your instrument.** Even one or two will work for early improvisation. The major scale and the pentatonic scale are universally useful starting points across nearly every style. - **Basic chord knowledge.** You need to know what chord you’re playing over and which notes naturally fit it. For guitarists and pianists, that means knowing your chord tones. For singers and horn players, it means hearing the chord’s root and the notes around it. - **A simple form to play over.** Twelve-bar blues, a two-chord vamp, a folk-song progression. Any predictable musical structure gives your ears something to lean on while your hands explore. - **A way to make sound on your instrument.** Embouchure for horn players, basic right-hand technique for string and keyboard players, foundational stick control for drummers. The mechanics matter, and they don’t have to be advanced for you to start improvising. If those four things are in place, you have everything you need to start improvising today. Most beginners are further along than they realize. ## How to Stop Overthinking When Playing Learning how to stop overthinking when playing is something every nervous improviser faces at some point. The thinking itself is the trap. The more you analyze what you’re about to play, the less likely your hands are to play it well. Confident improvisation lives in a state of focused attention without judgment. A few techniques that help quiet the analytical mind: - **Pre-decide a constraint, then stop deciding mid-flight.** Before you start improvising, choose a scale or a handful of notes you’re going to work with. Once you start playing, stop second-guessing the choice. Commit to it for the duration of the improvisation. - **Sing or hum your ideas first.** Your voice and your ear are connected in ways your hands aren’t yet. If you can sing it, you can usually play it. Sing a short phrase, then try to find it on your instrument. Repeat. - **Play with your eyes closed.** Removing visual input forces you to rely on your ears, which tends to silence the inner critic. It also surfaces the muscle-memory patterns your hands already know. - **Set a timer.** Improvise continuously for three minutes without stopping. The forced motion prevents you from pausing to evaluate every phrase. By minute two, your conscious mind usually steps out of the way and your musical intuition takes over. ## Music Improvisation Tips That Work on Any Instrument Music improvisation tips that translate across instruments share one thing in common: they focus on musical thinking rather than instrument-specific mechanics. A few that apply whether you’re at a piano, holding a guitar, sitting at a drum kit, or standing at a microphone: - **Steal melodies.** Borrow phrases from songs you love. Sing them, then translate them to your instrument. Build a personal library of melodic ideas you can pull from in real time. - **Limit your notes.** A common exercise is to improvise using only three or four notes for an entire minute. Restriction forces creativity. You’ll be amazed what you can do with very little material. - **Repeat with variation.** Play a short phrase, then repeat it with one small change. That tiny change keeps the listener engaged without abandoning the idea. - **Leave silence.** Space between phrases is part of the music. Resist the urge to fill every beat with notes. - **Listen to the rhythm section.** Your improvisation lives on top of a groove. The groove is your most important conversation partner. Lock into it and let it carry you. For instrument-specific examples, ArtistWorks has dedicated guides like [Zachary Deak’s piano improvisation lesson](https://blog.artistworks.com/piano-lesson-improvising-zachary-deak/) for pianists and [five blues guitar improvisation techniques](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar/) for guitarists. Each of these takes the general principles above and shows how to apply them to a specific instrument. ## Musical Confidence Tips: Building the Mindset Musical confidence tips often focus on the wrong things: a new pedal, a fancier instrument, or a memorized lick library won’t make you a more confident improviser. The mindset is what changes everything: - **Record yourself often and listen back kindly.** Most beginners are harsher critics of their own playing than the music warrants. Listening back with curiosity helps you notice what’s actually working. - **Play in front of people, even one person.** The skill of improvising with a listener present is different from improvising alone. Build it gradually. A trusted friend or family member is a great starting audience. - **Celebrate small wins.** Did you play a phrase you actually liked? Did you recover gracefully from a “wrong” note? Did you stay relaxed during a moment that used to make you tense? Each of these is worth noticing. - **Surround yourself with players who are slightly better than you.** Their playing pulls you up. Their patience with your mistakes helps you take more risks. Their friendship makes the journey enjoyable. - **Trust that everyone goes through this.** Every improviser you admire was once a beginner who didn’t know what to play. Confidence is earned through hours of intentional practice. ## A Beginner’s Practice Routine for Improvisation A simple 30-minute daily practice routine to build improvisation confidence: 1. **5 minutes: warm-up on your instrument.** Scales, long tones, basic patterns. Get your hands and ears awake. 2. **5 minutes: sing a melody, then find it on your instrument.** Pick any short melody you know well. Sing it. Play it. Repeat with a new melody. 3. **10 minutes: improvise over a backing track or chord progression.** Use a single scale and stay within it. Focus on phrasing and rhythm. 4. **5 minutes: free play.** No scale, no backing track. Just explore the instrument and follow your ear. 5. **5 minutes: record yourself improvising and listen back.** Notice what worked. Notice what surprised you. Adjust tomorrow’s practice based on what you heard. Thirty minutes a day for three months will produce changes that surprise you. Six months in, you’ll be a different player. ## Where to Go Next at ArtistWorks Studying improvisation with a great teacher accelerates your progress in ways solo practice cannot match. The [ArtistWorks Video Exchange](https://artistworks.com/how-it-works) learning model lets you record yourself working through improvisation exercises, send the videos to your instructor, and receive personalized feedback on what you’ve nailed and what to refine. That direct, individual guidance is one of the fastest paths from anxious beginner to confident improviser. ArtistWorks offers world-class instructors across virtually every instrument you might play, each one teaching improvisation in the context of their specific style and tradition. Whether you’re a guitarist, pianist, bassist, drummer, saxophonist, fiddler, mandolinist, or singer, there’s a teacher waiting who can guide you through the work. ## How to Improvise Music Confidently: Take the Next Step Learning how to improvise music confidently is one of the most rewarding skills in your musical life. The path forward is simple in concept: build a small foundation, quiet the overthinking mind, practice daily, record yourself, and trust that the skill is reachable for you. Every confident improviser you’ve ever heard started exactly where you are now. [Start a free trial at ArtistWorks and learn with personal guidance](https://artistworks.com/). Submit videos of your playing, receive personalized feedback from world-class faculty across nearly every instrument, and build the improvisation confidence that will carry you through every jam, session, and performance to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** Beginner Music, Cross-Instrument Skills, Free Playing, Improvisation, Improvising Music, Mindset, Music Practice, Musical Confidence, phrasing, Practice Routine, Soloing, Video Exchange Learning --- ### [Jazz Bass: How to Walk, Comp, and Solo Through the Changes](https://blog.artistworks.com/jazz-bass-how-to-walk-comp-and-solo-through-the-changes/) **Published:** June 23, 2026 **Author:** ArtistWorks **Content:** Jazz bass is one of the most rewarding instruments in the entire jazz tradition. The bassist holds down the harmonic foundation, drives the rhythm, and engages in constant musical conversation with the soloists. Done well, jazz bass playing is the kind of work that musicians appreciate even more than audiences. In this guide, we’ll walk through the foundational concepts every beginner-to-intermediate jazz bassist needs: how the role works, the techniques that matter most, how to build walking lines that actually swing, the chord knowledge that powers great bass playing, and the expressive vocabulary that turns a competent bassist into a memorable one. ## Table of Contents - [How to Play Jazz Bass: The Role of the Bassist](#role) - [Jazz Bass Techniques Every Player Should Know](#techniques) - [Walking Bass Lines For Jazz: Building Lines Through the Changes](#walking) - [Jazz Chords Bass: Triads, Sevenths, and Beyond](#chords) - [Jazz Bass Lines: Phrasing and Expression](#lines) - [Building a Daily Jazz Bass Practice Routine](#practice) - [Study Jazz Bass at ArtistWorks](#study) ## How to Play Jazz Bass: The Role of the Bassist How to play jazz bass starts with understanding the role. A jazz bassist functions as the foundation of the ensemble: - **Outline the harmony.** Your job is to make the chord changes audible. Land on chord tones (roots, thirds, fifths, sevenths) on strong beats. The piano player can be missing and a great bassist will still tell you what the chord is. - **Drive the time.** Most jazz tunes live or die on bass-driven swing. The pulse you create on each quarter note is the heartbeat of the band. - **Support the soloists.** When someone takes a solo, your job is to make them sound great. Stay locked with the drummer, keep your note choices clear, and leave space for their ideas to land. - **Listen, always.** Jazz is conversational. The bass is one voice in the conversation. Listen for what the piano, drums, and soloist are doing, and respond accordingly. ## Jazz Bass Techniques Every Player Should Know Jazz bass techniques are a small but deep set of fundamentals that you’ll spend years refining: - **Right-hand fingerstyle.** Most jazz bass is played with the fingers (alternating index and middle on electric, or with the bow or pizzicato on upright). Develop a consistent, even attack. - **Left-hand fingering.** Build a habit of using one finger per fret in the lower positions. Smooth shifts up the neck become essential as you tackle faster tempos and more demanding lines. - **Slides and hammer-ons.** These ornamentations bring a vocal quality to bass lines that pure plucked notes can’t match. Use them in moderation to add character. - **Vibrato.** Bass vibrato is more pronounced down low and more refined up high. Develop both. - **Articulation control.** Short notes, long notes, ghost notes, accented notes. The more ways you can attack and release a note, the more expressive your playing becomes. ## Walking Bass Lines For Jazz: Building Lines Through the Changes Walking bass lines are at the heart of the jazz bassist’s job. A great walking line outlines the chord changes, maintains a steady quarter-note pulse, and adds enough melodic interest to keep the music moving forward. The foundation is the triad. For any major or minor chord, you can build a walking line by playing the root, third, fifth, and a passing note to set up the next chord. ArtistWorks electric bass instructor [Stu Hamm](https://artistworks.com/stu-hamm) walks through this approach over a jazz blues in F in the lesson above. He shows how to use triads (root-third-fifth-root, then root-fifth-third-root as a variation) over each chord change, with chromatic and diatonic passing notes connecting one chord to the next. The jazz blues in F that Stu uses moves through F, Bb, F, Bb, F, D, Gm, C, A, D, G, C, F (a classic 12-bar jazz blues with a string of ii-V turnarounds at the end). Practicing your triads through these changes is one of the best ways to internalize the harmonic motion of jazz blues at any tempo. ## Jazz Chords Bass: Triads, Sevenths, and Beyond Jazz chords on bass go beyond simple major and minor triads. To play credible jazz bass, you need to know: - **Major and minor triads.** Root, third, fifth. Your foundation across the entire fretboard. - **Major 7th chord tones.** Add the major seventh on top of a major triad. Use the chord tones (1, 3, 5, 7) to outline major seventh chords like Fmaj7. - **Dominant 7th chord tones.** A major triad with a flat seventh. The defining sound of jazz blues and the V chord in any key. - **Minor 7th chord tones.** A minor triad with a flat seventh. The most common minor sound in jazz, especially as the ii chord. - **Minor 7 flat 5 (half-diminished).** A minor triad with a flat five and a flat seven. Common as the ii chord in minor keys. Drill each of these chord types in every key. Knowing where the chord tones live on the fretboard means your hands can always find a usable note no matter what chord the band is playing. ## Jazz Bass Lines: Phrasing and Expression Jazz bass lines start with chord knowledge, and they only become musical when you bring phrasing and expression to them. Great jazz bassists can use slides, smears, vibrato, hammer-ons, pull-offs, trills, and a wide range of dynamic variation to make every note count. [John Patitucci](https://artistworks.com/john-patitucci), a three-time Grammy winner with decades of credits including Chick Corea’s Acoustic and Elektric Bands, walks through his approach to expressive playing in the lesson above. He talks about learning from singers (Pavarotti, Caruso, Aretha Franklin, Donnie Hathaway, Stevie Wonder) and from other instrumentalists (Ron Carter for sliding into notes). His central message is that a great bassist tells a story with their notes, building phrases the way a singer would build a vocal line. A few practical takeaways from John’s lesson: - **Develop your vibrato.** Use a fast, narrow vibrato up high and a slower, wider one down low. Stay relaxed in the arm, because tension kills vibrato. - **Slide into notes.** Smearing into a target pitch adds an emotional quality that pure plucked notes can’t deliver. - **Use multiple articulations in a single phrase.** A smear followed by a hammer-on followed by a pull-off creates a tiny musical sentence inside a single beat. - **Tell a story.** Take a short motif and build on it. The way you develop the motif is what turns a bass line into music. - **Stay in time.** Expression depends on rhythm. The most expressive ideas in the world will fall flat if your time isn’t solid underneath them. ## Building a Daily Jazz Bass Practice Routine Steady, focused practice will beat long irregular sessions every time. A 30-to-45-minute daily routine for a jazz bassist: 1. **5 minutes: warm-up.** Simple scales or arpeggios at a slow tempo. Get your hands moving. 2. **10 minutes: chord-tone drills.** Cycle through major, minor, dominant 7, and minor 7 chord tones in different keys. Build the fingerboard map. 3. **10 minutes: walking lines over a tune.** Pick a jazz standard or jazz blues. Walk through the changes with a metronome or backing track. 4. **5 minutes: expressive playing.** Drill slides, vibrato, hammer-ons, and pull-offs. Take a short phrase and play it ten different ways. 5. **5 minutes: free play.** Improvise without rules. Discover something. Have fun. For a focused, time-efficient approach to bass practice, ArtistWorks has a dedicated [guide to practicing bass effectively in 20 minutes](https://blog.artistworks.com/how-to-practice-bass-effectively-in-20-minutes/) that pairs naturally with the routine above. ## Study Jazz Bass at ArtistWorks Studying jazz bass with a master accelerates your progress in ways that books and apps cannot match. ArtistWorks offers two of the most respected bassists in the world as teachers. [Stu Hamm](https://artistworks.com/stu-hamm) teaches a wide-ranging electric bass curriculum that covers foundational technique, advanced soloing, and multiple styles of bass playing. The school includes jazz lessons among many other topics, which makes it a great resource for bass students who want broader stylistic development alongside their jazz focus. Stu’s school uses the standard ArtistWorks Video Exchange Learning model: you record yourself playing the lesson material, send it to Stu, and receive personalized feedback on what you’ve nailed and what to refine. [John Patitucci](https://artistworks.com/john-patitucci), a three-time Grammy winner and one of the most important jazz bassists of the past forty years, teaches a comprehensive jazz bass curriculum in the ArtistWorks legacy collections. His school is offered as a deep self-study library for students, without the Video Exchange Learning component. The depth of his teaching across the full curriculum is enormous, and his lessons remain a cornerstone resource for serious jazz bass students. Be sure to explore our [current promotions](https://go.artistworks.com/2026-jazz-month) during Jazz Month and get started with a trusted bass expert today. ## Start Your Jazz Bass Journey with Personal Guidance Jazz bass rewards patience, daily practice, and an honest relationship with your time, tone, and harmonic ear. The foundations are simple in concept: walk the changes, lock in with the drummer, play with expression, and listen as much as you play. [Start a free trial at ArtistWorks and learn with personal guidance](https://go.artistworks.com/2026-jazz-month)**.** Submit videos of your playing, receive personalized feedback from Stu Hamm and other world-class faculty, and build the jazz bass foundation that will carry you through every gig and session to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass **Tags:** bass, jazz --- ### [Slap and Mute Your Way to Expressive Blues Guitar Dynamics](https://blog.artistworks.com/slap-and-mute-your-way-to-expressive-blues-guitar-dynamics/) **Published:** June 26, 2026 **Author:** ArtistWorks **Excerpt:** Slap and mute is the secret behind some of the most powerful sounds in blues guitar, and most players walk right past it. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 8 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Slap and mute is the secret behind some of the most powerful sounds in blues guitar, and most players walk right past it. You have heard records where the guitarist goes from a barely-there whisper to a full-on roar inside a single bar. No volume pedal, boost switching, or amp tweaking between phrases. So how does that happen? It comes from the hands, specifically from five interconnected techniques that work together like a single system. In this article, we will break down that system piece by piece. First, we will cover how the fretting hand mutes unwanted strings. Then, we will look at the picking-hand slap, legato connection, shuffled upstrokes, and finally, the balance between downstrokes and upstrokes. Master all five, and you hold a complete dynamic range right in your palms, no extra gear required. **Plain-English takeaway —** When you combine fretting-hand muting, picking-hand slap, legato flow, shuffled upstrokes, and stroke-weight balance, your two hands become the most expressive tone controls on your guitar.## Why Blues Dynamics Live in Your Hands, Not Your Pedalboard Most beginners assume dynamics come from gear. They reach for a volume pedal, a compressor, or a boost. In reality, the great blues players shaped their sound before the signal ever left the guitar. BB King, Albert Collins, and Stevie Ray Vaughan all controlled expression at the source: their hands. The slap and mute method is not a single trick. Instead, it is a framework of five connected skills. Each skill handles one part of the dynamic picture. Together, they create the range you hear on classic recordings. Importantly, some of these techniques look “wrong” by classical standards. However, they feel completely natural once you understand why they work. Think of each technique as a dial. For example, the fretting hand controls clarity, and the picking hand controls power. Add rhythmic nuance through legato and shuffled upstrokes, and then balance everything with stroke weight. Turn all five dials correctly, and your guitar sounds like a full band. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Fretting Hand Muting: The Foundation of Slap and Mute Clarity Before your picking hand can do anything aggressive, your fretting hand needs to be doing its job. Specifically, it needs to silence every string you are not playing. This is the starting point for the whole slap and mute approach, because without it, power picking just creates noise. The fretting hand mutes in two ways. First, fingers that are fretting a note lightly touch adjacent strings to keep them quiet. Second, fingers not currently fretting anything lay flat against the strings to deadening them. It sounds simple. However, most players never consciously develop this habit, and that creates buzzing, unwanted overtones, and a muddy low end. Clean muting also unlocks freedom in the picking hand. When you trust that the fretting hand is handling unwanted strings, you stop holding back on your attack. That confidence is where real power begins. For a full breakdown of exactly how to build this muting habit, check out [the complete guide to silencing unwanted strings while you play](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/). ## The Picking Hand Slap: Where Power Actually Comes From Once the fretting hand is managing clarity, the picking hand can be aggressive without fear. The slap involves striking all six strings with the pick in a deliberate, forceful downward motion. Because the fretting hand has already muted everything except the intended notes, only the right strings ring out. The result is a huge, percussive attack with zero mud. This technique feels counterintuitive at first. Most players learn to be selective with their picking, targeting only the string they want. However, slapping across all six strings adds a snare-like crack to the attack. That crack is what you hear in heavy shuffle grooves and aggressive turnarounds. It makes even a simple three-note riff sound enormous. The key is commitment. A half-hearted slap sounds weak and produces more string noise than tone. In contrast, a fully committed slap with a well-muted fretting hand sounds clean, powerful, and authoritative. For a deep dive into the mechanics of this motion, [learn how to make a clean note sound huge with picking-hand slap technique](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/). [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Legato Connection: Keeping Slap and Mute From Sounding Choppy Power without flow is just aggression. In blues, the lines need to breathe and connect. This is where legato comes in. Legato simply means connecting notes smoothly. In this context, it happens mostly through consistent downstrokes that let each note ring into the next. Without legato awareness, heavy picking tends to chop phrases into disconnected chunks. For example, an eight-bar shuffle riff might have all the right notes. If every note stops dead before the next one starts, the phrase loses its momentum. Listeners feel the difference immediately, even if they cannot name it technically. Adding legato does not mean playing softly. Instead, it means controlling the sustain of each note so it carries forward naturally. The fretting hand plays a role here too, because it decides exactly when to release a note. Good legato in blues comes from coordinating both hands so the decay of one note overlaps with the attack of the next. To see how this works inside a real riff, [explore the full guide to legato technique for blues guitar and connected phrasing](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/). ## Shuffled Upstroke Picking: The Rhythmic Engine of the Style So far, the framework covers power and flow. However, it still needs rhythm. This is where shuffled upstroke picking enters the picture. A shuffle feel depends on the upbeats, not just the downbeats. Specifically, the shuffle rhythm asks you to release a fretted note just before each downbeat and catch it with a soft upstroke. That upstroke happens on the “and” of the beat. Because the note was released slightly early, the upstroke catches a semi-muted, ghosted sound rather than a full pitch. That ghost note creates the signature loping, relaxed feel of Chicago blues and Texas shuffle. Without it, even a correctly timed riff can feel stiff. Adding upstrokes also creates a physical rocking motion in the picking hand. First, the downstroke lands hard. Then, the upstroke swings back lightly. That back-and-forth motion builds momentum and actually makes heavy downstrokes easier, because the hand is already in motion. For a complete breakdown of how to build this shuffle upstroke pattern, [read the full piece on shuffled upstroke picking and locking in the groove](https://blog.artistworks.com/upstroke-picking-blues-shuffle-groove/). ## Balancing Down and Upstrokes: Relaxed Aggression The fifth ingredient ties everything together. Heavy downstrokes and soft upstrokes must stay in proportion. Downbeats hit hard. Upbeats stay light. When that balance is right, the groove has a quality that players often call “relaxed aggression.” It sounds powerful. It never sounds tense or rushed. This balance is actually harder to maintain than it sounds. For example, many players gradually start hitting their upstrokes harder as they get excited in a performance. As a result, the groove tightens up and loses that laid-back quality that makes blues feel inevitable rather than urgent. The fix is awareness. Listen back to recordings of your playing and check whether the upbeats are creeping upward in volume. The physical key is keeping the picking hand loose. A tight wrist produces uniformly stiff strokes. In contrast, a relaxed wrist lets the downstroke snap through with authority while the upstroke floats back with almost no pressure. This is the same wrist mechanic that defines the best rhythm players in blues history. For a full exploration of stroke weighting and how to develop this “relaxed aggression” in your own playing, [check out the guide to down versus upstroke dynamics on guitar](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/). [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Putting the Five Parts Together Into One Slap and Mute System Each technique is useful on its own. However, the real magic happens when all five work simultaneously. Here is a practical way to think about the order of operations. First, set up your fretting hand muting so every idle string is quiet. Next, let the picking hand slap with full confidence across all six strings. Then, focus on legato connection so the notes flow between each hit. After that, layer in the shuffled upstroke to build the rhythmic drive. Finally, check the balance between your downstrokes and upstrokes to lock in that relaxed, powerful feel. Start slowly. Practice the muting and slapping together before adding the upstroke shuffle. Because each layer depends on the one before it, rushing ahead creates confusion and frustration. Instead, treat each stage as a complete skill, and only add the next one when the previous one feels automatic. The payoff is significant. Once this system is part of your muscle memory, you will express dynamics that other players are searching for in their gear. Moreover, you will have a repeatable, reliable foundation for every blues riff, rhythm part, or lead phrase you ever play. ## Continue Learning Every piece of this framework deserves focused attention on its own. Here are the five supporting guides in the order that makes the most practical sense for building your slap and mute technique from the ground up. 1. [How to silence unwanted strings with precise fretting-hand muting](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/) 2. [How to use the picking-hand slap to make every note sound huge](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/) 3. [How to keep blues riffs connected and flowing with legato technique](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) 4. [How to build a shuffled upstroke that locks in the groove](https://blog.artistworks.com/upstroke-picking-blues-shuffle-groove/) 5. [How to balance downstrokes and upstrokes for relaxed aggression](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/) ## Final Thought The slap and mute method is not a shortcut. It is a complete approach to expressive blues playing that lives entirely in your hands. Great players spend years refining each of these five skills, and the result is a dynamic range that no pedal can replicate. Because this approach is rooted in physical mechanics rather than electronics, it travels with you to every guitar, every amp, and every gig. Start with the fretting-hand mute, build up through each layer, and keep both hands working together. When you get there, you will not need to touch a single knob to go from a whisper to a roar. TrueFire has everything you need to build this skill set with real educators walking beside you every step of the way. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar dynamics, blues guitar lessons, fretting hand muting, guitar lessons, Keith Wyatt, muting, picking, picking hand slap technique, slap and mute, slapping --- ### [Mute Technique: How to Silence Unwanted Guitar Strings](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/) **Published:** June 26, 2026 **Author:** ArtistWorks **Excerpt:** Mute technique is one of the most overlooked fundamentals in blues guitar. It quietly separates polished players from everyone else. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Mute technique is one of the most overlooked fundamentals in blues guitar. It quietly separates polished players from everyone else. You can pick with power, nail your bends. Still sound muddy if open strings are ringing out underneath your notes. In fact, unwanted string noise is one of the fastest ways to undercut an otherwise great performance. The good news is that fixing it does not require a new guitar or a pedal. Instead, it comes down to exactly where your fretting fingers land and how your thumb sits on the back of the neck. Once you understand the mechanics, your tone opens up immediately. For a broader view of how muting fits into a complete blues approach, check out [the full slap and mute framework](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/) and see how this one skill feeds everything else. **Plain-English takeaway —** Clean mute technique means your fretting hand silences unwanted strings by contact, so your picking hand can hit hard without noise bleeding through.## Why Unwanted String Noise Muddies Your Mute Technique First, understand what is actually happening when a guitar sounds muddy. When you fret a single note, every other string is still capable of vibrating. For example, if you fret the B string and pick it firmly, your pick can graze the high E. Meanwhile, open lower strings can resonate sympathetically, especially through a driven amp. As a result, what should be one clean note turns into a small chord of accident. This problem gets worse as your picking gets harder. In blues, you want to dig in. However, digging in without proper muting just amplifies the noise. The solution is not to pick softer. Instead, you learn to stop those strings before the pick even touches them. ## The Fretting Finger Contact Points That Kill Noise Here is where mute technique becomes very specific, and the specifics matter. When you press a note, your fingertip should angle slightly toward the string below it. For example, if you are fretting the G string, the pad of your fingertip lightly grazes the D string beneath it. That contact does not need to be firm. In fact, just resting against it is enough to kill the ring. Meanwhile, the strings above need a different solution. The side of your fretting finger, specifically the area just above the first knuckle, drapes over the higher strings. So, if you are playing on the G string, your finger naturally leans against the B string. As a result, neither adjacent string can vibrate freely. Practice this slowly on a single note. First, fret the note and pick it cleanly. Then, without changing your finger position, pick the adjacent strings on purpose. They should sound dead, not musical. If they ring at all, adjust the angle of your fingertip until contact stops them. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## The Thumb’s Role in Mute Technique on Lower Strings The fretting-finger approach handles the strings near the one you are playing. However, when you move to the fourth string (D) or higher, you have a new problem. The lower strings, especially the E and A, sit below your playing position. As a result, they can ring out freely with no finger nearby to stop them. This is where your thumb becomes a tool. Most teachers talk about keeping the thumb behind the neck for classical technique. In blues, though, you have permission to drape your thumb over the top of the neck. Specifically, the meaty side of your thumb rests lightly on the low E and A strings, preventing them from vibrating. This thumb position is common among blues and rock players. For example, Stevie Ray Vaughan used it constantly. Your thumb sits on top while your fingers wrap underneath to fret. Because the thumb is not pressing down hard, it does not restrict your fretting reach. Instead, it just rests there, acting as a passive mute. Be aware that this thumb position works best when playing in the lower and middle positions of the neck. Higher up the neck, the geometry changes. In that case, you may need to rely more on your picking hand for muting duties, which is a separate but complementary skill. ## Building the Habit: A Simple Mute Technique Drill Learning this technique in isolation is much easier than trying to fix it mid-solo. So, start with a basic drill. Choose one string, for example the G, and fret a single note at the fifth fret. Pick it, then slowly pick every other string while keeping your finger in place. Your goal is silence on all the non-fretted strings. Next, move up and down the string set one string at a time. Fret the D string at the fifth fret and repeat the process. Notice how the contact angles shift slightly as you move to different strings. As a result, your hand learns to adjust automatically over time. Finally, plug into a clean tone with a bit of volume. High-gain tones can mask some noise, but a clean amp reveals everything. Therefore, if you can get clean isolation on a clean tone, you are building genuine technique rather than hiding behind distortion. For context on how clean notes complement aggressive picking, see [how to make a clean note sound huge](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/). In addition, once your notes are clean, you can start thinking about feel and flow, and [legato technique for blues](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) is the natural next step after muting is solid. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Why Clean Notes Make Everything Else Work Better Once your mute technique is solid, something important changes in your playing. You gain confidence in your picking hand. Because you know stray strings will not ring, you can hit harder without anxiety. As a result, your dynamics open up and your tone gets more aggressive in the best possible way. This matters especially in blues, where picking attack shapes the whole feel of a phrase. For example, a perfectly muted note lets you slam a downstroke and hear only what you intended. In contrast, a sloppy muted note creates clutter that smears your phrasing. Additionally, clean isolation gives you a solid foundation for everything covered in [the full slap and mute approach](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/), from ghost notes to accented slaps. Think of muting as the container that holds your tone together. The cleaner the container, the more expressive you can be with what goes inside it. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues guitar tone, clean playing, fretting hand muting, guitar, guitar lessons, Keith Wyatt, mute technique, muting, thumb muting guitar, unwanted string noise --- ### [Guitar Slap: How to Make a Clean Note Sound Huge](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/) **Published:** June 26, 2026 **Author:** ArtistWorks **Excerpt:** Guitar slap technique is one of the most misunderstood moves in blues picking. Most players think it's just a percussive trick. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Guitar slap technique is one of the most misunderstood moves in blues picking. Most players think it’s just a percussive trick. In reality, it’s the single biggest factor in making individual notes sound powerful and full. When you slap all six strings aggressively with your pick on every downstroke, single notes stop sounding thin. They start sounding huge. This article explains exactly how to develop that technique. It also shows you why your fretting hand is the secret ingredient. If you’ve been exploring [the full slap and mute framework](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/), this piece zooms in on the picking side and gives you a clear path to results. **Plain-English takeaway —** Slapping all six strings with the pick puts real size into single-note playing, but the technique only works cleanly when your fretting hand is already muting every string it shouldn’t be.## What Guitar Slap Actually Does to Your Tone First, let’s be specific about what the guitar slap is. On every downstroke, your pick attacks all six strings. It doesn’t land softly on one string and glide. Instead, it hits hard and sweeps across the full width of the strings. The result is a percussive burst of energy behind every note. Because you’re hitting multiple strings, the attack is denser. So the note that rings through sounds bigger and more authoritative. This is why blues players like Stevie Ray Vaughan and Albert Collins could make single-note lines sound like a full band. Of course, there’s an obvious question here. If you’re hitting all six strings, why don’t you hear a mess of wrong notes? The answer is your fretting hand. Specifically, your fretting hand muting keeps every string you aren’t playing completely silent. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Fretting-Hand Muting: The Hidden Partner of a Powerful Guitar Slap The guitar slap only works cleanly when your fretting hand has already done its job. Every string that isn’t part of the note you’re playing needs to be muted. Your unused fingers should rest lightly on those strings. They don’t press down. They just touch. For example, imagine you’re playing a single note on the B string. Your index finger frets the note. Meanwhile, your other fingers need to mute the high E below it. Your palm or thumb should also be managing the low strings. So the pick can slash across everything, and only that B string rings out. This is the dependency players miss. They try the aggressive slap, hear chaos, and back off. In contrast, players who get their fretting-hand muting right can hit as hard as they want. Because only the intended note rings, the power comes through clean. If you want to go deeper on the muting side, [this breakdown of string-muting fundamentals](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/) covers it in detail. ## How to Develop the Guitar Slap Motion Itself Start with your picking hand alone. Hold your pick at a slight angle and practice broad downstrokes across all six strings. Don’t pick delicately. Instead, use your forearm and wrist together. Think of a controlled chop rather than a strum. Notice the sound of the attack. It should feel percussive, almost like a snare hit. The pick should feel like it’s biting into the strings rather than sliding over them. Next, add a single fretted note. Play a note on the G string. Slap downward across all six strings. Listen carefully. If you hear buzzing or extra notes, your fretting hand isn’t muting properly yet. So adjust your unused fingers until those sounds disappear. Finally, move the note around. Play it on the low E, then the D, then the high E. Each string position requires a slightly different muting setup. Working through all six strings this way trains both hands simultaneously. ## Practice Routine: Notes on Every String, Slap on Every Stroke Here’s a focused drill for building the guitar slap cleanly. Pick one note on each string. Fret the note, then slap all six strings with a firm downstroke. If the note rings clearly without extra noise, move to the next string. If it buzzes, stop and adjust your muting before moving on. Do this slowly. There is no benefit in rushing. In fact, slow practice reveals the muting gaps that speed would hide. After you can hit clean notes on every individual string, connect two notes. For instance, play a note on the A string, then a note on the G string. Slap through all six on each stroke. Listen for clarity between the notes. Additionally, notice whether your muting shifts naturally as you move from string to string. This is real technique building. You’re not just practicing a motion. Instead, you’re training your hands to work together under pressure. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Adding Dynamics Once the Guitar Slap Is Clean Once you have clean notes with the guitar slap, you can start shaping dynamics. Not every note in a phrase needs maximum power. Some notes should be softer. The slap can be lighter or heavier depending on where you want the emphasis. For example, landing phrases on the one and the four with a harder slap creates a sense of groove and authority. Meanwhile, connecting notes between those beats with a slightly lighter touch keeps the line flowing. This is how blues players create expression without pedals or electronics. Furthermore, it’s exactly what separates flat, even picking from playing that feels alive. You can explore this idea further in [the guide on down vs. upstroke dynamics](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/). Also consider how the guitar slap interacts with legato notes. Sometimes you’ll want a phrase to flow smoothly rather than percussively. In those moments, the slap gives way to a lighter touch. For connected, flowing lines, [the legato technique overview](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) shows you how to balance both approaches. ## Bringing It Together in a Blues Phrase Take a simple three-note blues motif. Play it with your normal picking first. Then play it again using the full guitar slap on every downstroke. The difference is immediate. The phrase feels larger, more grounded, and more authoritative. That’s not a coincidence. The percussive attack adds physical weight to each note. However, go back and listen critically. If any note buzzed or sounded thin, your muting wasn’t complete. Therefore, fix the muting, then slap again. Repeat this until every note in the phrase rings huge and clean. This loop of slap, listen, and adjust is the fastest way to internalize the technique. As part of [the broader slap and mute system](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/), this skill ties directly to every dynamic choice you’ll make in a live or recorded performance. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues picking technique, blues shuffle, fretting-hand muting, guitar slap, Keith Wyatt, percussive downstroke, single-note tone, slap picking --- ### [Legato Guitar Technique for Blues: How to Keep Your Riffs Flowing](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) **Published:** June 26, 2026 **Author:** ArtistWorks **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Legato guitar technique is one of those fundamentals that separates a riff that breathes from one that chops and stutters. If you have been working through the [slap and mute framework for dynamic blues playing](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/), you already know how much control lives in the right hand. But even a perfectly executed slap can feel disconnected if your fretting hand is releasing notes a split second too early. That gap, however tiny, kills momentum. This article zeroes in on one specific fix: keeping each fretted note alive until the pick has already moved on. The result is a smooth, continuous line where notes flow into each other naturally, the riff stays locked in, and the groove never drops. Think of it as the connective tissue that holds every other technique together. **Plain-English takeaway —** Hold each fretted note until the pick strikes the next one, and your blues riffs will flow with smooth, unbroken momentum instead of sounding choppy and disconnected.## What Legato Guitar Technique Actually Means in a Blues Context The word legato literally means “tied together.” In classical music, it describes a phrasing style where notes connect without audible gaps. In blues guitar, however, the idea is just as important, even though nobody talks about it in classical terms. Because blues rhythm parts lean heavily on downstrokes, there is a natural tendency toward a punchy, staccato feel. That punch is actually desirable sometimes. For instance, the [picking hand slap technique](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/) relies on that attack to create impact on a strong beat. However, staccato becomes a problem when it arrives by accident, not by choice. Unintentional gaps in a riff drain energy from the groove. So legato guitar technique, in this context, is not about playing softly or eliminating attack. It is about keeping notes sustained for their full intended duration. The line connects the way a horn player or a vocalist would phrase it. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Why Downstroke-Heavy Blues Riffs Are Vulnerable to Choppiness Most foundational blues riffs use predominantly downstrokes. That choice gives the part its authority and weight. But downstrokes come with a mechanical side effect that is worth understanding. When you drive a pick downward through a string, your fretting finger often sympathetically releases pressure at the end of the stroke. It is a subtle reflex, but it is there. As a result, the note dies slightly before the next one starts. Multiply that across sixteen bars and the riff begins to feel clipped. The choppy feel gets worse at moderate tempos. Fast tempos actually mask the problem because the gap is proportionally shorter. However, at a medium shuffle tempo, that early release is clearly audible. It creates a hiccup right where the riff should coast forward. Additionally, players who have spent time on muting technique, such as the [fret and mute approach for silencing unwanted strings](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/), sometimes overcompensate. They mute so deliberately that they begin cutting off notes they actually wanted to sustain. Legato guitar technique is the counterbalance to that habit. ## The Core Fix: Don’t Release Until After the Pick Strikes Here is the whole idea in one sentence: your fretting finger should not lift until the pick has already attacked the next note. That sequence sounds obvious, but in practice most players do it backwards. They release the current note and then pick the next one. The result is a tiny silence between the two. Even a gap of 30 milliseconds registers as a stutter. The fix is a simple change in mental priority. Think of your fret-hand fingers as having one job: maintain contact until handoff is confirmed. The pick leads, and the fretting hand follows just behind. Try this slowly on a two-note move within a blues riff. Play the first note. Hold it a hair longer than feels natural. Then strike the second note while the first finger is still pressing. Finally, release the first finger only after you hear the second note ring. That overlap is legato guitar technique in its most direct form. ## Applying the Overlap to a Shuffle Riff Take a classic I-chord shuffle figure. The riff likely moves between the root, the fifth, and the sixth on a low string. Each interval is a new fret position, and each transition is a potential gap. First, play it at 60% of performance tempo. Listen specifically to the space between each note. Most players will notice at least one spot where the line breaks. Next, isolate that spot and apply the overlap fix. Sustain the departing note consciously. Strike the next note before releasing. Then, gradually increase the tempo. Because the overlap is smaller at higher speeds, the technique becomes easier to manage. The goal is not a long, droning overlap. It is simply no gap. A seamless handoff, not a sustain exercise. Also consider how this approach connects to the larger rhythmic framework. When you pair this smooth, connected fretting with the [shuffled upstroke picking patterns](https://blog.artistworks.com/upstroke-picking-blues-shuffle-groove/) that fill in the upbeats, the riff stops sounding like individual notes and starts sounding like a phrase. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Legato Guitar Technique and Dynamics Working Together Legato guitar technique is not in conflict with expressive dynamics. In fact, it enables them. When notes connect cleanly, any variation in pick attack registers clearly because the tone is not already losing energy between strikes. Think of it this way: a crescendo only reads as a crescendo if the baseline sustain is consistent. If notes are already fading early, a louder attack just sounds like another random accent. However, when the line flows evenly, a sudden dig with the pick lands with genuine authority. This is exactly the principle behind [balancing downstroke force with upstroke lightness](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/). Both techniques depend on a sustained, connected foundation. Without legato guitar technique underneath, dynamic contrast feels erratic rather than intentional. ## Legato Guitar Technique: Making the Habit Automatic The goal is to stop thinking about this consciously. Initially, you are monitoring that overlap deliberately. Eventually, it becomes part of how your hands coordinate by default. Practice one riff for five minutes per session, focused entirely on fret-to-fret handoffs. Do not try to fix everything at once. Specifically, pick the bar where the riff feels most choppy and loop just those two or three notes. Once the overlap feels natural in isolation, put it back in context. Record yourself, even on a phone. Then listen back and focus only on continuity. You will hear the improvement clearly, because connected notes have a physical warmth that clipped notes never produce. ## The Flowing Riff Is the Foundation of Everything Else Every technique covered in the [blues dynamics and slap and mute framework](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/) builds on a riff that flows. The slap, the mute, the dynamic pick attack, all of those elements need a connected baseline to sound intentional rather than accidental. Legato guitar technique is that baseline. Master the handoff between notes, and you give every other technique a solid platform to land on. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues guitar riffs, connected notes, fretting hand control, Keith Wyatt, legato, legato guitar technique, long notes, shuffle riff technique, smooth guitar phrasing --- ### [Upstroke Picking: How to Add Shuffled Upbeats For Pocket & Groove](https://blog.artistworks.com/upstroke-picking-blues-shuffle-groove/) **Published:** June 26, 2026 **Author:** ArtistWorks **Excerpt:** Upstroke picking is one of those small moves that completely changes how a blues groove feels. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Upstroke picking is one of those small moves that completely changes how a blues groove feels. Most players nail the downstrokes and wonder why the riff still sounds a little stiff. The answer, almost always, is the upbeats. When you add shuffled upstrokes between your main downstrokes, the groove opens up and starts to breathe. This article breaks down exactly how to place those upbeats, how to mute the strings you don’t want ringing, and how to time the release so the downbeat always lands with weight. For the bigger picture on expressive blues dynamics, [check out the full slap and mute framework](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/) first. **Plain-English takeaway —** Shuffled upstroke picking fills the rhythmic space between your downstrokes, and the timing of your note release is what makes the groove lock in.## Why Downstrokes Alone Leave the Groove Feeling Flat Downstrokes give you the notes. However, they don’t give you the full rhythmic story of a blues shuffle. A shuffle feel lives in the triplet subdivision. Specifically, the “and” of each beat is where the magic happens. When you skip that upstroke, the groove loses its bounce. As a result, even a perfectly pitched riff can land with zero feel. Think of the shuffled rhythm as a long-short pattern. First, you hit the downstroke on the beat. Then the upstroke catches the back half of the triplet. That pair together is what the ear hears as a shuffle. Without the upstroke, you only have half the conversation. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## How Upstroke Picking Fills the Triplet Gap The triplet subdivision is the engine of a blues shuffle. For example, if you count “one-trip-let, two-trip-let,” the downstroke lands on “one” and the upstroke lands on “let.” In other words, the upstroke fills the last third of the beat. That placement is what makes the groove feel rounded rather than choppy. Because the upstroke is lighter by nature, it creates a natural accent difference between beats. The downstroke hits with authority. Meanwhile, the upstroke ghosts in underneath it. That contrast is the shuffle pulse listeners feel in their chest. So your job is not to force the upstroke to be loud. Instead, let it stay soft and let the downstroke do the heavy lifting. Practice this without any fretting at first. Simply alternate down and upstroke picking over open strings in a triplet feel. Then count out loud and focus on landing the downstroke exactly on the beat. After that, the upstroke placement usually finds itself. ## The Muting Rule: Keep the Upper Strings Covered Here is where upstroke picking gets technical. On a blues riff, you’re typically working on the lower strings. However, your upstroke can accidentally catch the higher strings above the fretted note. That unwanted ring kills the clarity of the groove immediately. The fix is straightforward. Keep the side of your fretting finger draped lightly over the upper strings throughout every upstroke. For example, if your index finger is fretting a note on the A string, let the soft pad of that same finger rest against the low E string above it. As a result, the upstroke brushes those strings but produces no pitch. You hear a soft percussive click instead, which actually adds texture rather than subtracting from it. This muting approach ties directly into the [fretting hand mute technique covered in support one](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/). Because that article goes deep on the mechanics of silencing unwanted strings, use it alongside this one for the full technique picture. ## Upstroke Picking: Timing the Release Before the Downbeat This is the detail most players miss. Therefore, it is worth slowing down and really isolating it. The note you fret on the upstroke should release just before the next downstroke lands. In other words, you are not holding the upstroke note all the way into the beat. You release it early so the downbeat arrives clean and uncluttered. Because the upstroke note is already soft, this early release makes it feel even lighter. As a result, the downstroke lands with extra weight by comparison. That contrast is exactly what gives a shuffle groove its forward momentum. Try this slowly. Fret the upstroke note, let it sound briefly, then release finger pressure right before you strike the downstroke. First, practice at a very slow tempo so you can feel the space. Then gradually increase the speed. Eventually the release becomes automatic and the groove starts to feel effortless. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Combining the Upstroke Picking with the Hand Slap Once your upstroke picking feels comfortable, you can start combining it with picking hand techniques for a fuller sound. For instance, the [picking hand slap covered in support two](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/) lets you add a percussive attack on the downstroke that contrasts beautifully with the lighter upstroke. Together, those two moves sound like a drummer and a guitarist sharing the same part. Because the slap happens on the downstroke and the upstroke is deliberately soft, the rhythmic accent pattern almost builds itself. In addition, the muting you’re already doing on the fretting side keeps everything clean while the slap adds body. So these techniques stack naturally rather than conflicting with each other. Similarly, once the groove is flowing, you can connect phrases using the [legato approach in support three](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) to keep the energy moving between riffs. In contrast to the percussive shuffle feel, legato smooths out the transitions and prevents the groove from sounding choppy when you shift positions. ## Locking In the Feel: A Simple Practice Approach Finally, here is a practice sequence that pulls everything together. Start with a simple two-note blues riff on the A and D strings. First, play it with downstrokes only and notice how it feels. Then add the upstroke on the back third of each beat. After that, apply the fretting hand mute and feel the clarity improve. Next, focus on the release timing. Let the upstroke note go just before the downbeat and listen for that subtle weight shift. Because your ear will tell you immediately when the timing is right, trust what you hear. The groove will feel less like you’re playing notes and more like you’re playing time. For related ideas on balancing attack and relaxation across both strokes, [the down vs. upstroke dynamics article](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/) goes further into how to play with what educators call relaxed aggression. And for the complete five-part framework that ties all of this together, [return to the main slap and mute guide](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/). That is where the full picture lives. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues lesson, blues shuffle, blues shuffle groove, boogie shuffle, fretting hand mute technique, guitar lessons, shuffle picking, triplet subdivision guitar, upstroke picking --- ### [Dynamics on Guitar: How to Play with Relaxed Aggression](https://blog.artistworks.com/dynamics-on-guitar-relaxed-aggression/) **Published:** June 26, 2026 **Author:** ArtistWorks **Excerpt:** Dynamics on guitar separate a memorable performance from a mechanical one. Most players know they should vary their volume. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 25, 2026 · Updated Jun 25, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Dynamics on guitar separate a memorable performance from a mechanical one. Most players know they should vary their volume. Few understand the exact physical mechanism that makes it happen stroke by stroke. This article is about one specific skill: using the contrast between your downstroke and upstroke to build real groove and power. If you have read about [the slap and mute framework for expressive blues tone](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/), you already know that dynamics live in the picking hand. Here, we go deeper into exactly how each stroke direction should feel. Why equal-force picking is quietly killing your groove. **Plain-English takeaway —** Hit downbeats hard and upbeats soft by staying relaxed and flicking with focused energy, and that contrast is where your "relaxed aggression" lives.## Why Dynamics on Guitar Die When Every Stroke Hits the Same Most players tense up when they want to play louder. That tension spreads through the forearm and wrist, so every stroke comes out with roughly the same force. As a result, the music loses its shape. Downbeats and upbeats sound identical, and the groove flattens out. The problem is not a lack of effort. In fact, the problem is often too much effort applied in the wrong direction. When you grip hard and push through the strings, you lose the fine motor control that creates contrast. Instead of shaping each stroke individually, you end up hammering everything equally. Think about what makes a great blues shuffle feel alive. The downbeats land with authority, and the upbeats ghost in underneath them. That contrast is the groove. Without it, even a perfectly executed riff sounds lifeless. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## The Physical Approach: Relax First, Then Add Intention Here is the counterintuitive truth about dynamics on guitar: relaxation is the starting point for power, not tension. A relaxed picking hand moves faster, recovers quicker, and gives you much more control over attack. Tension, on the other hand, locks everything in place and removes your ability to adjust stroke by stroke. Start by dropping your forearm weight. Let your shoulder release, then let your elbow drop naturally. Next, soften your grip on the pick so it sits loosely between your fingers. You want just enough pressure to hold it, nothing more. From that relaxed baseline, you can now add intention to specific strokes. Because your hand is free to move, a small flick of the wrist translates directly into a louder, sharper attack. That is the key distinction: power comes from focused, concentrated energy, not broad arm force. ## Downbeats Hit Hard, Upbeats Stay Soft Now apply that principle to your actual picking pattern. On downbeats, flick the pick through the strings with a quick, deliberate wrist snap. The motion is small and specific. Think of it as a controlled pop rather than a full-arm swing. On upbeats, however, the pick barely grazes the strings. Instead of pushing through, let the pick skim across the surface. As a result, the upstroke becomes a whisper next to the downstroke’s punch. That contrast is where the dynamics on guitar actually live. This is not about playing the upstroke lazily. In contrast, you still want the upstroke to be clean and in time. The difference is purely in weight and attack. The downstroke drives the beat forward, and the upstroke fills the space without competing for attention. If you have been working on [how to add upbeats that lock in the groove](https://blog.artistworks.com/upstroke-picking-blues-shuffle-groove/), this is the force-contrast layer that makes those upbeats sit correctly in the pocket. ## What “Relaxed Aggression” Actually Feels Like The phrase “relaxed aggression” sounds like a contradiction. However, it describes a very specific physical state that experienced players know well. Your arm and shoulder stay loose and free. Meanwhile, the wrist and fingers deliver a sharp, intentional flick on the beats that matter. The best analogy is a whip. For example, a whip only cracks because the handle end is relaxed enough to send energy down the length of the cord. If you grip the handle rigid and stiff, nothing travels. Similarly, a rigid picking arm absorbs all the energy before it reaches the string. So the goal is to stay soft everywhere except at the moment of contact. Then, at that exact moment, a quick snap of the wrist focuses all the energy into one point. That combination of looseness and snap is what produces a big, clean tone without burning out your forearm. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) ## Building the Feel Through Deliberate Practice Start slow. Pick a single chord and alternate down-up strokes at a tempo where you can actually feel each stroke separately. First, make the downstroke noticeably louder than the upstroke. Then, work on making the contrast even wider. The upstroke should almost disappear next to the downstroke. Once you feel the contrast, try it on a basic 12-bar blues shuffle. Because the shuffle pattern naturally emphasizes the downbeat, your picking dynamics should reinforce what the rhythm is already doing. Notice how the groove locks in when the downbeat has real weight behind it. From there, experiment with the amount of upstroke presence you want. Sometimes you want the upstroke a little brighter. In other situations, you want it to vanish entirely. That choice is yours, and relaxed control is what gives you access to it. ## Connecting Dynamics on Guitar to the Full Blues Sound Dynamics on guitar do not live in isolation. They connect directly to every other part of your blues technique. For example, [how a picking-hand slap makes a clean note sound huge](https://blog.artistworks.com/guitar-slap-single-notes-sound-huge/) depends on the same relaxed wrist snap described here. In addition, [keeping notes connected and the riff flowing](https://blog.artistworks.com/legato-guitar-technique-blues-riffs/) becomes much easier when your picking hand is not locked in tension between strokes. The contrast between hard downbeats and soft upbeats also works hand in hand with muting. Specifically, [how to silence unwanted strings while you play](https://blog.artistworks.com/mute-technique-silence-unwanted-guitar-strings/) becomes more natural once your hand is already sitting loose and close to the strings. Together, these elements form the expressive toolkit at the center of [great blues guitar dynamics without pedals](https://blog.artistworks.com/slap-and-mute-blues-guitar-dynamics/). The picking hand does more work than most players realize. Relaxed aggression is the mindset that unlocks all of it. Stay loose, flick hard on the beat, and let the contrast do the talking. [Start learning with Keith Wyatt at ArtistWorks*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar lessons, blues picking technique, downstroke upstroke contrast, dynamics on guitar, guitar, Keith Wyatt, picking hand control, relaxed aggression picking --- ### [Boogie Shuffle: How to Lock In with the Drums Before You Play a Chord](https://blog.artistworks.com/boogie-shuffle-lock-in-drums/) **Published:** June 19, 2026 **Author:** ArtistWorks **Excerpt:** The boogie shuffle lives or dies on rhythm, so most beginners make a costly mistake: they grab a chord shape before their picking hand knows what it is doing. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle lives or dies on rhythm, so most beginners make a costly mistake: they grab a chord shape before their picking hand knows what it is doing. As a result, they end up with correct notes and a shaky groove. That is the wrong order of operations. Your real job as a rhythm guitarist is to harmonize the drums first, then layer the harmony on top. This guide breaks down exactly how to do that, starting with your foot on the floor and a muted string in your hand. If you are just getting oriented on the big picture, check out [the five essential skills that build a complete blues shuffle](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) before you dive into the mechanics here. ## Why the Boogie Shuffle Demands Drum-First Thinking Most players learn guitar chords before they learn groove. That habit works fine for strumming songs around a campfire. However, the boogie shuffle is not a chord-first style. It is a rhythmic conversation between the guitar and the drum kit. The guitar is supposed to match what the drummer is already doing. Think of the drummer as the section leader. The kick drum plants the downbeats, the snare cracks the backbeats, and the hi-hat or ride cymbal carries the shuffle pulse. Because that pulse never stops, your picking hand has to mirror it with the same steadiness. Chords are secondary. First, you need your hand swinging in time. This is not a beginner shortcut. In fact, professional session players think this way every time they walk into a studio. The groove is the job. Harmony is just color. ## Feel the Boogie Shuffle Pulse Before Your Fingers Move Before you touch a fret, sit with the recording or click track and tap your foot. A boogie shuffle groove has a swung eighth-note feel, so the first eighth is longer and the second is shorter. Your foot should catch that long-short lilt naturally after a few bars. Meanwhile, keep your picking hand relaxed in your lap and let the rhythm sink in physically. Once your foot is steady, bring your fretting hand lightly across all six strings to mute them completely. Press the flesh of your palm near the bridge for extra muting if needed. Now start strumming with your pick in a steady alternate stroke, down-up-down-up, while your foot keeps tapping. Do not worry about hitting specific strings yet. Instead, focus on matching the swung pulse you feel in your foot. This is the drill that unlocks everything. Because you are not managing fret pressure or chord shapes, your full attention goes to timing. After just two or three minutes of muted scratching in time, most players feel a noticeable shift. The motion starts to feel automatic. ## Build the Alternate-Stroke Habit on Muted Strings Alternate picking on muted strings is the core drill for boogie shuffle rhythm work. Start slow, somewhere around 60 beats per minute, and keep the strokes even. The downstroke carries a little more weight because it lands on the strong part of the beat. However, the upstroke must be present and consistent, or the groove develops gaps. Specifically, focus on what your wrist is doing. The motion should come from the wrist, not the elbow. Short, controlled strokes produce a tighter, more percussive scratch. In contrast, big arm swings create a sloppy feel that fights the drummer instead of locking in with them. After a few minutes of slow scratching, increase the tempo in small steps. For example, go from 60 to 70, then 70 to 80, then 80 to 90. At each tempo, check that your foot tap and pick stroke still match. If they drift apart, slow back down. Eventually, the relationship between foot and hand becomes automatic, and that is exactly where you want to be before you add a single fretted note. ## Why Muting Is a Rhythmic Tool, Not Just a Technique Some players think of palm muting as a trick to clean up buzzy notes. However, in the context of a boogie shuffle, muting is primarily a rhythmic device. The percussive click of a muted string is almost identical to a snare hit. Therefore, when you scratch muted strings in time, you are literally playing percussion alongside the kit. That connection matters a lot. Because the muted scratch locks to the snare and hi-hat, adding an open chord shape later does not disrupt the groove. Instead, it simply brightens the sound while the rhythmic pattern stays intact. You want to learn more about exactly which strings to let ring and which to keep muted? [Fretting and muting blues shuffle chords so only the right notes ring out](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/) covers that in detail. ## Adding Chords as a Layer on Top of Locked-In Rhythm Once your picking hand runs on autopilot at a target tempo, you are ready to introduce the first chord shape. Think of it as a layer, not a replacement. Your picking hand keeps doing what it has been doing. Your fretting hand simply changes the tone of the strings underneath. Start with the root-fifth shape on the low E and A strings. Press the notes down, but do not change your picking motion at all. If the groove stumbles, you have added the chord too soon. In that case, go back to muted strings for another minute, then try again. For guidance on how the short-long and loud-soft phrasing patterns shape the feel once your chord is in place, [understanding how to phrase the shuffle rhythm](https://blog.artistworks.com/boogie-shuffle-phrasing-groove/) is the natural next step. Similarly, once the basic shape feels stable, [adding the pinky to create the boogie guitar pattern](https://blog.artistworks.com/boogie-shuffle-little-finger-blues-pattern/) shows you how to build movement within the groove. ## Your Next Practice Session: One Simple Boogie Shuffle Sequence Here is the exact order for your next practice session. First, tap your foot to a slow shuffle track for 30 seconds with your hands in your lap. Next, add the muted scratch for two minutes. Then, increase tempo in small steps until you hit your comfortable ceiling. Finally, lay one chord shape on top and hold the groove for a full 12-bar form. That sequence is repeatable. In addition, it is scalable. As your groove gets stronger, the chord changes that used to break your rhythm will start to feel easy. [Changing chords in a blues shuffle without losing the groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/) digs into those transitions once you are ready. Everything comes back to the same principle. The [full breakdown of blues boogie shuffle essentials](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) says it clearly: rhythm is the foundation. Lock in with the drums first. The chords will thank you later. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** alternate picking groove, ArtistWorks, blues drum pattern, blues guitar, blues guitar lessons, blues music, blues rhythm, blues shuffle, blues shuffle rhythm, boogie shuffle, drum-first guitar practice, guitar, guitar lessons, Keith Wyatt, muted string picking drill, pocket, shuffle, shuffle rhythm --- ### [Boogie Shuffle Blues Guitar: 5 Proven Skills to Master the Groove](https://blog.artistworks.com/boogie-shuffle-blues-guitar-5-proven-skills-to-master-the-groove/) **Published:** June 19, 2026 **Author:** ArtistWorks **Excerpt:** The boogie shuffle has driven blues guitar since Robert Johnson adapted it from the piano on recordings like "Sweet Home Chicago." **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 8 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle has driven blues guitar since Robert Johnson adapted it from the piano on recordings like “Sweet Home Chicago.” That rolling, locomotive feel is one of the most satisfying rhythms you can play. However, most beginners try to learn it all at once, and the groove never quite locks in. Instead, think of the boogie shuffle as five stackable skills. Master each one in order, then stack them, and the rhythm starts to breathe on its own. In this pillar guide, you will get a clear map of those five skills, plus links to dedicated deep-dive lessons for each one. First, you will see how your picking hand mirrors the drums before a single chord is added. Next, you will explore clean fretting and muting, correct rhythmic phrasing, the pinky-driven boogie pattern, and finally, smooth chord changes. Each section stands on its own. Together, they give you the complete picture. ## What Makes the Boogie Shuffle Feel Like a Moving Train The boogie shuffle sits at the heart of Chicago blues, Texas blues, and early rock and roll. Specifically, it traces back to barrelhouse piano players who built a rolling left-hand bass pattern under their melodies. Guitar players, including Robert Johnson and later Chuck Berry, translated that pattern onto six strings. As a result, a style born on keyboards became the backbone of electric blues. So what gives the shuffle its signature energy? In short, it is the interplay between a swinging triplet feel and a repeating two-note chord shape that rocks back and forth. The rhythm leans into every beat with a strong pulse, then releases it. Because that push-and-pull happens on every single beat, the groove locks into your body before your brain catches up. For beginners, the most important thing to understand is that the boogie shuffle is a system. No single element carries the feel by itself. Instead, each skill reinforces the others, and removing any one of them flattens the groove. Therefore, learning them in a logical sequence saves you weeks of frustration. ## How Your Picking Hand Harmonizes with the Drums Before you fret a single note, your picking hand needs to be doing something specific. In fact, the picking hand is the engine of the boogie shuffle. It mirrors the drummer’s hi-hat pattern, locking into the underlying triplet subdivision so tightly that a listener could almost remove the drums and still feel the pulse. This idea, sometimes called “harmonizing with the drums,” means your down-strokes and up-strokes land exactly where the drummer’s stick lands. Because both instruments share the same rhythmic grid, the groove feels enormous, even on a single guitar. Start by practicing the alternate picking motion away from any chord shape. Simply let the pick travel in a steady, relaxed arc and feel where the strong beats fall. Once that motion is internalized, adding notes becomes much easier. For a deep breakdown of this technique, [start with the picking-hand pulse lesson](https://blog.artistworks.com/boogie-shuffle-lock-in-drums/) before moving on to any fretting work. Building the engine first means everything else slots into place naturally. ## Fretting and Muting So Only Two Notes Ring Out Once your picking hand has a pulse, your fretting hand gets to work. The boogie shuffle chord voicing is simple: two notes, typically the root and the fifth, played on adjacent strings. However, the strings above and below those two notes must stay silent. That is where deliberate muting comes in. Clean muting is, in fact, what separates a muddy shuffle from a clear one. Your fretting fingers need to lightly touch the strings they are not pressing down. Meanwhile, your picking hand can also contribute by angling the edge of the palm toward the bridge on certain strings. Neither hand does the job alone. Together, however, they create a tight, focused sound. Many beginners rush past this step because the voicing looks so simple on paper. In practice, getting exactly two notes to ring out takes focused repetition. For a step-by-step breakdown of finger placement and muting strategy, [the fretting and muting deep-dive](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/) covers every detail you need. Nail this skill early, and the rest of the shuffle clicks together far more quickly. ## Phrasing the Rhythm with a Short-Long, Loud-Soft Pattern Here is where the boogie shuffle truly comes alive. Each beat carries two strokes: a short, louder down-stroke followed by a longer, softer up-stroke. That short-long, loud-soft pattern is the rhythmic breath of the shuffle. Without it, the groove sounds mechanical. With it, the guitar seems to swing forward on its own. The “short” part of each beat is accented because the down-stroke naturally carries more momentum. Then, the “long” part releases that tension gently. Because this happens on every beat of the bar, the listener’s body responds almost involuntarily. In other words, the phrasing is what makes people tap their feet. For beginners, the most common mistake is playing every stroke at the same volume and length. As a result, the shuffle sounds flat. First, exaggerate the difference between the two strokes while playing slowly. Then, gradually bring the tempo up and let the contrast settle into something natural. For a precise breakdown of how to internalize this pattern, [the phrasing lesson on short-long rhythm](https://blog.artistworks.com/boogie-shuffle-phrasing-groove/) is exactly where you want to go next. ## Adding the Pinky Note That Creates the Boogie Shuffle Pattern Now the fun really starts. Once your picking hand is steady, your muting is clean. Your phrasing breathes, it is time to add the boogie note. Specifically, you add one extra fretted note with your little finger, usually a minor seventh or a sixth above the root, on the same string as the fifth. This single addition transforms a basic shuffle into the unmistakable boogie guitar pattern. The pinky extension is rhythmically placed on the “and” of the beat, sliding in just after the up-stroke. Because it adds a melodic movement to what was previously a static voicing, the whole rhythm suddenly sounds like it is dancing. In fact, this is the sound most people picture when they think of classic blues boogie rhythm guitar. The challenge is keeping the picking hand relaxed while the fretting hand stretches. Many players tighten their grip when they add the pinky, and as a result, the timing stutters. Therefore, practice the pinky addition slowly and separately before combining it with the full groove. For a complete guide to building this technique finger by finger, [the pinky boogie pattern lesson](https://blog.artistworks.com/boogie-shuffle-little-finger-blues-pattern/) walks you through every stage. That lesson will save you a lot of trial and error. ## Playing Clean Through Boogie Shuffle Chord Changes Without Losing the Groove The final skill is the one that makes the boogie shuffle usable in a real musical context. A 12-bar blues moves through three chords: the one, the four, and the five. In practice, that means your left hand must release, travel. Land precisely on the beat, all while your right hand keeps the alternate picking pattern unbroken. This is harder than it sounds. In fact, chord changes are where most beginner groove falls apart. The picking hand hesitates slightly, waiting for the fretting hand to arrive. However, the reverse should be true: the picking hand leads, and the fretting hand catches up. Because the picking pattern is the engine, it cannot stop. The solution is to practice each chord change in isolation, far below performance tempo. First, freeze at the moment of release and watch where your fretting fingers travel. Then, identify the slowest finger and train it to move faster. Over time, the transition becomes a single fluid gesture. For a detailed look at every chord-change moment in a 12-bar boogie shuffle, [the chord-change guide](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/) breaks it down beat by beat. That article also covers the turnaround and ending, so you can play a complete, finished arrangement. ## Turnarounds, Endings, and the Complete Boogie Shuffle Package Once the five core skills are in place, two final elements complete the boogie shuffle: the turnaround and the ending. The turnaround is the phrase in bars 11 and 12 that signals the top of the form is coming. Because it happens every 12 bars, it anchors the structure for both you and any musicians playing with you. The ending, meanwhile, gives the song a sense of resolution. Without a planned ending, a boogie shuffle can feel like it stops rather than finishes. However, a well-placed stop-time figure or a classic chromatic run resolves the energy cleanly. Both elements build directly on the five skills above. In other words, they use the same picking pattern, muting habits, and chord-change timing you have already developed. Stack them on top, and you have a complete, performance-ready arrangement. ## Continue Learning Each of the five skills in this guide has its own dedicated lesson. Work through them in the order below for the smoothest learning curve. 1. [Lock in with the drum groove before you touch a chord](https://blog.artistworks.com/boogie-shuffle-lock-in-drums/), build the picking-hand engine first. 2. [Fret and mute so exactly two notes ring out](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/), get the voicing clean and focused. 3. [Master the short-long, loud-soft phrasing pattern](https://blog.artistworks.com/boogie-shuffle-phrasing-groove/), give the rhythm its natural swing. 4. [Add your pinky to build the boogie guitar pattern](https://blog.artistworks.com/boogie-shuffle-little-finger-blues-pattern/), create the signature dancing movement. 5. [Change chords without breaking the alternate picking groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/), make it work across a full 12-bar form. ## Final Thought The boogie shuffle is one of those rhythms that sounds deceptively simple from the outside. In practice, every note earns its place. Because each of the five skills builds on the one before it, the learning sequence matters as much as the practice itself. Start with your picking hand, layer in clean fretting and deliberate phrasing, add the pinky, and finally smooth out your chord changes. Before long, you will feel that train-on-the-track energy in your hands, not just your ears. TrueFire has the lessons, the instructors, and the structured path to get you there. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 12-bar blues guitar, blue guitar, blues guitar lessons, blues guitar rhythm, blues shuffle, boogie shuffle, shuffle picking technique, shuffle rhythm --- ### [Boogie Shuffle Chords: Fret and Mute for a Clean Two-Note Sound](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/) **Published:** June 19, 2026 **Author:** ArtistWorks **Excerpt:** The boogie shuffle is one of the most satisfying rhythms in all of blues guitar. It can also be one of the most frustrating to clean up. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle is one of the most satisfying rhythms in all of blues guitar. It can also be one of the most frustrating to clean up. Most beginners hit a wall right here: they strum and get a muddy cluster of sound instead of that crisp, punchy two-note chug. The good news is that the fix lives entirely in your fretting hand. Once you understand exactly how to place your fingers and which strings to silence, every chord you play will lock into that tight, authoritative groove. For a full overview of where this skill fits in the bigger picture, check out [the five essential building blocks of blues boogie guitar](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/). Plain-English takeaway: Clean fretting-hand muting is the secret to making every boogie shuffle chord produce exactly two notes and nothing extra.## What the Boogie Shuffle Actually Asks of Your Fretting Hand First, understand the target. Every chord you play in a boogie shuffle should ring out exactly two notes, the root and the fifth. Nothing above them, nothing below them. That clean two-note sound is what gives the style its focused, punchy quality. When extra strings sneak through, the whole thing turns cloudy. Because the fretting shape itself is simple, beginners sometimes assume the muting takes care of itself. In fact, it does not. You have to build the muting deliberately, one finger at a time, before the picking hand ever enters the picture. ## The Boogie Shuffle Fretting Shape: Root on the Bottom, Fifth One String Over Start by planting your index finger on the root note. For a standard A boogie shuffle, that root sits on the fifth string at the second fret. Next, place your ring finger on the fifth of the chord. That note lives one string over toward the floor and two frets higher, so your ring finger lands on the fourth string at the fourth fret. Those two fingers form the entire fretting shape. However, the relationship between them stays consistent no matter which chord you are playing. Move both fingers together to a new root, and you keep the same interval. For example, when you shift to the D chord in a 12-bar pattern, the same shape simply moves to the fourth and third strings. ## Muting the Upper Strings With Your Index Finger Now here is where most players leave work on the table. The strings above your two fretted notes, specifically the third, second, and first strings, are open and will ring if your pick touches them. Therefore, you need to silence them before you strum. The fix is straightforward. Let the side of your index finger roll slightly upward so it rests lightly against those upper strings. Do not press them down. Instead, just let the flesh make contact. That light touch deadens the strings completely without pulling your fingertip away from the root note below. Practice this in slow motion first. Fret the root with your index finger, then add the ring finger on the fifth, then deliberately tilt your index finger until you feel it graze the upper strings. Finally, strum across all six strings and listen. You should hear only two notes. If you hear a buzz or a muted thud from the upper strings, that is exactly right. Those strings are doing their job, which is staying quiet. ## Muting the Low Bass String Below the Root The other side of the equation involves the sixth string. When your root sits on the fifth string, the sixth string hangs below it like an uninvited guest. Because that open low E can add unwanted rumble, you need to silence it too. Fortunately, your index finger handles this as well. Let the very tip of your index finger curve slightly downward so it just grazes the sixth string. Again, no pressure, just contact. As a result, that bass string goes dead the moment your pick crosses it. This two-directional muting, upward from the fingertip, downward from the tip, can feel awkward at first. However, it becomes automatic surprisingly quickly. Give it a few focused practice sessions, and your hand will find the position without thinking. ## Why This Matters for Your Picking Hand Here is the payoff. Once your fretting hand is handling all the muting cleanly, your picking hand no longer has to be cautious or precise about which strings it hits. You can relax the pick stroke and let it sweep across all six strings with consistent energy. Because the muting is doing the filtering, only the two correct notes will ring out. In contrast, players who skip the muting work end up tensing their picking arm trying to avoid the wrong strings. That tension kills the groove. The [short-long, loud-soft phrasing pattern](https://blog.artistworks.com/boogie-shuffle-phrasing-groove/) that makes a boogie shuffle feel alive depends on a relaxed, confident pick stroke. You cannot get there while your arm is guarding against mistakes. ## Two Common Problems and How to Fix Them First problem: the upper strings buzz instead of going silent. This usually means your index finger is pressing slightly rather than just resting. Ease the pressure. You need contact, not a barre chord. Second problem: the root note itself goes dead. This happens when your index finger tilts so far that it muffles its own fretted note. Therefore, make small adjustments. Tilt just enough to touch the upper strings without collapsing the finger. A thin sliver of contact on the upper strings is all you need. Also worth noting: when you [add your little finger to create the full boogie pattern](https://blog.artistworks.com/boogie-shuffle-little-finger-blues-pattern/), the muting setup stays exactly the same. Your index and ring fingers hold position, and the pinky simply hammers on above. So the work you do now transfers directly. ## Putting the Boogie Shuffle All Together Before Your First Full Run Before you try a full 12-bar pattern, spend a few minutes on a single chord. Fret the shape, check the muting, strum slowly, and listen critically. Then adjust. Once that single chord rings clean every time, shift to one chord change and repeat the process. [Smooth chord changes without losing the groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/) build on exactly this foundation. For a complete road map of where all these skills connect, return to [the full guide to playing blues boogie guitar](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/). Clean fretting and muting are not a small detail. They are, in fact, the mechanical core that makes everything else in the boogie shuffle possible. Get this right, and the whole style opens up. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues shuffle, blues shuffle chords, boogie shuffle, fretting hand muting, guitar, guitar lesson, index finger muting technique, Keith Wyatt, two-note guitar groove --- ### [Boogie Shuffle Phrasing: Master the Short-Long, Loud-Soft Pattern](https://blog.artistworks.com/boogie-shuffle-phrasing-short-long-loud-soft/) **Published:** June 19, 2026 **Author:** ArtistWorks **Excerpt:** The boogie shuffle is one of the most recognizable feels in all of American music, yet it trips up players constantly because the groove lives in contrast, not consistency. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle is one of the most recognizable feels in all of American music, yet it trips up players constantly because the groove lives in contrast, not consistency. Most beginners lock in on the notes and the chord shapes, then wonder why everything sounds stiff and mechanical. The answer is almost never about the notes themselves. Instead, it lives inside how each note is shaped, how long it lasts, and how hard it lands. This article zeroes in on the short-long, loud-soft phrasing pattern that separates a groove that breathes from one that just ticks along. For a full map of the five skills you need, start with [the complete guide to playing the blues boogie shuffle on guitar](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/). Then come back here and we’ll go deep on feel. Every beat of the boogie shuffle alternates between a short, accented downbeat and a long, sustained upbeat, and that contrast is exactly what makes the groove swing instead of march.## Why Equal Notes Kill the Boogie Shuffle Feel Here is the most common mistake. A player learns the two-note pattern, gets both notes clean. Then plays every single one at the same volume and length. On paper it looks fine. In practice, however, it sounds like a metronome wearing a cowboy hat. The boogie shuffle runs on contrast. Specifically, it needs a difference in both duration and accent between the downbeat and the upbeat note. Without that difference, your listener hears a steady, flat pulse. There is nothing to grab onto, nothing to lean into, and the groove disappears entirely. Think of a drummer’s ride cymbal. The “chick-a” pattern swings because the “chick” is short and punchy and the “a” floats. Apply that same logic to your guitar part, and the whole thing starts to move. ## The Picking Hand: Stay Loose and Use Alternate Strokes Before fixing your notes, first fix your hand. A tense wrist turns every stroke into a hammer blow, and that flattens out the dynamics you need. Instead, keep your wrist relaxed and think of flicking the pick through the strings rather than driving it through them. Use alternate picking throughout the pattern. Down strokes naturally produce a slightly heavier attack, which works in your favor on the downbeat. Up strokes, meanwhile, tend to be lighter and faster, which lines up well with the upbeat note. So you are already working with the physics of your hand. You just need to lean into it deliberately. For context on how your left hand works alongside this, [check out the guide to fretting and muting blues shuffle chords so only two notes ring out](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/). Clean fretting and a relaxed right hand work together as a system. ## Hitting the Downbeat: Short, Loud, and Immediately Cut Now for the actual shape of each note. On the downbeat, strike the note with a firm, confident down stroke. That attack should be the loudest moment in the beat. However, the crucial part comes immediately after the pick hits: release the pressure in your fretting hand. Do not lift off completely. Instead, just ease up enough to mute the note. The string goes quiet almost instantly. As a result, that downbeat note becomes short and punchy rather than ringing and sustained. It snaps into existence and then disappears. That snap is the “short” in the short-long pattern. It is also the accent that marks the top of the beat. Think of it as a door clicking shut, not a bell ringing. Crisp, defined, and brief. Practice this single action in isolation first. For example, play just the downbeat note and immediately mute it, over and over. Listen for consistency. Then, once it feels automatic, you can add the upbeat. ## Sustaining the Upbeat: Long, Soft, and Flowing The upbeat note works in the opposite way. After the muted downbeat, your pick comes back up and catches the string. This time, however, you let the note sustain. Apply fretting-hand pressure fully and hold it. The note should carry forward, almost connecting into the next downbeat. That sustain is the “long” in the short-long pattern. Because the upbeat floats, it creates a sense of pull toward the next downbeat. In other words, the pattern breathes forward instead of just ticking along. You feel the groove pulling you ahead rather than pacing out time mechanically. The upbeat is also softer. Your up stroke does most of the work here because a lighter stroke naturally produces less volume. In addition, you do not need to add extra attack. Let the pick move through the strings with minimal effort. The contrast between the loud downbeat and the soft upbeat does the heavy lifting. ## Putting the Boogie Shuffle Pattern Together: Contrast Is the Point So the full cycle looks like this. Downbeat: loud, short, immediately muted. Upbeat: soft, sustained, flowing into the next beat. Then repeat that contrast for every single beat of the bar. Once you can feel that alternation in your hands without thinking about it, the groove starts to lock in naturally. Furthermore, the feel becomes self-reinforcing. Each short downbeat makes the long upbeat more satisfying, and each floating upbeat makes the next downbeat feel more inevitable. Start slow. In fact, start much slower than you think you need to. At a slow tempo, you can hear each note clearly and feel whether the muting is actually happening. Speed only makes a stiff pattern faster, not better. Build the contrast first, then gradually increase tempo. For a deeper look at keeping this feel solid during chord changes, [the guide on switching chords without losing the groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/) picks up exactly where this leaves off. Similarly, if you want to add the pinky extension to the pattern, [learn how the boogie guitar pattern grows with your little finger](https://blog.artistworks.com/boogie-shuffle-little-finger-technique/) once the basic feel is solid. ## Apply This Pattern and Transform Your Boogie Shuffle Groove The short-long, loud-soft pattern is not a technique you layer on top of the boogie shuffle. It is the boogie shuffle. Everything else, the chord shapes, the tempo, the bass line, all of it rests on this rhythmic foundation. Without the contrast, you are just playing notes. With it, you are playing feel. Return to [the full breakdown of essential boogie shuffle skills](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) whenever you want to zoom back out and see how this phrasing concept fits inside the bigger picture. Every piece connects, but the feel you build here is what holds them all together. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) Get personal video exchange coaching from Keith Wyatt at ArtistWorks! --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues guitar, blues guitar groove, blues guitar lessons, blues guitar phrasing, blues shuffle, blues shuffle phrasing, blues shuffle rhythm, boogie shuffle, downbeat muting technique, guitar phrasing, Keith Wyatt, phrasing, rhythm guitar, short-long loud-soft phrasing, shuffle rhythm --- ### [Boogie Shuffle: How to Integrate Your Little Finger to the Pattern](https://blog.artistworks.com/boogie-shuffle-little-finger-technique/) **Published:** June 18, 2026 **Author:** ArtistWorks **Excerpt:** A single extra note added with the little finger transforms the basic shuffle into the full boogie pattern you hear on classic blues and rock records. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle is one of those patterns that sounds deceptively simple until you try to play it. Most beginners get the two-note shuffle shape under their fingers fairly quickly. However, something still feels incomplete. That “something” is usually a single extra note added with the little finger. It transforms the basic shuffle into the full boogie pattern you hear on classic blues and rock records. In this article, you will learn exactly how that note works, where to put your little finger, and the one fretting mistake that kills the whole groove. For the full picture of how this fits into the broader skill set, check out [the five building blocks of the boogie shuffle](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) before diving in here. Plain-English takeaway: Adding one extra note with your little finger is all that separates a basic shuffle from the full, driving boogie guitar pattern.## What the Basic Boogie Shuffle Shape Gives You First, let’s get clear on the starting point. The shuffle is built on two notes: the root and the fifth, both on the same string pair. Your first finger frets the root. Your third finger frets the fifth, one string higher and two frets up. Together, these two notes create the repetitive, hypnotic backbone that defines the [blues shuffle rhythm feel](https://blog.artistworks.com/boogie-shuffle-phrasing-short-long-loud-soft/). However, that two-note shape only gives you half the picture. The classic boogie pattern adds a sixth interval above the root note. In other words, your third finger plays the fifth, and then a third note appears one fret higher. That third note is where your little finger comes in. Because this one addition changes the entire character of the groove, it is worth spending real time on it. ## Placing the Little Finger for the Boogie Shuffle Start with your normal shuffle position. Your first finger is on the root, and your third finger is on the fifth. Now, extend your little finger to the very next fret on the same string your third finger is on. That is your sixth. This is the note that gives the boogie shuffle its characteristic riff. In practice, the motion works like this. On the downbeat, you play root and fifth. Then, on the upbeat, you add the little finger and play root and sixth. Your picking hand keeps the same steady triplet feel throughout. As a result, the groove does not change. Only that extra note appears and disappears in time with the rhythm. Keep your third finger down throughout both the downbeat and the upbeat. Many players lift it when the little finger comes down. Instead, keep it planted. This gives the little finger a stable neighbor to work from. The third finger anchors the whole move. ## The Mistake That Kills the Tone Here is the technical issue most players run into. When the little finger comes down, it tends to lie flat. A flat little finger will mute the string below it, which is almost always a string you need ringing cleanly. For example, if you are playing the pattern on the A and D strings, a flat little finger will damp the G string and muddy the whole sound. The fix is simple. Instead of pressing straight down, tilt your little finger slightly at the first knuckle. This means the tip of the finger does the fretting work, not the pad. As a result, the adjacent string stays clear. You will hear the difference immediately when you get the angle right. This is the same principle that applies to [fretting and muting shuffle chords cleanly](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/). The fretting hand always needs to be deliberate about what rings and what stays quiet. The boogie shuffle is no different. In fact, the little finger is just the latest place where that discipline shows up. ## Building the Boogie Shuffle at Slow Speed So now you have the mechanics. Next, you need to train them at a tempo where accuracy is possible. Start without a metronome at first. Play the root-fifth downbeat slowly, then bring the little finger down for the upbeat. Listen to whether the adjacent string mutes or rings. Adjust the tilt until it rings clearly every time. Once you have the tilt right, bring in a metronome or drum track at a slow tempo. Something around 60 to 70 beats per minute is ideal. Play the boogie shuffle through all twelve bars on just the I chord before adding chord changes. Because the little finger movement is new muscle memory, it needs many slow repetitions before it will feel natural at tempo. Eventually, you will notice the little finger starts to move on its own. That is when you know the pattern is in your hands. Then you can begin to move through chord changes, which is a whole separate skill covered in [how to change chords without losing the groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/). ## Locking the Pattern Into the Groove The final step is making the boogie shuffle feel good, not just correct. Feeling good means the little finger note lands precisely on the upbeat every time, not a hair early and not late. A common early mistake is rushing the upbeat because the little finger has to travel farther than the other fingers. Therefore, train yourself to feel the upbeat before you play it. Listen for it in the drum pattern. A [solid rhythmic connection with the drums](https://blog.artistworks.com/boogie-shuffle-lock-in-drums/) makes this much easier. Because the kick and snare mark the beats, your little finger can lock onto the upbeat like a groove anchor. Meanwhile, keep your pick motion consistent. Many players unconsciously slow the pick down when the little finger moves. Instead, let the pick stay steady and let the fretting hand do the work of adding the extra note. The pick does not care which notes are fretted. It just keeps moving. ## From One Note to a Full Boogie Guitar Sound This single extra note changes everything. The boogie shuffle goes from a two-note backing figure to a recognizable riff that drives the whole track. Because this pattern appears in so many classic blues and rock songs, getting it clean opens up a huge amount of repertoire. Return to [the five essential skills of the boogie shuffle](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) once you have the little finger motion solid. There, you will see how this technique connects to string muting, rhythm phrasing, chord changes, and playing in time with a band. Each skill builds on the others. For now, focus on one thing: tilt that little finger, hear that sixth ring out clearly. Let the groove do the rest. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) Get personal video exchange coaching from Keith Wyatt at ArtistWorks! --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks, blues, blues guitar, blues guitar lessons, blues shuffle, blues shuffle pattern, boogie shuffle, fretting hand finger placement, Keith Wyatt, little finger guitar technique, sixth interval boogie --- ### [How to Play Boogie Shuffle Chord Changes That Nail the Groove](https://blog.artistworks.com/boogie-shuffle-chord-changes-groove/) **Published:** June 18, 2026 **Author:** ArtistWorks **Excerpt:** Learn how to prepare chord changes before they arrive, keep your picking hand moving through transitions, and recover cleanly when a change goes sideways. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 18, 2026 · Updated Jun 18, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- The boogie shuffle lives or dies on one thing: forward motion. So when you first try changing chords in a 12-bar progression, that forward motion can stall out fast. Your picking hand hesitates, your fretting hand scrambles, and suddenly the groove is gone. If you have been studying the [five essential skills behind the blues boogie shuffle](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/), you already know the pattern sounds deceptively simple. The tricky part is keeping it locked and rolling while your left hand jumps to a new chord. That is exactly what this article tackles. You will learn how to prepare chord changes before they arrive, how to keep your picking hand moving through every transition, and how to recover cleanly when a change goes sideways. The secret to smooth boogie shuffle chord changes is keeping your picking hand moving and preparing each chord change one beat early.## Why Boogie Shuffle Chord Changes Feel So Awkward at First Most beginners focus all their attention on the fretting hand during a chord change. That is the natural instinct. However, the fretting hand is actually the passenger. The picking hand is the driver. In a boogie shuffle, your picking hand keeps a steady eighth-note pulse. That pulse is the groove. When you stop it to wait for your fretting hand to land, the groove collapses completely. So the real problem is not slow fingers. Instead, it is a broken picking hand rhythm. Think of your picking hand as a metronome. It does not care what the fretting hand is doing. It simply keeps moving. Once you accept that framing, chord changes become much less intimidating. ## The One-Beat Rule for Cleaner Transitions Here is the single most useful habit you can build: prepare every chord change one beat before it happens. In a standard 12-bar boogie shuffle, you spend four beats on each chord. Most players wait until beat four ends before they move. By then, it is too late. Instead, on beat three of the last bar, lift your fretting hand and begin moving toward the next chord shape. Your picking hand keeps going on the open strings during that brief moment. Because the boogie shuffle already uses a two-note grip, you can release early without creating a harsh silence. The open strings ring for a split second, and your new chord arrives right on the downbeat. This technique mirrors what skilled players do instinctively. It is also what [proper fretting and muting technique](https://blog.artistworks.com/boogie-shuffle-muting-clean-two-note-chords/) supports so well. ## Keeping Your Picking Hand Moving Through the Change This is the core discipline of the boogie shuffle chord change. Your picking hand must not pause. First, count the eighth notes out loud: one-and-two-and-three-and-four-and. Next, practice miming the picking motion without fretting anything. Just let the pick stroke the strings on air. After that, add the chord grip back in. You will notice the motion never stopped. When you move from the I chord to the IV chord, for example, think of your pick arm as a pendulum. It swings down and back on every beat, regardless of what your fretting hand is doing. In fact, even a muted or buzzy note on the transition beat sounds more musical than a sudden stop. A brief mute actually fits the rhythm and adds character. ## Mapping the 12-Bar So You See Changes Coming One reason players lose the groove is they get surprised by a chord change. The fix is knowing the map before you play. A standard 12-bar blues shuffle follows this structure: four bars on the I chord, then two bars on the IV chord, then two bars back on the I chord, then one bar on the V chord, one bar on the IV chord, and two bars back on the I chord. Say that sequence out loud until it feels automatic. Count the bars as you play. When you know that a IV chord is arriving in bar five, you stop reacting and start anticipating. That single shift in mindset makes transitions feel planned rather than panicked. For more detail on how rhythm phrasing supports that sense of anticipation, [this breakdown of the short-long pattern](https://blog.artistworks.com/boogie-shuffle-phrasing-short-long-loud-soft/) is well worth your time. ## Practice Tricks That Build Transition Muscle Memory Slow practice is the fastest route to clean chord changes. Set your metronome to a tempo where you can land every chord on the downbeat with zero rushing. Start with just two chords: the I and the IV. Loop those two changes for two minutes straight. Then, once that feels comfortable, add the V chord. Finally, string together all three in the full 12-bar form. Also, practice stopping the metronome and singing the changes out loud while you air-pick. This trains your internal clock. As a result, your picking hand keeps time even when your ears are focused on the fretting hand. Additionally, recording yourself for even 60 seconds reveals hesitations you cannot hear in real time. One more drill: play the full 12-bar and deliberately let the change be messy. Keep picking through the mess. This builds the habit of recovery. In a real playing situation, a clean recovery matters far more than a perfect change every time. ## Connecting Chord Changes to the Bigger Picture Once your chord changes feel stable, you can start layering in the details that make a boogie shuffle genuinely musical. For example, the [pinky-driven boogie pattern](https://blog.artistworks.com/boogie-shuffle-little-finger-technique/) sits naturally on top of solid chord transitions. You cannot add that detail if the foundation is shaky. Similarly, [locking in with the rhythm of the drums](https://blog.artistworks.com/boogie-shuffle-lock-in-drums/) becomes much easier when your chord changes stop competing for your attention. When the transitions are automatic, you can actually listen to what is happening around you. The [short-long, loud-soft phrasing](https://blog.artistworks.com/boogie-shuffle-phrasing-short-long-loud-soft/) that defines a great boogie shuffle also depends on stable changes. If you are fighting every transition, your dynamics flatten out. Once the changes are solid, your dynamics come to life naturally. Overall, clean chord changes are not just a technical hurdle. They are the gateway to expression. Return to the [full boogie shuffle skills guide](https://blog.artistworks.com/boogie-shuffle-guitar-skills-groove/) whenever you want to check which layer to work on next. Stack each skill in order, and the groove will hold together. [Get personal video exchange coaching from Keith Wyatt at ArtistWorks!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** 12-bar blues transitions, ArtistWorks, blues guitar, blues guitar lessons, blues shuffle, blues shuffle picking hand, boogie shuffle, boogie shuffle chord changes, guitar, guitar lessons, how to play, keeping the groove, Keith Wyatt, shuffle rhythm --- ### [Jazz Drums: A Beginner's Guide to Patterns, Grooves, and Practice](https://blog.artistworks.com/jazz-drums-a-beginners-guide-to-patterns-grooves-and-practice/) **Published:** June 16, 2026 **Author:** ArtistWorks **Content:** For a beginner stepping behind a kit and wanting to explore the jazz tradition, the learning curve looks intimidating at first. The good news is that the foundational concepts are clear, the practice routines are well-established, and a few essential patterns will carry you a long way. In this guide, we’ll walk through what makes jazz drumming distinctive, the patterns and grooves every beginner should learn, the practice habits that actually move the needle, and how to study with one of the world’s most respected jazz drummers at [ArtistWorks](https://artistworks.com/). ## Table of Contents - [Jazz Drumming for Beginners: Where to Start](#where) - [Essential Jazz Drum Patterns Every Beginner Should Learn](#patterns) - [How to Play Jazz Drums: The Ride Cymbal Pulse](#how) - [Jazz Drum Grooves: Swing, Bossa, and Beyond](#grooves) - [Fills, Trading Fours, and Creative Practice](#fills) - [Building a Daily Practice Routine for Jazz Drums](#practice) - [Study Jazz Drums with Peter Erskine](#study) ## Jazz Drumming for Beginners: Where to Start Jazz drumming for beginners starts with three things: the right setup, the right ears, and the right mindset. Here’s how to begin: - **The kit.** A simple four-piece (kick, snare, one rack tom, one floor tom) plus a ride cymbal, a hi-hat, and a crash will cover most early jazz situations. - **The cymbals.** Your ride cymbal is the most important piece of equipment for jazz drumming. Look for something with a clear bell tone, plenty of sustain, and a “wash” that responds when you ride on it for extended periods. - **The mindset.** Jazz drumming is conversational. Listen at least as much as you play. You’ll spend more time supporting other musicians than soloing, and the role of support is where most great jazz drummers spend their best moments. - **The listening.** Start with the giants: Max Roach, Art Blakey, Elvin Jones, Tony Williams, and Jack DeJohnette. Each one teaches a different facet of the tradition. ## Essential Jazz Drum Patterns Every Beginner Should Learn Jazz drum patterns build on a small number of core ideas that you’ll spend years internalizing. The first set to drill: 1. **The basic jazz ride pattern.** A swung “spang-a-lang” pattern on the ride cymbal: quarter notes with a triplet skip between beats 2 and 3 and between beats 4 and 1. This is the heartbeat of jazz drumming. 2. **Hi-hat on 2 and 4.** Once your ride is steady, add a foot-driven hi-hat closure on the backbeats. This locks the entire groove into the swing pulse. 3. **Bass drum feathering.** A quiet bass drum on every quarter note, played so softly that it’s felt more than heard. This was foundational to the bebop and post-bop styles. 4. **Snare comping.** Light, syncopated jabs on the snare drum that respond to what the soloist is playing. Start with a few standard comping figures (the “snare on the and of two” hit, the “snare on the and of four” hit) and build from there. For a deeper dive into the rudiment work that underpins all of these patterns, ArtistWorks has a [jazz drum rudiment warm-up guide](https://blog.artistworks.com/jazz-drum-lesson-rudiment-warm-ups/) that walks through the essential rudiments and how to apply them to the kit. ## How to Play Jazz Drums: The Ride Cymbal Pulse How to play jazz drums begins and ends with the ride cymbal pulse. If your ride pattern is steady, swinging, and musical, you can keep almost any jazz performance on track even if everything else falls away. Beginners should spend more time on the ride than on any other element of the kit. A few habits that will accelerate your ride development: - **Use a metronome.** Set it at a slow tempo (60 to 80 BPM) and play the ride pattern endlessly. Build up the tempo gradually. - **Listen for the swing.** The triplet-based “skip” between beats is what makes a jazz ride pattern feel like jazz. Without it, the pattern just sounds like quarter notes with extra hits. - **Vary your touch.** Play the ride loudly. Play it softly. Play it on the bell. Play it on the bow. Play it close to the edge. Each spot produces a different sound, and great jazz drummers move between them constantly. - **Listen to the masters.** Put on a Coltrane record, a Miles Davis record, or a Bill Evans record, and just listen to what the drummer is doing on the ride. ## Jazz Drum Grooves: Swing, Bossa, and Beyond Jazz drum grooves extend beyond straight-ahead swing into a whole family of related feels. A beginner should be familiar with at least three: - **Swing.** The default jazz feel. Ride pattern with triplet-based phrasing, hi-hat on 2 and 4, optional bass drum feathering. - **Bossa nova.** A Brazilian groove that crosses regularly into jazz settings. Steady eighth-note ride pattern with a syncopated rim click on the snare and a bass drum on 1 and 3. - **Jazz waltz.** Three-beat jazz feels in 3/4 time. The ride pattern adapts to the triple meter and creates a feel that’s elegant and forward-moving. Each of these grooves is its own art form. Spend a few weeks living inside each one before moving to the next. ## Fills, Trading Fours, and Creative Practice Jazz drum fills serve a different purpose than rock or pop fills. They often function as conversation starters or as commas in a musical sentence. Wall-banging statements are typically left for other genres. Trading fours (drummer and another soloist alternating four-bar phrases) is one of the classic jazz drumming traditions, and it lives or dies on how musically the drummer responds to what came before. ArtistWorks faculty [Peter Erskine](https://artistworks.com/peter-erskine), a four-time Grammy winner who’s played with Weather Report, Steps Ahead, and countless other landmark groups, walks through some of his approach to fills and creative practice in the lesson above. He shares a personal story about a trio gig where his fills were running long during trading fours, which led him (very late in his career, by his own admission) to start practicing with a metronome. The takeaway for any beginner is straightforward: practice your fills with a metronome. Make sure your last note lands where it should land. Five-stroke rolls, six-stroke rolls, and septuplet patterns all stretch your sense of time in subtle ways, and a metronome is the only honest judge of whether you came out where the band needs you. ## Building a Daily Practice Routine for Jazz Drums Steady, focused practice will move you forward faster than long irregular sessions. A 45-minute daily routine for a beginner jazz drummer: 1. **10 minutes: rudiments.** Singles, doubles, paradiddles, flam rudiments. Work them slowly with a metronome. 2. **10 minutes: ride cymbal pattern.** Drill the basic swing pattern at a slow tempo, then build up. Add the hi-hat on 2 and 4 once the ride feels solid. 3. **10 minutes: comping coordination.** Layer simple snare comping figures over the ride and hi-hat. Move slowly. Listen for the conversation. 4. **10 minutes: play with a record.** Put on a slow-to-medium tempo jazz track and play along. Focus on locking in with the bass player. 5. **5 minutes: free creative practice.** Explore the kit. Try ideas. Discover what works. ## Study Jazz Drums with Peter Erskine Studying jazz drums with a master accelerates your progress in ways that books and apps cannot match. [Peter Erskine](https://artistworks.com/peter-erskine) teaches a full curriculum on ArtistWorks covering everything from foundational technique to advanced improvisation, dynamics, and the kind of musical interplay that defines great jazz drumming. His background, including formative years with Weather Report and Steps Ahead, gives him a perspective on the music that very few teachers on the planet can match. The ArtistWorks Video Exchange Learning model is what makes this kind of study work at a distance. You record yourself playing the lesson material, send it to Peter, and receive personalized feedback on what you’ve nailed and what to refine. It’s the closest thing to in-person study with a world-class jazz drummer, available from anywhere with a camera and an internet connection. For a focused entry into the catalog, explore our [Jazz Month promotions ](https://go.artistworks.com/2026-jazz-month)to see what’s available and explore the jazz curriculum with extra resources and more. ## Start Your Jazz Drumming Journey with Personal Guidance Jazz drums reward patience, curiosity, and consistent daily practice. The foundations are simple: a swinging ride cymbal, a steady hi-hat, light comping that responds to the music around you, and the willingness to listen as much as you play. The depth is endless, and that’s part of what makes the instrument so rewarding to spend a lifetime with. [Start a free trial at ArtistWorks and learn with personal guidance](http://artistworks.com). Submit videos of your playing, receive personalized feedback from Peter Erskine and other world-class faculty, and build the jazz drumming foundation that will carry you through every gig and session to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** Beginner Drums, Drum Fills, Drums, Jazz Drum Grooves, Jazz Drum Patterns, Jazz Drumming for Beginners, Jazz Drums, Peter Erskine, Ride Cymbal, Swing Drumming, Video Exchange Learning --- ### [Slide Technique That Adds Grease to Your Horn Riff](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** Most guitarists learn a blues horn riff and play it clean. Every note lands exactly where it should. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Most guitarists learn a blues horn riff and play it clean. Every note lands exactly where it should. The rhythm is tight. And yet something feels off. The riff sounds studied rather than lived-in. That missing quality has a name: grease. And slide technique is one of the fastest ways to get it. Specifically, sliding into a chord from one fret below instead of landing directly on it. In short, this one small move gives a riff a relaxed, effortless quality that no amount of rhythmic precision can manufacture on its own. If you’ve been working through the [five core ingredients of a convincing blues horn riff](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/), this is the seasoning that ties them all together. Sliding into a chord from one fret below adds a loose, natural quality to your horn riff that makes it sound effortless rather than mechanical.## What “Grease” Actually Means in a Slide Technique Context Grease is not a technical term. It is a feel description. When horn players in a big band hit a chord stab, they don’t attack it from a dead stop. Instead, they scoop up into it. The air builds, the pitch rises, and the note arrives with a little momentum behind it. In other words, that scooping quality is the grease. On guitar, slide technique gives you the same effect. You plant your fretting hand one fret below the target chord. Then, right on the beat, you slide up into position. The motion is fast. In fact, it covers only one fret. But it creates the sense that the chord arrived rather than was placed. The effect is subtle. Most listeners won’t name it. However, they will feel it. That is the whole point. ## Why Landing Directly Feels Stiff When you finger a chord and strum it without any approach, the sound starts at full volume and full pitch simultaneously. There is no journey. As a result, the ear hears the chord as a fixed object rather than a living phrase. Horn riffs work differently. For example, even when written straight on the beat, experienced players apply a little forward lean. The breath, the embouchure, the physical act of blowing all introduce a slight glide. That glide is built into the instrument. On guitar, however, you have to add it intentionally. This is not a failure of the instrument. Instead, it is an invitation. Slide technique lets you choose where to inject that organic momentum. ## How to Execute the One-Fret Slide The mechanics are simple. Start with whatever chord shape your riff uses. For example, if you are hitting an F7 voicing at the eighth fret, plant that same shape one fret lower at the seventh. Then, on the beat, slide up one fret firmly and stop. A few details matter here. First, apply enough pressure so the slide produces a clear glide rather than a muted thud. Second, keep the slide tight and fast. You want a quick scoop, not a slow glide. Third, release the pressure immediately after landing so the chord rings cleanly. Practice the move slowly at first. Then bring it up to tempo and listen. The chord should feel like it arrived with intention. Therefore, if it sounds sloppy, the slide is probably too slow or the landing pressure is too light. ## Timing the Slide for Maximum Feel Where you place the slide inside the beat changes everything. A slide that begins too early turns into a fill. Conversely, a slide that begins too late sounds like a mistake. The sweet spot is starting the motion a fraction of a beat before the target note. Think of it this way: the chord lands on the beat, but the slide starts just before it. As a result, the arrival feels natural rather than mechanical. This mirrors exactly how a horn player scoops into a chord stab. For context on how pick attack shapes the landing itself, check out [how pick dynamics create swing in a riff](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/). In fact, the two techniques work closely together. A light pick attack on the slide and a firmer one on the landing amplifies the scooping effect considerably. ## Using Slide Technique as Seasoning, Not Structure Here is the single most important point about this technique: use it sparingly. One slide into a repeating horn riff lands with impact. However, three slides in the same four bars start to sound like a habit. Four or more and the effect disappears entirely. Think of it like a chef using a strong spice. A small amount transforms the dish. Too much and you can no longer taste anything else. As a result, the riff becomes about the slide rather than about the phrase. A practical approach is to pick one spot in the riff where the landing feels most stiff. Apply the slide there. Then leave the rest of the riff alone. On the repeat, you might shift the slide to a different chord. In turn, that variation keeps the riff feeling fresh without overdoing it. For a related approach to subtlety in building these riffs, [adding chords without killing the groove](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) covers the same principle of selective application in a different context. Indeed, both techniques reward restraint. ## Putting the Grease to Work in a Full Riff Once you are comfortable with the one-fret slide in isolation, put it back inside a real riff. First play through the phrase straight. Then notice exactly where the stiffness lives. Finally introduce one slide at that spot and run the whole riff again. The change is often striking. The riff relaxes. Meanwhile, the listener’s head starts moving. That shift is the payoff for understanding how slide technique functions beyond a simple physical move. In other words, it is a phrasing choice that connects your playing to the physical behavior of the horn players who invented these riffs in the first place. ## Your Path Forward with Slide Technique Slide technique is one piece of a larger system. When it works alongside strong rhythmic placement, expressive [vocal phrasing in your riff conception](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/). A clear rhythmic anchor drawn from [how to harmonize the drums beneath you](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/), the results move well beyond competent. Consequently, they start to sound authentic. Return to the [full breakdown of what makes a blues guitar horn riff feel real](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) and use it as a checklist. Then place slide technique inside that framework. Applied occasionally and with intention, that one-fret scoop gives the whole riff an effortless quality that no amount of drilling clean notes ever will. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [\[www.keithwyatt.com/\](https://www.keithwyatt.com/)](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** blues guitar lessons, blues guitar technique, blues horn riff, chord approach notes, guitar, guitar phrasing feel, horn riff on guitar, one-fret slide, slide technique --- ### [How to Make Your Riff Swing With Pick Dynamics](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** Riff swing is the difference between a guitar line that sounds practiced and one that sounds played. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Riff swing is the difference between a guitar line that sounds practiced and one that sounds played. You can have the right notes, the right tempo, the right tone, and still leave people cold. In fact, the missing ingredient is almost always dynamic variation in your pick hand. This article focuses on one specific skill: using louder and softer pick attacks to give a blues horn riff the push and pull that makes it breathe. If you have been working through the full picture of what makes horn-section phrasing feel real, [check out the core framework](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) before diving in here. Otherwise, read on and let’s get your pick hand talking. Riff swing is built by varying the weight of your pick attacks, and matching those dynamics to the way you naturally sing the riff is the fastest path to phrasing that feels alive.## What Riff Swing Actually Means Swing is not just a rhythmic ratio between long and short notes. First and foremost, it is a weight ratio between loud and soft hits. Think about a horn player blowing a blues staccato figure. She is not hitting every note with the same air pressure. Instead, she pushes certain notes forward and lets others fall back into the phrase. In turn, that contrast is what makes the line groove. On guitar, your pick attack controls the same variable. Because of this, riff swing lives in your picking hand, not your fretting hand. The fretting hand decides what notes to play. The picking hand decides which ones matter more. When those two hands work together with intention, the riff starts to feel like a conversation rather than a report. ## Match Your Voice to Your Pick Hand There is a fast shortcut to getting riff swing working. Sing the riff out loud before you touch the guitar. Not loudly, not perfectly, just naturally. Notice where your voice naturally gets louder and where it pulls back. In other words, those accents are your road map. They are the pattern your body already knows. Your job is simply to copy that pattern with your pick. For example, sing a classic three-note horn stab. You probably hit the first note with weight, taper the second, and then punch the third to close the phrase. Now play it on guitar. Match that same weight sequence with your pick. The picking hand can replicate the accent pattern almost immediately once you have heard it out loud. [Singing a riff before you pick up the guitar](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/) is a technique worth exploring in much more depth. The linked article covers exactly why your voice is your best teacher. ## The Role of Ghost Notes in Creating Float Once you have your main accent pattern working, you can add a second layer to deepen the riff swing. That layer is the ghost note. A ghost note is a very lightly picked upbeat stroke. Indeed, it is almost muted, barely audible, more felt than heard. Its job is to fill the space between your accented hits without adding rhythmic weight. Here is the practical technique. After a strong downstroke on the beat, let your pick follow through and lightly graze the string on the upbeat. Apply just enough pressure to get a soft, muffled sound. Then land your next strong downstroke on the following beat. As a result, you get a light, floating quality between the accented hits. That floating quality is exactly what gives riff swing its signature feel. In addition, ghost notes help you stay physically loose. Because the upstroke is intentionally soft, you cannot tense up to execute it. Tension disappears when the motion stays fluid and continuous. As a result, your whole pick hand stays relaxed, and the strong downstrokes land with more natural authority. ## Finding Your Dynamic Range on Guitar Many guitarists play in a very narrow dynamic range without realizing it. First, they set their amp volume for a comfortable average, and then they stay there. To build real riff swing, you need at least three distinct levels: a strong hit, a medium hit, and a soft ghost. Most players can find these levels with a little focused practice. Try this exercise. Play a single note four times in a row. First, hit it with full pick attack. Next, play it at about half that force. Then, play it softer still, just barely scratching the string. Finally, go back to full attack. Do this slowly and listen carefully to the difference between each level. That three-tier dynamic vocabulary is the raw material for riff swing. Once you have those levels available, you can begin placing them intentionally within a phrase. Meanwhile, watch your pick angle. A flat pick held parallel to the string produces a loud, bright attack. However, tilting the pick slightly so the edge catches the string first produces a softer, rounder tone. That small adjustment alone gives you a reliable way to control dynamic weight without changing how hard you push. ## Riff Swing in the Context of the Full Horn Riff Pick dynamics do not live in isolation. They work best when they are part of a larger approach to making horn riffs feel authentic. For instance, how you time your attacks relative to the drums changes how the swing lands. [Locking your accents to the snare and kick](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/) gives the dynamic pattern a rhythmic home. Similarly, [using a tasteful chord hit inside the riff](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) creates a moment of harmonic weight that your pick dynamics can then play against. In short, each element supports the others. Also worth noting: a small slide into a strong accent note intensifies the effect. [Adding slides to your horn riff](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/) is a technique that pairs naturally with dynamic picking because both tools are about making a note feel heavier than a clean hit would. ## Putting Riff Swing Into Your Practice Routine Start small. Pick eight bars of a riff you already know reasonably well. Sing it first. Mark the accents on paper if that helps. Then practice those eight bars with one goal only: hit the accented notes harder and let the in-between notes fall softer. Do not worry about ghost notes yet. Just train the loud-to-soft contrast. Next, add one ghost note per bar on the upbeat before your strongest accent. Listen for the float. Then record yourself and compare it to your singing. If the guitar and the vocal feel the same, you are there. If not, adjust the pick weight on whichever note needs to change. This is essentially what [the full approach to authentic horn riffs on guitar](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) keeps coming back to: making the guitar behave like a wind instrument that breathes. Dynamic variation, therefore, is the engine of that breath. Without it, riff swing stays locked on the page. With it, the riff becomes something a listener leans into. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [\[www.keithwyatt.com/\](https://www.keithwyatt.com/)](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** accent patterns guitar, blues guitar, blues guitar lessons, blues horn riff guitar, dynamic picking technique, ghost notes guitar, guitar, pick dynamics guitar, riff swing --- ### [How to Add Chords to a Blues Horn Riff and Keep the Groove](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** When you first try to add chords to a blues horn riff, something strange happens. The groove you had feels like it breaks in half. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- When you first try to add chords to a blues horn riff, something strange happens. The groove you had feels like it breaks in half. You were rolling along, and suddenly the strumming hand stiffens up, the riff lurches, and the whole feel falls apart. This is one of the most common walls guitarists hit when they start translating horn lines to the fretboard. The good news is that the fix is methodical, and it is very learnable. In this post, we will work through exactly why chord placement disrupts your groove and how to restore it. This connects directly to the bigger picture covered in our guide on [all five ingredients that make a blues guitar horn riff feel alive](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/). Plain-English takeaway: To add chords to a blues horn riff without losing the groove, keep your picking hand in constant alternate motion and use silence, not stopping, to control what the strings say.## Why Add Chords at All? The Horn Section Logic First, consider why horn arrangers use chords in the first place. A trumpet hits a sharp, single note. However, the trombone or baritone sax often fills out the sound with a thick voiced interval beneath it. Together, they create a momentary harmonic punch before the line moves on. On guitar, we mimic that effect with sixths and ninths. A sixth interval stacked on a short riff sounds immediately full and brassy. A ninth voicing adds tension and release that a single note simply cannot deliver. So when you add chords to a horn riff on guitar, you are doing what an arranger does: building that ensemble weight into a single instrument. The problem is timing. Horn chords can land on a downbeat, an upbeat, or right in between. That rhythmic variety is part of what makes horn writing feel swinging and alive. For a guitar player, though, an upbeat chord can feel unnatural if your strumming hand expects to land only on downbeats. ## Get the Shapes Clean Before You Connect Them Before you even think about groove, isolate the chord shapes. Specifically, find every sixth and ninth your riff uses. Then drill each shape until the fretting hand can land on it with zero hesitation. Here is a reliable method. Play the shape slowly, one clean chord, then release. Then play it again, faster. Repeat until the movement is automatic. Next, chain two adjacent shapes together and repeat the same process. Because the fretting hand needs to move without thinking, any hesitation there will destroy the groove at speed. This step is not glamorous. In fact, many players skip it entirely and then wonder why their riff sounds cluttered. Do not rush past it. Your goal here is a fretting hand that operates on autopilot so the picking hand can focus on staying in motion. Also check that every note in the chord rings clearly. A muted string inside a sixth or ninth can sound like a mistake rather than a groove element. Fix intonation issues at slow tempo, because speed will only magnify them. ## Keep the Picking Hand Moving No Matter What Here is the core principle: your picking hand does not stop. Even when there is no chord or note to play, the hand keeps alternating down and up in steady motion. Think of it less like striking and more like a pendulum that happens to contact strings on certain beats. This is exactly how [locking in with the rhythm section works](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/). The groove lives in the motion itself, not in the moments of contact. Therefore, if a chord lands on an upbeat, your hand is already on its way up. The chord is just the moment that upstroke touches the strings. Practice this in isolation first. Set a metronome and alternate strum on muted strings. Then map your riff’s chord placements onto that motion without stopping the hand. For example, if a sixth chord lands on the “and” of two, your upstroke is already in transit. You simply let the fretting hand meet the strings at that moment. At first, this will feel like patting your head and rubbing your stomach. Eventually, it becomes one unified motion. The picking hand is the engine. The fretting hand is just responding to what the engine already knows. ## The Silence Rule: Lift, Don’t Stop Now for the part most players miss entirely. Between chord hits and riff fragments, the riff needs space. However, if your picking hand is in constant motion, what stops the strings from ringing when they should be quiet? The answer is simple: lift your fretting hand off the strings, but do not stop the picking hand. Let the pick sweep across loosely touching strings and produce no sound. This is sometimes called a ghost stroke or a dead stroke, and it is essential for keeping the groove intact. [Singing a riff before you play it](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/) can really help here, because your voice naturally puts silence in the right places. You hear the shape of the phrase and where it breathes. Then you match that breathing on guitar by lifting the fretting hand at the right moments while the picking hand keeps its rhythm. The mistake most players make is stopping the picking hand to create silence. That kills the groove immediately. Instead, the silence rule is always: lift, never stop. ## Putting It All Together: Add Chords in a Real Riff Once the shapes are clean and the picking hand rhythm is solid, combine them slowly. Use a loop pedal or a simple backing track. Start at about 60 percent of the target tempo. Play the riff and add chords exactly where they belong. Notice where the picking hand rhythm wants to hesitate and correct it in real time. Then speed up in small increments. Most players find that 75 percent tempo is where the mechanics either hold or fall apart. Spend extra time right at that threshold. Also, connect the pick attack itself to the groove. [How pick dynamics shape the swing feel](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/) is a subject worth studying alongside this technique. A chord hit with the wrong attack weight will stick out even if the timing is perfect. And if the riff needs more glue between phrases, [a touch of fretboard slide technique](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/) can smooth the transitions without interrupting the groove. Above all, return to the bigger framework whenever you feel lost. The [full guide to making your blues guitar sound like a real horn section](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) keeps all of these elements in context. Add chords, maintain the motion, use silence wisely, and the groove will be there waiting for you. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** add chords, blues guitar, blues guitar lesson, blues guitar rhythm technique, blues horn riff guitar, ghost strokes guitar, guitar, horn riff arrangement guitar, horn riffs, picking hand groove, sixth and ninth chord voicings --- ### [Why Sing a Guitar Riff Before You Pick Up the Guitar](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** You want to sing a guitar riff before you even touch the instrument. That might sound odd, but it is one of the most powerful tools a working musician can use. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- You want to sing a guitar riff before you even touch the instrument. That might sound odd, but it is one of the most powerful tools a working musician can use. Most of us learn riffs by watching our fingers or staring at notation. The notes land in our hands, but the feel stays somewhere out of reach. This article explains exactly why vocalizing a riff first changes that equation. It also shows you how to use scat syllables to lock in rhythm and dynamics before your pick ever hits a string. If you are building toward a real blues horn sound, this habit is foundational. Check out the [full picture of what makes a horn riff breathe](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) and then come back here to add the vocal step that ties it all together. Image placeholder: hero## What Happens When You Skip the Singing Step Most players learn a riff by looping a recording and copying what they hear. That process works, technically. However, it trains your fingers to replicate pitches and positions. It does not train your body to feel the phrase as a living, breathing musical idea. As a result, the riff can sound correct but lifeless. Horn players do not think in frets or positions. Instead, they think in breath and air. Every note has a physical origin in the body. When you skip the vocal step on guitar, you miss that connection entirely. Your brain stays in a purely mechanical mode, and that mechanical mode shows up in the music. ## How to Sing a Guitar Riff the Right Way Here is the key: pitch does not matter at all. You are not trying to match notes accurately. Instead, you are capturing the rhythmic shape and the dynamic contour of the phrase. Use scat syllables to do that. Think of something like “BOP-boo-BOP, BOP-boo-BOP.” The hard consonant on “BOP” represents an accented note. The soft “boo” represents a lighter in-between note. Because your voice naturally emphasizes certain syllables, the rhythm encodes itself into your muscle memory. Try this with any short riff. First, listen to it two or three times. Then, put the guitar down and sing it back using whatever syllables feel natural. Do not force specific sounds. Instead, let your voice imitate the weight and attack of each note. After that, pick up the guitar and play it. Most players notice an immediate difference in how the phrase feels under their fingers. ## Sing a Guitar Riff: Scat Syllables as a Rhythm Map Think of scat syllables as a personal shorthand for the riff’s groove. “DUT” can represent a short, clipped note. “DAAH” can represent a long, sustained one. “duh” can represent a ghost note that barely speaks. Because your voice produces these naturally, you are essentially drawing a rhythm map before you play a single note. That map travels from your voice into your hands in a way that written rhythm notation simply cannot replicate. This is why jazz and blues singers have always influenced horn players and guitarists equally. Singers do not separate articulation from pitch. For them, every note has a texture. When you sing a guitar riff with that same mindset, you start treating each note as a choice rather than a position on the fretboard. ## Why Your Voice Encodes Dynamics Automatically Your voice is your most honest instrument. It responds to intention without any mechanical barrier. When you sing a guitar riff loudly, your throat opens and your breath pushes harder. When you sing softly, everything pulls back. That involuntary physical response is exactly what you want to replicate on the guitar. In contrast, when you go straight to the instrument, technique gets in the way. You think about pick angle, pressure, and string contact. Those are all important, but they can crowd out the expressive signal. Singing first lets the feel establish itself before technique enters the picture. Then, when you do pick up the guitar, your hands are trying to serve an already-formed musical idea rather than discover one from scratch. This approach also connects directly to [how pick dynamics shape the swing in your riff](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/). Once your voice has mapped the louder and softer moments, your picking hand has a clear target. You are not guessing at dynamics. Instead, you are reproducing something you have already felt in your body. ## Build the Habit Into Every Riff Session Start small. Pick one eight-bar phrase from a blues track you are working on. Before you play it, sing it three times using scat syllables. Focus on the heavy beats and the lighter connecting notes. Pay attention to where the phrase breathes and where it pushes. After three vocal passes, pick up the guitar and play it once. Then sing it again and play it again. This cycle takes maybe five extra minutes. However, the payoff compounds over time. Players who build this habit find that new riffs stick faster and feel more natural from the first run-through. The reason is simple: your body already knows the phrase before your fingers do. For context, this vocal habit pairs especially well with [locking your riff’s timing to the drum feel](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/). Both practices ask you to feel the groove before you play it. Similarly, if you are adding chord stabs to a horn phrase, [keeping the groove intact while you harmonize](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) becomes much easier when you have already sung the rhythmic skeleton out loud. And once the slides and bends arrive, as covered in [adding grease with a slide technique](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/), your vocal map keeps you from losing the phrase feel in the physical mechanics. ## Sing a Guitar Riff: Put It Into Practice Today Singing is not a warm-up exercise you do and forget. It is the foundation of playing musically. Every time you learn to sing a guitar riff before touching the strings, you are training your hands to express rather than simply execute. Blues horn riffs live and die on that distinction. A horn player shapes every note with breath and intention. You can do the same thing on guitar, and the voice is where that training begins. Return to the [full breakdown of what makes a blues horn riff feel authentic](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) and listen to the examples there with fresh ears. You will hear the scat syllables hiding inside every lick. Once you hear them, you cannot unhear them, and your playing will never be purely mechanical again. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** blues guitar, blues guitar feel, blues guitar lessons, blues horn riff technique, expressive guitar playing, guitar, guitar phrasing dynamics, scat syllables guitar, sing a guitar riff, vocal rhythm map guitar --- ### [Harmonize the Drums: The Smarter Way to Build Guitar Groove](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** Most guitarists jump straight to chords when they want to play rhythm. However, that skips the most important step. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 5 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- Most guitarists jump straight to chords when they want to play rhythm. However, that skips the most important step. To truly harmonize the drums, you need to connect your picking hand to the drum groove first. Then, once that lock-in feels natural, you layer harmony on top. This is the approach that makes blues rhythm guitar feel alive rather than mechanical. For a full picture of what makes a horn riff land, check out the [five key ingredients that bring a blues guitar riff to life](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/). In this article, we dig into the foundational physical skill behind all of it: syncing your strumming hand to the drums before a single chord enters the picture. ## Why You Need to Harmonize the Drums Before Adding Harmony The phrase “harmonize the drums” might sound abstract at first. In practice, it means something very concrete. Your picking hand sets the rhythmic pulse. Your fretting hand handles pitch and chord color. These are two separate jobs, and most players tangle them together too early. When you treat them separately, something clicks. Suddenly the groove has weight and purpose. Because your strumming hand is already committed to a feel, the chords you add sit inside that pulse rather than fighting against it. Think of it like a brass section in a soul band. The horn players don’t question the rhythm section. Instead, they lock on and play inside the pocket. For blues specifically, the drums define the groove’s character. So your first job as a rhythm guitarist is to mirror that character. Everything else follows from there. ## Start Without Chords: Play the Guitar Like a Drum This idea feels strange to most guitarists. However, it is one of the most useful things you can practice. Lay your fretting hand flat across all six strings. Mute everything. Then start strumming in time, as if you are simply scratching a rhythm on a snare. Use a slow tempo at first. For example, put on a shuffle groove at around 60-70 bpm. Focus only on where your pick lands relative to the kick drum and snare. Your goal is not to make music yet. Instead, your goal is to feel the grid of the beat with your whole arm. As a result of removing chord responsibility from your fretting hand, you free up your brain to focus entirely on rhythm. That is a significant shift. Most guitarists discover they have been letting the chord shapes dictate their strumming rhythm, which inverts the whole process. The rhythm should lead. The chord follows. ## The Physical Mechanics: Wrist, Arm, and Foot To harmonize the drums effectively, your body mechanics need to work together. First, keep your wrist loose. A tight wrist creates choppy, uneven strokes that fight the groove instead of reinforcing it. Think of your forearm as the engine and your wrist as a hinge that swings freely on each stroke. Next, use steady alternate strokes. Down, up, down, up. Do not stop the motion between beats. Even when you do not want to hit the strings on an upstroke, keep the pick moving through the air. That continuous motion is what locks the hand into a tempo. Meanwhile, tap your foot in time. Your foot is your internal metronome. Because your foot and your pick hand are connected through your body, tapping creates a physical feedback loop that tightens the groove. Start tapping before you start playing. Then let the strumming hand join the beat your foot is already keeping. Additionally, keep your shoulder relaxed. Tension travels from the shoulder down into the wrist, and it kills the loose feel that good rhythm guitar requires. ## Attack With Authority on Muted Strings Here is where many players go soft. They see “muted strings” and treat the exercise as quiet or unimportant. However, muted scratches need the same commitment as full chords. In fact, attacking with authority on muted strings is how you build rhythmic confidence. Think of it as a snare hit. A drummer does not tap the snare gently to practice timing. Instead, they hit it with intention. Your pick should land on those muted strings the same way. The result is a crisp, percussive snap that sits right in the pocket of the beat. Because the strings are muted, there is no pitch to think about. Therefore, your full attention goes to the dynamics and placement of each stroke. That sharpens your rhythmic ear faster than any other approach. When you eventually do add chords, that same authority transfers directly into the harmony. The chord hits with weight because the hand already knows how to commit. ## How Groove Prepares You for the Riff Once your picking hand can harmonize the drums without any chord shapes, you are ready to add harmony. This transition is covered in detail in [how to add chords to a blues horn riff without losing the groove](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/). However, understand what you are doing in that step: you are maintaining the physical pattern you have already built. You are simply changing what your fretting hand does. The strumming hand does not change its job. It keeps mirroring the drums. This separation is also what makes [pick dynamics so powerful later on](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/). Because your hand is already moving consistently, you can vary the attack of individual strokes without losing the pulse. Loud on the two and four, softer on the upbeats. That control grows directly from the muted-string foundation you build here. Similarly, singing the riff before you play it, as discussed in [why you should vocalize a riff before picking up the guitar](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/), trains your internal groove sense from a different angle. Both skills reinforce each other. ## Your Next Step: Lock In, Then Layer Start your next practice session with five minutes of muted strumming over a drum track. No chords. No notes. Just your picking hand, your foot, and the drums. Focus on keeping the wrist loose, the strokes even, and the attack intentional. Then, once the groove feels locked, introduce one simple chord on beats two and four. Notice how much more natural that chord sounds when the hand is already committed to a rhythm. The [full breakdown of what makes a blues horn riff feel real](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) gives you the map. This skill is the foundation underneath every technique on that map. Build it first, and everything else becomes significantly easier to absorb. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** blues guitar, blues guitar lesson, blues rhythm guitar, guitar, guitar groove technique, harmonize the drums, lock into the pocket, muted string strumming, picking hand mechanics, rhythm guitar foundation --- ### [Horn Section Riffs: How to Make Your Blues Guitar Sound Real](https://blog.artistworks.com/horn-section-riffs-how-to-make-your-blues-guitar-sound-real/) **Published:** June 12, 2026 **Author:** ArtistWorks **Excerpt:** A great horn riff makes you want to get up and dance, even with no band behind it. That's the goal when you play horn section riffs on guitar. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 9, 2026 · Updated Jun 9, 2026 · 7 min read KWFeatured in this articleFeaturing Keith Wyatt · ArtistWorks educator --- A great horn riff makes you want to get up and dance, even with no band behind it. That’s the goal when you play horn section riffs on guitar. Most guitarists copy the notes but miss the feel. The result sounds flat, mechanical, and nothing like a real brass section. So this article lays out five key ingredients that separate a riff that breathes from one that just sits there. First, you’ll lock in your picking hand with the groove. Then you’ll learn to sing the riff before you play it. After that, you’ll add chords cleanly, make the riff swing with pick dynamics, and finally grease the whole thing with a well-placed slide. Put all five together, and people won’t be thinking “guitar technique.” They’ll be thinking “band.” ## What Horn Section Riffs Actually Are Before you can play horn section riffs convincingly, you need to understand where they come from. In big-band arranging, a horn riff is typically a two-bar pattern. It repeats across a twelve-bar blues while the chords shift underneath it. The riff doesn’t change. Instead, the harmonic context around it moves, and that movement creates tension and release on its own. On guitar, the challenge is recreating that layered feeling alone. A saxophone player hits a note and the note blooms. It has air, body, and a natural swell. On guitar, you have a pick attack and a decay, so you have to compensate with technique. That’s exactly why these five ingredients matter so much. Each one replaces something a horn player gets for free. Because this is a pillar overview, each ingredient links to a dedicated deep dive. Think of this article as your map. The deep dives are the territory. ## Lock In With the Groove Before You Play a Single Note This is where most guitar players skip ahead too fast. They learn the notes first, then try to add feel later. However, that backward approach almost always produces a riff that drags or rushes, because the picking hand was never trained on the pocket first. The smarter move is to treat your picking hand like a drummer. Specifically, it needs to mirror the drum groove the way a rhythm section would. For example, if the feel is a shuffle, your hand should be physically moving in a shuffle arc even when you’re not fretting anything. That physical habit is what makes a riff land in the right place every single time. This concept goes deep, so [check out how to sync your picking hand with the rhythm section](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/) for a full breakdown on building that groove-first foundation. In short, the pocket is not something you add. It’s something you build in from the very first downstroke. ## Sing It Before You Pick Up the Guitar This one surprises guitarists, but it’s the single biggest separator between riffs that feel natural and riffs that feel mechanical. Specifically, when you can sing a riff fluently, your brain has already internalized the phrasing. As a result, your hands just execute what your ear already knows. Most of us learned to read tab first. Because of that, we translate notes into finger positions rather than sounds. The riff becomes a fingering problem instead of a musical statement. Meanwhile, a horn player has no choice but to hear it first. The instrument doesn’t respond to “positions.” It responds to air and intention. Try this: before you touch your guitar, hum or sing the riff until you can do it without thinking. Then pick up the guitar and play it. You’ll notice your timing is more relaxed, your phrasing is more natural. The riff actually sounds like something. [Here’s why singing the riff first changes everything](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/), including a simple process you can use with any riff you’re learning. ## Add the Chords Cleanly at the Right Moments so the Horn Section Riffs Lock Horn section riffs gain a lot of their richness from harmony. On guitar, sixths and ninths are the go-to sounds. However, those chord voicings only work if they land precisely on the right downbeats and upbeats. One sloppy change and the riff loses its momentum completely. The key is to make every chord change automatic before you combine it with the riff melody. For example, if you’re adding a sixth on the upbeat before beat three, that change needs to be so locked in that you don’t think about it. Instead, you feel it. Once the changes are automatic, you can focus entirely on the feel of the riff itself. Think of it as building in layers. First, drill the chord changes alone at a slow tempo. Then add the riff melody. Finally, speed it up gradually until the whole thing breathes together. [This guide on adding chords to a blues horn riff](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) walks through that layered approach step by step, with specific voicings that sit right in the pocket. ## Make It Swing With Pick Dynamics Here’s a concept that transforms horn section riffs from competent to compelling. Varying the weight of your pick attacks, hitting some notes louder and others softer, gives the riff a breathing, human quality. In contrast, playing every note at the same volume produces something that sounds almost robotic. Listen to a real horn section and notice how some notes punch and others float. That variation is not random. For example, the downbeats often carry more weight, and the upbeats are lighter. As a result, you feel a push and pull across the bar. That’s swing, and it’s built entirely from dynamics. On guitar, this translates directly to pick attack weight. A heavier downstroke on beat one, a lighter upstroke on the “and” of two. Because you’re controlling this with your wrist and forearm, it takes practice to make it consistent. However, once it’s in your muscle memory, the riff almost plays itself. [Dig into the pick dynamics approach here](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/) for specific exercises that build this control quickly. ## Add a Little Grease With a One-Fret Slide Finally, there’s one technique that ties all the other ingredients together and gives horn section riffs their smooth, relaxed quality. It’s a one-fret slide into a chord or a note, and it’s small enough that most listeners don’t consciously notice it. Instead, they just feel that the riff sounds slick and easy, the way a good trumpet player makes a phrase sound effortless. The slide adds a micro-bend effect without the pitch drama of a full bend. Because it’s only one fret, it doesn’t pull you out of tune. However, it gives the arrival note a bit of motion, and motion is what makes static guitar chords feel alive. Think of it as the difference between stepping directly onto a mark and gliding into it. The timing matters too. For example, you don’t want to slide into every single chord change. Instead, use it selectively, maybe once or twice per two-bar phrase. That restraint is what keeps it from calling attention to itself. [Here’s a full breakdown of the slide technique and where to place it](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/), including which specific chord tones benefit most from that little push. ## Putting All Five Ingredients Together Here’s the thing about these five elements. Each one is useful on its own. However, they really compound when you combine them. A groove-locked picking hand plus an internalized melody plus clean chord changes plus dynamic swing plus well-placed slides equals something that no longer sounds like a guitar player imitating a horn. It sounds like the real thing. The order you learn them matters, too. First, build the groove with your picking hand. Then learn the riff vocally. After that, layer in the chord changes. Next, add the pick dynamics. Finally, sprinkle in the slides. Because each layer builds on the one before it, you’ll never feel lost or overwhelmed. You’ll feel like you’re making progress, bar by bar, ingredient by ingredient. ## Continue Learning Ready to go deeper on each piece? Below is the full learning path, in the order that makes the most sense for building a horn-style riff from the ground up. 1. [Sync your picking hand with the drum groove](https://blog.artistworks.com/harmonize-the-drums-the-smarter-way-to-build-guitar-groove/) 2. [Use your voice to internalize any riff](https://blog.artistworks.com/why-sing-a-guitar-riff-before-you-pick-up-the-guitar/) 3. [Layer chords into a blues horn riff cleanly](https://blog.artistworks.com/how-to-add-chords-to-a-blues-horn-riff-and-keep-the-groove/) 4. [Build swing with pick attack dynamics](https://blog.artistworks.com/how-to-make-your-riff-swing-with-pick-dynamics/) 5. [Add slide technique for that greasy, relaxed feel](https://blog.artistworks.com/slide-technique-that-adds-grease-to-your-horn-riff/) ## Final Thought Horn section riffs are not a mystery. They’re a craft, and like any craft, they break down into learnable pieces. The groove comes first. The melody gets internalized before it gets played. The chords are automatic before they’re combined. The dynamics add swing. The slide adds ease. Put all five ingredients to work and the riff stops sounding like guitar technique. Instead, it starts sounding like a horn section, and that’s the whole point. TrueFire has the courses, the instructors, and the tools to take you through every single step. Start here. [Dig deeper with Keith Wyatt in his ArtistWorks school!*Start →*](https://artistworks.com/keith-wyatt) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor KWKeith Wyatt Former Director of the Guitar Program at Musicians Institute (GIT) in LA, teaching for 30+ years A lifelong professional performer and educator in blues and classic American music traditions, Keith served as Director of the renowned Guitar Program at Musicians Institute, is the author of numerous books and videos, and has recorded and toured internationally for over 25 years with LA roots legends, The Blasters. At ArtistWorks [View Keith’s School and full bio on ArtistWorks](https://artistworks.com/keith-wyatt) Connect with Keith [www.keithwyatt.com/](https://www.keithwyatt.com/)[Instagram](https://www.instagram.com/keithwyattofficial/) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** blues guitar, blues guitar lesson, blues guitar techniques, blues riff phrasing, guitar, guitar chord voicings sixths ninths, horn section riffs, pick dynamics swing --- ### [Jazz Saxophone: A Beginner's Guide to Tone, Technique, and Standards](https://blog.artistworks.com/jazz-saxophone-a-beginners-guide-to-tone-technique-and-standards/) **Published:** June 9, 2026 **Author:** ArtistWorks **Content:** Jazz saxophone is one of the most expressive instruments in American music. From [Charlie Parker’s](https://www.youtube.com/watch?v=4PiKHAEcEvM&pp=ygUOY2hhcmxpZSBwYXJrZXI%3D) velocity to Stan Getz’s warmth, [John Coltrane’s](https://www.youtube.com/watch?v=r594pxUjcz4&pp=ygUNam9obiBjb2x0cmFuZQ%3D%3D) harmonic depth to Cannonball Adderley’s bluesy swing, the saxophone has shaped the sound of jazz for decades. If you’re just picking up the instrument or just starting to play jazz on a saxophone you already know, this guide will walk you through what you need: how to think about tone, which scales matter most, which standards to learn first, and how to structure your practice for steady progress. ArtistWorks’ sole jazz saxophone instructor, Grammy-winning saxophonist [Eric Marienthal](https://artistworks.com/eric-marienthal), will demonstrate the foundational tone-production exercise every beginner should drill regularly. ## Table of Contents - [Why Jazz Saxophone Is Worth Learning](#why) - [Jazz Sax for Beginners: Where to Start](#where) - [Building Your Jazz Saxophone Tone](#tone) - [How to Play Jazz Saxophone: Core Techniques](#techniques) - [Jazz Saxophone Scales Every Beginner Should Know](#scales) - [Beginner-Friendly Jazz Standards to Learn First](#standards) - [Building a Daily Practice Routine](#practice) - [Study Jazz Saxophone with Eric Marienthal](#study) ## Why Jazz Saxophone Is Worth Learning The saxophone occupies a unique place in jazz. It’s a wind instrument that breathes in phrases like a singer, with a tonal range and emotional vocabulary that has shaped every era of the music. Bebop, cool jazz, hard bop, post-bop, fusion, and contemporary jazz all run through the saxophone in fundamental ways. Picking it up gives you access to a century of musical conversation, and the instrument itself rewards the time you put into it more than almost any other. For an adult beginner, jazz saxophone is also one of the more achievable jazz instruments to start on. The basic note production is straightforward. The repertoire is well-documented. There’s a vast catalog of recordings to study. And the path from beginner to credible improviser, while demanding, is well-mapped by generations of teachers and players. ## Jazz Sax for Beginners: Where to Start Jazz sax for beginners starts with a single equipment question: which saxophone? The two most common jazz saxophones are the alto and the tenor. Both are essential to the tradition. The choice often comes down to size, sound preference, and which players inspire you most. - **Alto sax jazz.** The alto is lighter and physically easier to handle, which makes it a common first instrument. It has a bright, agile sound. Charlie Parker, Cannonball Adderley, Paul Desmond, and Phil Woods are foundational alto voices. Eric Marienthal himself is widely known for his alto playing. - **Tenor sax jazz.** The tenor is larger and produces a deeper, warmer tone. John Coltrane, Sonny Rollins, Dexter Gordon, Stan Getz, and Joshua Redman are core tenor voices. Many players find the tenor’s sound emotionally compelling, even though it’s a bit more physically demanding. Beyond the sax itself, you’ll need a mouthpiece, reeds, a ligature, a neck strap or harness, and a music stand. Skip the cheapest no-name instruments. They’ll fight you constantly and undermine your progress. ## Building Your Jazz Saxophone Tone Tone is the saxophone’s currency. A great jazz saxophonist with a beautiful sound playing a simple phrase will move a listener more than a technical wizard with a thin or pinched tone playing something complicated. Building your tone starts on day one and continues for the rest of your playing life. Three elements determine how much your reed vibrates, and how rich your sound is as a result: - **Embouchure.** The shape of your mouth on the mouthpiece. Too much pressure chokes the reed. Too little pressure cushions it and dampens vibration. The bottom lip should rest firmly against the bottom teeth without being clenched. - **Throat.** An open, relaxed throat lets air pass through freely. A tight throat strangles your sound. - **Diaphragm.** Steady, supported breath from the diaphragm powers everything else. Shallow breathing produces shallow tone. [Eric Marienthal](https://artistworks.com/eric-marienthal) walks through a foundational embouchure exercise in the lesson above. The drill has you play a low G long tone, then deliberately drop your lower jaw until the sound goes flat and finally disappears, then come back up until you find the centered, optimal pressure point. It’s a small adjustment in physical terms, and it’s the difference between a saxophone that sounds great and one that sounds pinched. After you find the centered spot, check your tuning. The optimal sound pressure can shift your pitch slightly, and a saxophonist who plays beautifully but slightly flat or sharp will always sound a step behind the rest of the band. A tuner is a beginner saxophonist’s best friend. ## How to Play Jazz Saxophone: Core Techniques How to play jazz saxophone comes down to a small set of foundational techniques you’ll spend years refining: - **Long tones.** Play a single note for as long as your breath allows. Listen to the tone. Adjust your embouchure and air to keep it steady, centered, and in tune. Long tones are the unglamorous foundation of every great saxophone sound. - **Articulation.** The way you start and end each note. Jazz saxophone uses a mix of soft tongued attacks, ghost notes, and connected legato phrases. Bebop in particular relies on precise articulation to define its rhythmic feel. - **Vibrato.** A slight oscillation in pitch added to sustained notes. Jazz vibrato tends to be slower and more deliberate than classical vibrato. Develop it consciously, and use it sparingly at first. - **Dynamics.** Volume control through breath pressure and embouchure. Great jazz saxophonists move dynamically from a whisper to a shout and back inside a single phrase. - **Time and feel.** Playing with a steady internal pulse while feeling the swing or groove of the music underneath you. Time is the unspoken skill that separates beginning saxophonists from advanced ones. ## Jazz Saxophone Scales Every Beginner Should Know Jazz saxophone scales are the melodic raw material for improvisation. The scales every beginner should drill, in order of priority: 1. **Major scale.** Practice it in every key, starting slowly and building up gradually. This is the foundation everything else rests on. 2. **Dorian.** The most common minor scale in jazz. Use it over minor seventh chords. Drill it in all twelve keys. 3. **Mixolydian.** The dominant scale. Use it over dominant seventh chords (C7, G7, and so on). This will be your most-used scale for years. 4. **Major pentatonic.** A five-note scale that fits beautifully over major chord situations and rewards melodic phrasing. 5. **Minor pentatonic and blues scale.** Five-note scales with deep blues roots. Useful over minor harmonies and any blues-based progression. 6. **Bebop dominant scale.** The Mixolydian scale with one added chromatic passing tone. The defining melodic vocabulary of bebop phrasing. Practice each scale slowly with a metronome, then in eighth notes, then in eighth-note triplets, then in sixteenth notes. The goal is to internalize them so completely that they become invisible during improvisation. ## Beginner-Friendly Jazz Standards to Learn First The fastest way to absorb jazz vocabulary is to learn standards. A handful of beginner-friendly tunes that teach durable lessons: - **“Blue Bossa.”** Two keys, a clean form, and a melody every beginner can play. Great introduction to navigating a key change. - **“Autumn Leaves.”** The most-played jazz standard, with simple ii-V-I changes in both a major and a relative minor key. - **“Summertime.”** A minor blues with a few additional changes. Memorable, atmospheric, and forgiving for early improvisers. - **“Sonnymoon for Two.”** A Sonny Rollins blues. Twelve bars, a simple head, and a perfect platform for working on blues-language soloing. - **“All of Me.”** A bright, singable melody with classic ii-V-I building blocks. For each tune, learn the melody from a lead sheet first, then learn the chord changes (you don’t need to play them on saxophone, and you should know them), then practice soloing over the changes using the scales above. ## Building a Daily Practice Routine Steady, focused daily practice will beat long inconsistent sessions every time. A 45-minute routine for a beginner jazz saxophonist: 1. **10 minutes: long tones and tone work.** Drill the embouchure exercise from the video. Play long tones in different registers. Use a tuner. 2. **10 minutes: scales.** Cycle through the major scale and one mode each day. Multiple keys, slow tempo, with a metronome. 3. **15 minutes: tune of the week.** Melody, then changes, then soloing. 4. **5 minutes: listening reflection.** Listen to a master playing the same tune you’re working on. 5. **5 minutes: free playing.** Improvise without rules. Have fun. Discover. For a focused warm-up to start every session, ArtistWorks has a dedicated guide to [daily warm-up exercises for jazz saxophone](https://blog.artistworks.com/daily-warm-exercises-jazz-saxophone/) that pairs naturally with the routine above. ## Study Jazz Saxophone with Eric Marienthal Studying jazz saxophone with a great teacher accelerates everything. [Eric Marienthal](https://artistworks.com/eric-marienthal) is ArtistWorks’ sole jazz saxophone instructor, a Grammy-winning saxophonist with decades of touring and recording credits, including a long tenure with Chick Corea’s Elektric Band. His ArtistWorks curriculum covers everything from foundational tone production through advanced improvisation, ear training, and the full vocabulary of contemporary jazz playing. The ArtistWorks Video Exchange Learning model is what makes this kind of study work at a distance. You record yourself playing the lesson material, send it to Eric, and receive personalized feedback on what you’ve nailed and what to refine. It’s the closest thing to in-person lessons with a world-class jazz player, available from anywhere with a camera and an internet connection. ## Start Your Jazz Saxophone Journey with Personal Guidance Jazz saxophone rewards patience, daily practice, and an honest relationship with your own sound. The foundations are simple: long tones, scales, standards, listening, and repetition. The depth, of course, is endless. That’s part of what makes the instrument so compelling. [Start a free trial at ArtistWorks and learn with personal guidance.](https://go.artistworks.com/2026-jazz-month) Submit videos of your playing, receive personalized feedback from Eric Marienthal, and build the jazz saxophone foundation that will carry you through a lifetime of music. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Saxophone **Tags:** Alto Sax, Beginner Saxophone, Embouchure, Eric Marienthal, Jazz Sax for Beginners, Jazz Saxophone, Jazz Scales, Jazz Standards, Saxophone, Saxophone Tone, Tenor Sax, Video Exchange Learning --- ### [5 Ways Guitarists Block Guitar Progress (And How to Stop)](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** Most guitar frustration has nothing to do with talent. In fact, guitar progress stalls for almost every player because of a handful of habits they don't even realize they have. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 8 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Most guitar frustration has nothing to do with talent. In fact, guitar progress stalls for almost every player because of a handful of habits they don’t even realize they have. You practice faithfully. However, the chords still feel clunky. The strumming still feels stiff. The songs still feel out of reach. So what’s actually going on? The honest answer is that five sneaky patterns trip up guitarists at every level. First, your fretting hand may be squeezing the neck like a vice. Second, your strumming arm may be locked tight. Third, you might be practicing the way a child drills spelling words. Fourth, you may have lost awareness of your whole body. Finally, you might be chasing perfection instead of building momentum. Each one of these patterns quietly eats your guitar progress from the inside. The good news is that each one has a straightforward fix. Work through even one of them this week and you’ll feel a difference. Fix all five and you’ll wonder what was slowing you down for so long. This article walks through each pattern, explains why it works against you, and points you toward a deeper dive for each one. Plain-English takeaway: Guitar progress stalls not from lack of talent but from five specific physical and mental habits, and fixing any one of them can unlock real improvement fast.## What’s Really Behind Slow Guitar Progress Most players assume slow progress means they aren’t practicing enough. However, the truth is almost the opposite. Practicing more of the wrong thing just makes the wrong thing more permanent. The habits below are so common that they feel normal. Because of that, most players never question them. Think of it this way. Every tension pattern, every mindless repetition, every inch of ignored posture is a small tax on your playing. Individually, none of them seem catastrophic. Together, though, they add up to a wall. The good news is that awareness itself is a huge part of the fix. Once you see each habit clearly, you can start dismantling it one session at a time. Progress on guitar is also deeply physical. Your body is the instrument as much as the guitar is. Therefore, anything that creates unnecessary tension, misalignment, or blind spots in your awareness will eventually show up as a ceiling on what you can play. The five patterns below each attack guitar progress from a different angle. So let’s take them one by one. ## The Fret-Hand Squeeze That’s Quietly Cramping Your Playing Ask any beginner to fret a chord, and they’ll grip the neck like they’re hanging off a cliff. That response is completely natural. However, it is also one of the fastest ways to slow your guitar progress to a crawl. When you squeeze too hard, your muscles fatigue quickly. As a result, your fingers lose the nimble independence they need to move between chords or climb a scale. The fix starts with awareness. First, try fretting a simple chord with half the pressure you normally use. You’ll probably find that the note still rings clearly. In fact, most clean notes require far less pressure than players assume. The goal is just enough contact to stop the string cleanly, not a white-knuckle grip. Over time, you retrain your hand to work efficiently instead of just forcefully. Because the mechanics of fretting involve so much more than raw pressure, this topic deserves a full breakdown. [Check out the deeper look at how neck squeezing kills fret-hand technique](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) and you’ll come away with specific drills to release that grip for good. ## The Locked Strumming Arm and Why Rhythm Feels Like Hard Labor Strum arm tension is one of the most overlooked causes of stalled guitar progress. Because most beginners focus entirely on the fretting hand, the strumming arm gets ignored until it locks up completely. When your elbow and wrist stiffen, rhythm stops flowing. Instead, every strum becomes a choppy, effortful hack. The strumming arm is supposed to move like a pendulum. In other words, the motion comes from the elbow and flows freely through the wrist. When that chain locks up, your body is working against its own natural movement. As a result, you spend energy fighting tension instead of making music. The fix involves slowing way down and letting the arm swing with zero grip on the pick. One simple experiment: hold your pick as lightly as you possibly can and strum a single open chord repeatedly. Notice how the arm starts to loosen. Then gradually bring your tempo up while keeping that feeling. [For a full guide on unlocking the strumming arm and making rhythm feel natural](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/), go deeper with the dedicated article in this cluster. The transformation in feel is often immediate. ## Practicing Like a Kid When You’re an Adult Learner Children learn guitar by drilling things over and over until muscle memory takes hold. For kids, that strategy works fine. However, adult brains are wired differently. Adult learners gain more from problem-solving and self-reflection than from mindless repetition. Rote drilling without awareness is, therefore, one of the biggest drains on adult guitar progress. Here is what adult-smart practice actually looks like. First, you isolate the specific moment something goes wrong. Next, you ask why it went wrong. Is it a fingering issue? A timing issue? A tension issue? Then you design a small targeted exercise to address exactly that problem. Finally, you test it in context. That loop, repeated across a practice session, produces far more guitar progress than running through a piece twenty times hoping it gets better. The mindset shift here is significant. Instead of measuring practice by time spent, measure it by problems solved. Because that reframe changes everything about how you show up to the instrument. [Read about why adult learners shouldn’t practice the way kids do](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/) and you’ll find a full framework for making every session count. ## Body Blindness and What Your Posture Is Quietly Costing You Here is a strange truth about guitar progress. The more intensely you focus on your fingertips, the easier it is to go completely numb to the rest of your body. Your shoulders creep up, your fretting elbow wings out, and your back hunches forward. Meanwhile, all of that tension is creating friction throughout your entire kinetic chain. Consequently, the problem you’re feeling in your fingers often starts somewhere further up the arm or in the torso. This phenomenon has a name: body blindness. It means your awareness has narrowed to such a tight window that everything outside it disappears. For guitarists, it is especially common during difficult passages. Because you’re concentrating so hard on where your fingers land, you stop noticing that your whole upper body has turned into one big knot. The remedy is a quick body scan before and during practice. First, roll your shoulders back and down. Then check that your fretting elbow sits at a comfortable angle rather than jutting out. Also, make sure your feet are flat on the floor and your back is away from the chair. These checks take about ten seconds. However, they can dramatically shift how freely you play. [The full breakdown of body blindness and how it hurts guitar technique](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/) walks through a complete awareness routine you can use every time you pick up the guitar. ## Chasing Perfection Instead of Building Real Momentum Perfectionism is one of the most disguised threats to guitar progress. On the surface, wanting to play things correctly seems like a virtue. However, when “correctly” becomes “flawlessly before I move on,” practice turns into a frustrating loop of starting over. That frustration drains motivation fast. As a result, players start avoiding the guitar without quite understanding why. Here is the shift that works. Instead of aiming to play something perfectly, aim to play it slightly better than you did yesterday. That is a reachable goal. Because it is reachable, you hit it regularly. Hitting it regularly builds momentum. And momentum is what separates players who keep going from players who quietly give up. Small wins compound into large ones faster than most people expect. Progress on guitar is also not linear. Some days you’ll feel like everything clicks. Other days the same passage you nailed on Tuesday will fall apart completely. That is normal. In fact, that variability is part of how motor learning works. The skill is still being consolidated even when it feels like it isn’t. [For a full look at why practicing for perfection slows you down](https://blog.artistworks.com/how-to-stop-practicing-for-perfection-and-make-real-progress/), the dedicated article in this cluster gives you concrete strategies for staying process-focused instead of outcome-obsessed. ## How These Five Habits Connect to Each Other These five patterns are not random. In fact, they all share a common root. Each one is a form of working against your own natural functioning, whether physically or mentally. Fret-hand tension fights your fingers’ natural dexterity. Strumming tension fights your arm’s natural swing. Rote practice fights your adult brain’s natural learning style. Body blindness fights your nervous system’s need for full-body feedback. Perfectionism fights the natural, nonlinear path all skills take. Because these habits often show up together, fixing one can create a ripple. For example, when you release the neck squeeze, you often notice your strumming arm relaxes too. When you slow down and practice more deliberately, you naturally start paying attention to your posture. In other words, these fixes reinforce each other. Therefore, even picking one to work on this week gives you leverage across the whole system. ## Continue Learning The five issues above each deserve a full session of attention. Here is the recommended reading order to address them one by one and lock in lasting guitar progress: 1. [Start with the fret-hand fix to release grip tension at the source](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) 2. [Then move to unlocking your strumming arm for fluid, natural rhythm](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) 3. [Next, rethink your entire practice approach as an adult learner](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/) 4. [After that, tackle body blindness with a full-body awareness routine](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/) 5. [Finally, break the perfectionism loop and learn to practice for process](https://blog.artistworks.com/how-to-stop-practicing-for-perfection-and-make-real-progress/) ## Final Thought Guitar progress is almost always within reach. The obstacle is rarely talent and almost never time. Instead, it is a small cluster of habits running quietly in the background, slowing everything down without announcing themselves. Now that you can see all five of them clearly, you have real leverage. Pick one, work it this week, and notice what shifts. Then come back for the next one. TrueFire’s courses and instructors are here to guide every step of that process. The best learning happens when you have the right road map and the right support behind you. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** adult guitar learning, bluegrass jam, flatpicking, fret hand tension, guitar progress, strumming arm tension --- ### [Strumming Arm Locked Up? Simple Ways to Loosen Your Guitar Rhythm](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** Your strumming arm is supposed to swing freely, but something goes wrong the moment you try to play a chord. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Your strumming arm is supposed to swing freely, but something goes wrong the moment you try to play a chord. Suddenly the arm stiffens, the rhythm feels mechanical, and the whole experience turns into a chore. If you’ve ever described your strumming as “pumping water” or “sawing a board,” you’re not alone. That stiff, effortful feeling is one of the most common physical blocks guitarists face. Fortunately, it almost always comes from one fixable habit: the arm stops moving through its full arc and locks up instead. In this post, we’ll get into exactly what causes that lockup and, more importantly, how to let the arm swing the way it naturally wants to. If you want the bigger picture on habits that stall your progress, start with [the five self-sabotaging habits every guitarist should know](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). ## What a Locked Strumming Arm Actually Feels Like First, let’s name the sensation precisely. A locked strumming arm feels like effort on every single stroke. Down, stop. Up, stop. Down, stop. Each stroke is its own separate event. As a result, the rhythm sounds choppy and tense, because it is. You’re not playing one continuous motion; instead, you’re playing a series of small jerks. The trouble usually starts with the upstroke. Most players let the arm fall downward reasonably well. However, on the way back up, the bicep grabs and yanks the forearm back to the starting position. That yank is the lockup. Because the arm is fighting itself, tension travels up through the elbow and into the shoulder. In short, the whole limb becomes a rigid lever instead of a loose pendulum. ## The Hidden Geometry of Your Strumming Arm Here is the part most instruction skips entirely. The strumming arm does not move in a flat, straight line parallel to the guitar face. Instead, it naturally moves in a gentle three-dimensional arc, almost like a small wheel rolling around a pivot near the elbow. When you let the arm fall freely from the shoulder and elbow, it traces a slight curve outward and back. That arc is what the arm wants to do. For example, hold your strumming arm out in front of you with no guitar. Shake your wrist loosely, then let the motion travel up into the forearm. Notice that the arm sweeps through a small arc rather than pumping straight up and down. That is the natural movement. Therefore, when you force a straight up-and-down pump against that arc, you are working against your own anatomy. No wonder it feels stiff. ## Why the Upstroke Is Not a Separate Move This is the key idea to understand. Most players think of the downstroke and the upstroke as two different actions. In contrast, they are actually one connected movement: the downstroke is the swing. The upstroke is simply the return to the top of that swing. Think of a clock pendulum. The pendulum doesn’t stop at the bottom and then decide to come back up. Instead, the momentum of the downswing carries it right back through. Your strumming arm works the same way. Because the upstroke is the return portion of a single arc, it should cost almost no extra muscular effort. When it does feel effortful, that is a sign that the arm stopped mid-swing and the bicep re-engaged to haul it back up. So the fix is not to “do” the upstroke more deliberately. Instead, simply let the downswing continue past the strings and carry the arm back through its arc naturally. ## A Simple Drill to Find the Free Swing Try this before you touch a chord. Let your strumming arm hang loosely at your side. Then, gently swing the forearm back and forth from the elbow, as if you are shaking water off your fingers. Notice that the motion feels almost effortless. Now bring that arm up to guitar position and let the same swing happen across the strings. Don’t aim for the strings. Instead, let the arc pass through them. At first, mute all the strings with your fretting hand so you can focus entirely on the strumming arm. Count a slow four-beat pulse out loud. Then let the arm swing down on one and return on the “and.” Keep the wrist relaxed. As a result, you will probably notice the sound getting fuller and more consistent, even though you are trying less hard. That is the arm working with physics instead of against it. ## How Tension Travels Up from the Wrist One more thing is worth noting here. A stiff wrist will freeze the strumming arm even when the elbow and shoulder are relaxed. However, the reverse is also true: a rigid upper arm creates a stiff wrist. The whole limb is one connected system. For this reason, don’t isolate the wrist when you troubleshoot. Instead, start from the shoulder, let it drop, then let the elbow soften, and finally let the wrist follow. Release from the top down. This connects to a broader conversation about body awareness that [this piece on “body blindness” and guitar technique](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/) covers in depth. In addition, if your fretting hand is gripping the neck too hard, that tension often mirrors itself in the strumming arm. You can explore that pattern further in [this guide on why neck tension kills your fret hand technique](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/). ## When the Strumming Arm Feels Natural, Everything Changes Here’s how you know the strumming arm is finally free: strumming feels like shaking someone’s hand. It feels almost too easy. The rhythm comes out more evenly, the tone opens up, and you stop thinking about the physical act because it no longer demands attention. That is the goal. Strumming should fade into the background so your musical brain can focus on feel, groove, and expression. Finally, give yourself permission to move slowly. A free swing at 60 BPM is worth far more than a locked pump at 120 BPM. Gradually increase the tempo only after the looseness is stable. Eventually, the free arc becomes automatic, and the whole experience of rhythm guitar changes. For a broader look at all the physical and mental habits that hold players back, return to [the full guide on clearing the blocks that stall guitar progress](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). The strumming arm is just one piece of the puzzle, but freeing it up unlocks a surprising amount of everything else. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** elbow swing drill, free strumming motion, natural strumming arc, rhythm guitar technique, strumming arm, strumming tension --- ### [Adult Guitar Practice: How to Improve Faster and Smarter](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** If you're an adult guitar learner, you've probably defaulted to one strategy when a passage isn't working: play it again. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- If you’re an adult guitar learner, you’ve probably defaulted to one strategy when a passage isn’t working: play it again. Then again. Then ten more times. That instinct makes sense. It’s how most of us learned things in school. However, that approach has a serious flaw when it comes to guitar technique. It may be the single biggest thing slowing you down. The good news is that you already have the tools to do this better. Adults bring real problem-solving skills to the instrument. You just need to apply them deliberately. For a broader look at habits that stall players at every level, start with [the five self-sabotaging patterns every guitarist should know](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). Adult learners already have powerful problem-solving skills, the key is using them to examine what the hands are actually doing, not just repeating the passage and hoping it improves.## How Adult Guitar Learners Actually Learn Best Repetition isn’t useless. In fact, repetition is how physical skills get ingrained. However, repetition only works if what you’re repeating is correct. If your fretting hand is tense, if your pick angle is slightly off, or if you’re collapsing a knuckle under pressure, then running the passage twenty more times just makes the error more automatic. That’s the core problem with treating adult guitar practice like childhood schoolwork. Kids learning their times tables benefit from sheer volume. Repetition gets the right answer wired in quickly. Guitar is different. The “right answer” here is a physical execution, and if the execution is broken, no amount of repetition fixes it. Instead, you cement the broken version deeper into muscle memory. Adults, on the other hand, don’t need to rely on volume alone. You can analyze. You can compare. You can notice when something isn’t working and ask why. Those are sophisticated cognitive tools, and they’re exactly what smart adult guitar practice demands. ## Repetition Cements Whatever You’re Already Doing Here’s the uncomfortable truth. When a passage isn’t working and you run it repeatedly anyway, you’re practicing failure. You’re telling your hands: “do this, exactly like this, over and over.” As a result, the mistake becomes more fluent, not less. For example, suppose you’re struggling with a chord change. Your instinct is to drill it faster. However, the real problem might be that your thumb is gripping the back of the neck too tightly, which slows the transition and reduces finger independence. Drilling faster just trains you to make that mistake under pressure. For a detailed look at how neck tension creates exactly this kind of bottleneck, [this breakdown of fret hand grip pressure](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) is worth reading before your next practice session. Similarly, strumming passages that feel stiff and robotic usually have a physical cause. Therefore, repeating them without examining the arm and wrist doesn’t solve anything. If the mechanics are off, repetition locks them in. [This guide to releasing strumming arm tension](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) covers the mechanics of that specific problem in detail. ## Treat Every Passage as a Problem to Solve So what’s the better approach? First, find the notes. Then stop and examine what your hands are actually doing to produce them. This two-step habit is what separates deliberate adult guitar practice from rote drilling. Here’s how it works in practice. Play the troublesome passage once, slowly. Don’t try to fix anything yet. Instead, just observe. Notice where your fretting hand is positioned. Notice whether your picking hand is relaxed or braced. Ask: what am I actually doing here, physically? Then compare that to what the passage demands. For example, if the passage requires a smooth legato feel. Your pick is buried deep into the strings, you’ll get a hard, percussive attack no matter how many times you drill it. The gap between what your hands are doing and what the music requires is the actual problem. Because you can identify that gap as an adult, you can target it directly instead of hoping repetition eventually sorts it out. This is a genuine adult advantage. Children often lack the metacognitive awareness to observe their own physical execution clearly. Adult guitar learners, in contrast, can build a detailed mental picture of their technique and use it as a diagnostic tool. ## Build a Mental Picture of Your Own Hands The habit worth developing is this: before you repeat anything, pause and describe to yourself what each hand is doing. This sounds slow, and at first it is. However, that slowness is productive. It forces awareness. For example, ask yourself these questions. Is my fretting thumb drifting behind a finger that needs to stretch? Picking elbow locked, or is it moving freely with the stroke? Any unnecessary tension in my forearm? Each of these is a specific, fixable problem. In contrast, “that passage sounds rough, let me play it again” gives you no diagnostic information at all. This body-awareness habit connects directly to a broader principle. [Learning why isolating finger movement disconnects you from whole-body technique](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/) is the next logical step once you’re comfortable observing each hand individually. Above all, the goal is to close the gap between what you intend to do and what you’re actually doing. ## The Specific Adult Guitar Advantage You Should Be Using Adult guitar learners often underestimate how much they bring to the instrument. You have years of experience solving problems, reading situations, and adjusting strategies when something isn’t working. Those skills apply directly here. In fact, the best adult guitar practice looks more like debugging than drilling. You isolate the variable. You test a change. You evaluate the result. Then you iterate. That process is faster and more effective than repetition alone, especially for technique problems. One related trap, however, is chasing perfection before moving on. Because adults have high standards, they sometimes drill one passage endlessly until it sounds perfect. That approach has its own costs. [Why practicing for perfection actually slows down your overall development](https://blog.artistworks.com/how-to-stop-practicing-for-perfection-and-make-real-progress/) addresses exactly that tension, and it’s worth reading alongside this one. ## Put It Into Practice Starting Today The shift here is simple. Before you repeat a passage, pause and ask: what is each hand doing right now? Then ask: what does this passage need them to do? Finally, identify the gap, target it specifically, and repeat with that one adjustment in mind. That three-step habit, observe, compare, adjust, is what [effective guitar progress looks like when you stop getting in your own way](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). You’re not practicing less. You’re practicing with purpose. And as an adult guitar learner, you already have everything you need to do exactly that. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** adult guitar, adult guitar practice, bluegrass jam, deliberate guitar practice, guitar learning strategies, guitar technique problems, muscle memory guitar --- ### [How to Free Your Fret Hand for Faster, Easier Guitar Playing](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** Most guitarists learn to fret notes by pressing down hard. The fret hand squeezes, the thumb pushes back, and the player assumes that clean notes require serious grip. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Most guitarists learn to fret notes by pressing down hard. The fret hand squeezes, the thumb pushes back, and the player assumes that clean notes require serious grip. That assumption is one of the most common reasons players plateau early. If you’ve read about [the habits that quietly block progress](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/), you’ll recognize this pattern immediately. Squeezing feels productive because it feels like effort. However, effort is not the same as technique. This article breaks down why thumb pressure actually works against your fretting fingers, how to flip the mental model. Why ease has to come first before any “correct” hand position can stick. The payoff is a fret hand that feels lighter, moves faster, and gets tired far less quickly. Clean fretting comes from fingertip balance and ease, not from gripping or squeezing the neck.## What Your Fret Hand Is Actually Doing Most players picture fretting as a pinching motion. The thumb pushes one way, the fingers push the other, and the string gets caught in the middle. That picture is wrong, and it creates real problems. When the thumb presses hard from behind the neck, the tendons in your palm and wrist tighten. As a result, the fingers lose independence. They start to move as a clump rather than as four separate tools. You might notice this when trying to lift one finger without disturbing the others, a move that becomes nearly impossible when the whole fret hand is clenched. Think of a crab claw versus a hand holding a pen lightly. The crab claw is strong, but every part moves together. The pen grip, by contrast, lets each finger act independently. Clean fretting needs the pen grip. ## The Thumb’s Real Job The thumb is a support, not a motor. Its job is to give the fingers a stable backstop, not to generate the force that presses strings down. In fact, for most chords and single-note lines, the thumb sits behind the neck near the middle finger. It stays relaxed and slightly bent, not locked and driving forward. Because players often misread thumb placement, they push harder when a note buzzes. However, buzzing usually happens for a different reason entirely. The fingertip is landing flat, too far from the fret, or slightly off angle. None of those problems are solved by squeezing harder. Instead, they are solved by moving the fingertip placement slightly toward the fret wire and letting the pad lean into the string from above. ## Fret Hand Fingertip Lean: The Real Source of Pressure Here is the mental flip that changes everything. Pressure comes from the weight of the fingers leaning into the strings, not from the thumb pushing back. Specifically, you are using the natural drop and lean of the finger from the knuckle joint. The finger curves, the tip lands close to the fret, and gravity plus a small directed lean does the work. Try this right now. Place your first finger on any fret. Then consciously release thumb pressure until the thumb barely touches the neck. Now focus only on leaning the fingertip toward the fret wire. For most players, the note rings just as clearly, sometimes more clearly. That is because the tension introduced by squeezing was actually pulling the fingertip off its optimal contact point. Of course, some chords and bends need a bit more thumb engagement. However, even then, the thumb is stabilizing, not squeezing. The difference is subtle but important. ## Why “Fix Your Hand Position First” Doesn’t Work A lot of teaching goes in this order: show the student the correct hand shape, then tell them to relax. However, that sequence is backwards. Starting with a visually correct position and then trying to relax into it almost never produces ease. Instead, it produces a tense hand that looks approximately right. Ease has to come first. Begin with a hand that feels comfortable and light. Then guide the fingertips into better placement from that relaxed starting point. This is not just a philosophical preference. It matches how motor learning actually works. When muscles are already contracted, adding a new movement pattern on top of the tension means you are learning the new pattern in a stressed state. As a result, the tension gets baked into the muscle memory alongside the technique. This is one reason [adult learners face specific challenges that kids don’t](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/). Adults often have more deeply ingrained grip habits. They also tend to monitor themselves more critically, which increases tension even further. Letting go of the squeeze can feel wrong at first, even when it is right. ## Spotting the Squeeze Before It Takes Hold Tension builds gradually, so most players don’t notice it until their hand hurts or their playing stalls. Therefore, you need a quick self-check to run during practice. Here are three signs your fret hand is gripping too hard. First, your thumb is turning white or pressing so hard the skin flattens. Second, you cannot lift one finger cleanly without the adjacent fingers moving with it. Third, your wrist is bending sharply away from the neck rather than staying neutral or slightly arched. If you notice any of these, stop. Shake your hand loosely. Then replace it on the neck with minimum pressure and work from there. You can also check out the ideas in [this piece on body awareness during playing](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/), which digs deeper into how physical blind spots affect technique. ## Building a Lighter Fret Hand in Daily Practice The goal is to make ease your default state, not a mode you remember to switch on. Start each practice session with one minute of what you might call “feather fretting.” Play a simple scale pattern using only the minimum pressure needed to produce a clean note. Not one gram more. Then, gradually move into your actual practice material while keeping that baseline awareness alive. Similarly, record your fretting hand occasionally. Watch the footage without sound. Look for where the thumb presses hard, where the wrist collapses, and where fingers bunch together. Video reveals patterns that you simply cannot feel in real time. If the strumming side of your playing also carries tension, [learning to free up your strumming arm](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) pairs perfectly with this work. Both hands tend to mirror each other’s tension levels. ## Ease First, Accuracy Second The fret hand works best when it operates from a foundation of balance rather than force. Squeezing creates the illusion of control. However, it trades short-term note clarity for long-term stiffness, slower movement, and higher injury risk. The real goal is a hand that uses just enough energy and no more. Return to the [full breakdown of what holds guitarists back](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/) once you have spent a few sessions experimenting with this. You will likely notice this grip habit showing up in several of the other patterns discussed there. Fixing it here creates a ripple effect across your whole playing. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass, bluegrass jam, finger independence guitar, fingertip pressure fretting, flatpicking, fret hand, fretting hand technique, guitar, guitar neck tension, thumb placement guitar --- ### [How to Stop Practicing for Perfection and Make Real Progress](https://blog.artistworks.com/how-to-stop-practicing-for-perfection-and-make-real-progress/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** If you've ever ended a guitar session feeling like you failed, you've probably been caught in the trap of practicing for perfection. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- If you’ve ever ended a guitar session feeling like you failed, you’ve probably been caught in the trap of practicing for perfection. That trap is real, and it’s one of the most common reasons players stall out. Instead of measuring progress by the session, you measure it against some distant ideal. Of course, the ideal always wins, and you always feel behind. This article unpacks exactly why that mindset works against you, and what to focus on instead. For a broader look at the self-sabotaging habits that hold players back, check out [the full breakdown of five common guitar progress blockers](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). The fix is simpler than you think, and it starts with understanding how improvement actually works. Plain-English takeaway: Practicing for perfection keeps you stuck because progress is built in small, specific daily wins, not measured against a distant ideal.## Why Practicing for Perfection Sets You Up to Feel Like a Failure Practicing for perfection sounds admirable. In reality, it trains your brain to see every session as a shortfall. You sit down, play the passage, hear mistakes, and your internal scorecard says: not there yet. Meanwhile, the goalposts keep moving. So you practice more, feel worse, and eventually dread picking up the guitar. The problem is the reference point. Because you’re measuring today’s playing against a finished, polished version in your head, every session produces “evidence” that you’re failing. In contrast, players who measure progress session to session collect wins even on bad days. That shift in focus is not just psychological feel-good advice. It directly affects whether you stay engaged long enough to actually improve. ## Plateaus Are Normal, Not a Warning Sign Every guitarist hits a wall at some point. For example, you’ll work a phrase for two weeks and hear almost no change. Then, almost overnight, it clicks. That pattern is not random. It reflects how the brain consolidates motor learning, often during rest and sleep rather than during playing. So the plateau is not a sign that something is wrong. It’s a sign that the consolidation process is quietly doing its job. Practicing for perfection makes plateaus feel catastrophic. Because you’re watching for a polished result, any pause in audible improvement reads as failure. Instead, trust the process and zoom in on your inputs rather than your outputs. Focus on how cleanly you’re executing the movement, not on how close you sound to the finished version. That small mental pivot keeps you working through the plateau instead of quitting just before the breakthrough. ## What Your Brain Actually Needs From Each Session Your brain does not consolidate sloppy repetitions into clean technique. Instead, it consolidates exactly what you feed it. For this reason, quality of attention matters far more than quantity of repetitions. One slow, accurate pass through a difficult bar does more for long-term learning than twenty rushed ones. That’s not an opinion. It’s how procedural memory actually works. So the goal for each session is simple: give your brain clean, detailed information to work with. Because your brain processes what you practiced even after you stop playing, those precise, slow passes continue paying off overnight. In other words, ten minutes of focused work beats an hour of mindless noodling. If you’re grinding through a passage without genuinely listening, you’re not practicing. You’re just making noise with a guitar in your hands. Practicing for perfection often creates exactly that pattern because the emotional pressure of the goal overrides the quality of the process. ## Deep Work on Difficult Spots Comes Before Flow Here’s a sequencing mistake that trips up a lot of players. They try to run the whole song for “flow” before the hard spots are actually ready. As a result, they ingrain the mistake every single time they hit that section, because the passage is not clean enough yet to survive in context. Flow comes later. First, the difficult spot needs its own dedicated time. Isolate the bar or phrase that’s giving you trouble. Then slow it down well below the point of difficulty, and play it correctly three times in a row before adding speed. Because you’re building motor memory from scratch, that slow-motion accuracy is exactly what anchors the movement. Once you can play it cleanly at a slow tempo, gradually increase speed in small increments. Finally, when it’s solid at full tempo, put it back into context. That sequence produces real improvement. Practicing for perfection skips these stages because it’s always listening for the destination instead of building the road. This is also where [adult learners often struggle differently than younger students](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/). Younger players sometimes absorb technique through sheer repetition. However, adult learners tend to bring more self-criticism to the process, which makes the perfectionism trap especially costly. Additionally, if tension in your body is interfering with clean execution, [the way your fretting hand grips the neck](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) or [how your strumming arm locks up under pressure](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) may be compounding the problem. Those physical habits deserve separate attention. ## Collecting Small Wins Instead of Practicing for Perfection The practical alternative to practicing for perfection is collecting small, concrete wins each session. For example, today’s win might be playing bars 5 and 6 cleanly at 80 BPM. It’s not the whole song at full speed. But it’s a real, measurable improvement that you can hear and confirm. That kind of progress is self-reinforcing. Because you can feel it happening, you stay curious and engaged rather than defeated. Keep a short practice log if it helps. Write down what you worked on and what specifically got better. Over a month, that log becomes hard evidence that you are improving, even when individual sessions feel frustrating. Meanwhile, your brain is doing exactly what it’s supposed to do: building the physical and neural patterns that eventually become clean technique. In addition, be aware of [how narrowing your attention to just your fingers can create blind spots in your overall technique](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/). Improvement is a full-body process, not just a left-hand problem. ## Stop Practicing for Perfection. Shift the Focus and Let Improvement Follow Practicing for perfection feels like discipline. In reality, it’s often a form of self-sabotage that masquerades as high standards. The real discipline is staying present with the process, working through plateaus without panic. Trusting that clean, focused reps today will produce the playing you want tomorrow. For a wider look at the habits that quietly block your progress, revisit [the full guide to breaking through the patterns that hold guitarists back](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). The path forward is not about lowering your standards. It’s about directing your energy toward the things that actually produce results. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** effective practice techniques, guitar practice mindset, motor learning guitar, overcome guitar plateaus, practicing for perfection, small wins practice --- ### [Body Blindness: How to Fix Hidden Tension in Your Guitar Playing](https://blog.artistworks.com/body-blindness-how-to-fix-hidden-tension-in-your-guitar-playing/) **Published:** June 7, 2026 **Author:** ArtistWorks **Excerpt:** Ask most guitarists where their attention goes during practice, and the answer is almost always the same: the fingers. **Content:** TJMLJSBW By the [TrueFire Studios Education Team](https://blog.truefire.com/education-team/) Published Jun 6, 2026 · Updated Jun 6, 2026 · 5 min read DIFeatured in this articleFeaturing Dave Isaacs · ArtistWorks educator --- Ask most guitarists where their attention goes during practice, and the answer is almost always the same: the fingers. Specifically, the fingertips pressing down on the frets. That laser focus feels productive. However, it creates a blind spot, and that blind spot has a name: body blindness. As a result, it is the reason you finish a practice session with a tight neck, aching shoulders, and no idea how either happened. This article is about breaking that pattern. We will look at what body blindness actually is, why it hurts your playing from the ground up. How expanding your awareness beyond your fingertips can unlock technique that no amount of finger exercises will touch. For the full picture of habits that quietly stall your progress, check out [the five self-sabotaging patterns every guitarist should know](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). ## What Body Blindness Actually Means for Guitarists Body blindness is not a medical term. It is a practical description of something that happens to almost every guitarist. You zoom in so hard on one small area, usually the fretting fingers, that the rest of your physical self disappears from your conscious awareness. Think about the last time you were working through a difficult chord change. Where was your attention? It was on the fingers landing in the right spots. Meanwhile, your shoulder was creeping upward. Your jaw was tightening. Your fretting elbow was drifting inward. None of that registered, because your brain was fully occupied elsewhere. This is not a character flaw. In fact, it is a natural side effect of learning any new physical skill. However, most skills eventually teach you to feel the whole movement. Guitar, because it centers on such a tiny focal point, makes it easy to stay stuck in that narrow tunnel for years. ## How the Chain Gets Broken Here is the thing that most technique conversations miss. Your fingers are the last link in a long physical chain. That chain runs from your fingertips up through the hand, the wrist, the forearm, the elbow, the upper arm, the shoulder, and all the way into the neck and upper back. Every link in that chain affects every other link. For example, a locked shoulder limits how freely the elbow can swing. A stiff elbow transfers extra tension down into the wrist. Eventually, that tension arrives at your fingertips, and suddenly a chord or a scale run that should feel easy starts to feel like a fight. Body blindness breaks that chain’s feedback loop. Because you are only monitoring the fingertip end, you never notice when something upstream has gone wrong. By the time the problem is obvious, it has often been building for twenty minutes. This is exactly why [the fret-hand squeeze](https://blog.artistworks.com/how-to-free-your-fret-hand-for-faster-easier-guitar-playing/) and [a locked strumming arm](https://blog.artistworks.com/strumming-arm-locked-up-simple-ways-to-loosen-your-guitar-rhythm/) are so closely connected to body blindness. Both problems originate above the hand. Both go unnoticed when your awareness stops at your fingertips. Those articles go deep on each issue separately, so here the focus stays on the root cause they share. ## Why Slouching Becomes Invisible Posture is the most obvious victim of body blindness, and also the most overlooked. When you are grinding through a tricky passage, your body will do whatever it needs to do to make that passage easier in the short term. So shoulders roll forward. The back curves. The head drops toward the guitar. Each of those shifts feels like nothing, because your attention is not there. However, each shift also tightens something. Rolled shoulders compress the muscles around the shoulder blade. A dropped head loads the neck. A curved back restricts the breathing that keeps you relaxed. None of this shows up as “posture problem” in the moment. Instead, it shows up as fatigue, inconsistency, and a vague feeling that something is getting harder instead of easier. That is body blindness doing its quiet damage. ## The Fluid Player’s Secret Watch a guitarist who has genuinely fluid technique, someone who makes difficult things look effortless. Notice that they are not frozen. There is subtle movement throughout their whole body. The shoulder follows the arm. The torso is relaxed. Sometimes the whole upper body breathes into a phrase. That is not showmanship. It is the natural result of playing without body blindness. When awareness spans the whole chain, the body self-corrects constantly. Tension does not have time to build and lock in, because it gets noticed and released before it compounds. Developing that kind of awareness is a skill, just like chord voicings or picking accuracy. Furthermore, it is a learnable skill, not a talent you either have or you don’t. ## Practical Ways to Expand Your Body Awareness Start by building in what you might call a body scan pause. Every few minutes during practice, stop playing and run your attention from fingertips to shoulders. Notice what you find. Tight jaw? Raised shoulder? Locked elbow? Simply noticing is the first step. Next, try practicing with your eyes closed occasionally. Removing visual input tends to redirect your attention inward. You will often feel things you had no idea were there. In addition, slow everything down when you first try this. Body awareness and musical complexity compete for the same attentional bandwidth. Therefore, working at a tempo where the music feels easy gives you room to feel what the rest of your body is doing. Also worth exploring: [the way adult learners process physical skill differently](https://blog.artistworks.com/adult-guitar-practice-how-to-improve-faster-and-smarter/). Adults often learn more efficiently when they can feel and name what is happening in their body, rather than just repeating something until it sticks. ## Making Whole-Body Awareness a Practice Habit The goal is not to think about your shoulders every second you play. That would be exhausting. Instead, the goal is to gradually widen your default awareness so that tension registers before it becomes a problem. Start each practice session with thirty seconds of simply standing or sitting quietly and noticing your body. Then pick up the guitar and play one chord. Notice how holding that chord changes the feeling in your arm and shoulder. Over time, this wires in a broader baseline. Your nervous system learns that information from your whole body matters, not just the fingertips. Body blindness begins to lift naturally, and technique problems that seemed mysterious often start to resolve on their own. If you are also rethinking how you practice overall, [this piece on why chasing perfection in practice slows you down](https://blog.artistworks.com/how-to-stop-practicing-for-perfection-and-make-real-progress/) pairs well with the awareness work described here. And for the full framework of habits worth breaking, return to [the core guide on what blocks guitar progress](https://blog.artistworks.com/5-ways-guitarists-block-guitar-progress-and-how-to-stop/). The fix for body blindness is simple: start paying attention to more of yourself. Let that attention change what you feel. [Take your chops to the next level with ArtistWorks!*Start →*](https://artistworks.com/) --- ## About the Education Team TJMLJSBW TrueFire Studios Education Team Four music-industry veterans with decades of combined experience in music education, curation, and production at TrueFire and ArtistWorks. The TrueFire Studios Education Team plans and edits this content and works with our master-musician faculty to keep it accurate and genuinely useful. [Meet the education team →](https://blog.truefire.com/education-team/) ## Featured Contributor DIDave Isaacs Nicknamed “The Guitar Guru of Music Row” for mentoring hundreds of Nashville players. A Nashville guitarist, songwriter, and veteran music educator, he’s known for teaching musicianship, confidence, and practical guitar skills. He performs across rock, blues, country, jazz, and folk styles, and is a Manhattan School of Music graduate and former university music instructor. At ArtistWorks [View Dave’s School and full bio on ArtistWorks](https://artistworks.com/dave-isaacs) Connect with Dave [www.nashvilleguitarguru.com/](https://www.nashvilleguitarguru.com/)[YouTube](https://www.youtube.com/channel/UCO3R4nN9vT5lArFrtm9JYwQ)[Instagram](https://www.instagram.com/nashvilleguitarguru)[Facebook](https://www.facebook.com/nashvilleguitarguru) ## ⓘWhere AI Assists, and Where the Team Decides We use AI tools to help with research synthesis and first-draft generation, guided by team-written outlines and our editorial standards. Every article is then reviewed, fact-checked, edited, and approved by a member of our education team before publication. AI does not make publication decisions, and no article publishes under a TrueFire byline without team sign-off. We disclose AI use on every article that uses it — here at the bottom of the blog, where you can see it, not buried in a policy page. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass jam, body blindness, flatpicking, fretting hand tension, guitar, guitar posture habits, guitar technique awareness, reduce tension while playing guitar, whole body guitar practice --- ### [Mandolin Setup Guide: A Player's How-To for Better Tone](https://blog.artistworks.com/mandolin-setup-guide-a-players-how-to-for-better-tone/) **Published:** June 2, 2026 **Author:** ArtistWorks **Content:** You tune up your mandolin, play a G chop or a simple melody, and something feels wrong. The strings fight back. Notes fret sharp up the neck. A clean pick stroke turns into a buzz. A lot of players assume that means they need more practice, or a better instrument, or tougher fingertips. Sometimes the problem is simpler. The mandolin hasn’t been set up to play well. A good setup changes how an instrument responds under your hands. Chords stop feeling like work. Single-note lines ring instead of choking out. Intonation stops distracting you. The whole instrument starts helping instead of resisting. That’s why any serious mandolin setup guide should do more than list measurements. It should connect each adjustment to what you hear and feel when you play. ## Why a Good Setup Is Your Secret to Better Playing A lot of mandolins lose players in the first few weeks. The instrument is tuned, the chords are recognizable, and the player is trying hard, but every session feels like extra work. The left hand squeezes harder than it should. The right hand backs off to avoid buzz. Notes higher up the neck never quite settle into tune. That kind of fight changes how you play. It teaches you to compensate for the instrument instead of learning clean technique and good time. I see it all the time with otherwise motivated players, especially on factory-fresh instruments that have never been dialed in after shipping or a season change. A good setup fixes causes, not symptoms. If the bridge sits in the wrong place, the mandolin will sound sour up the neck no matter how carefully you tune the open strings. If the action is too high, your fretting pressure goes up and your intonation often gets worse with it. If the nut slots are too high or poorly shaped, first-position chords feel stiff and the strings may not return to pitch cleanly after tuning. > A good setup is how you turn a mandolin from a box of correct parts into an instrument that responds musically. That is why setup matters so much. The goal is not to chase numbers for their own sake. The goal is to make the mandolin feel easier under the fingers, sound cleaner under the pick, and stay predictable from the first fret to the last. ### What you hear and feel after a solid setup The first improvement is usually comfort. Fretted notes speak with less effort, which means less hand tension and better control over vibrato, double stops, and clean chord shapes. The second is clarity. A mandolin with sensible relief, action, and bridge position has more of the quick, focused response players want. Tremolo holds together better. Chops sound drier and more direct. Single-note lines stop feeling cramped. Then comes confidence. Once the instrument plays in tune and responds evenly, you stop second-guessing every note. That matters whether you are learning fiddle tunes by ear, backing up a singer, or working on tremolo and phrasing with a [mandolin learning program at ArtistWorks](https://artistworks.com/schools/instruments/mandolin). There is also a trade-off to respect. Very low action can feel fast, but if you play hard for bluegrass rhythm it may buzz and lose headroom. Slightly higher action can give the top more room to work and keep the sound cleaner under a strong pick attack. A good setup matches the player, not just the ruler. Some jobs are straightforward. Bridge placement, string choice, and a basic action check are well within reach for a careful beginner. Truss rod adjustments, nut work, and fret problems deserve more caution. If a change takes force, if the neck does not respond as expected, or if buzzing persists in one area of the fingerboard, stop and hand it to a repair person. Good judgment is part of a good setup too. ## Gathering Your Essential Setup Tools Before touching the bridge or reaching for the truss rod, lay out the tools. Setup goes badly when players try to eyeball tiny changes or use the wrong wrench “just this once.” Mandolins respond to small adjustments, so your tools need to let you work small. ![A close-up view of a musician adjusting the bridge on a wooden mandolin using a clip-on tuner.](https://cdnimg.co/35b048ee-ebf7-4a93-9228-e64fb0f15c79/9f7ac5d9-2a75-4d20-b276-106a820b3a31/mandolin-setup-guide-mandolin-adjustment.jpg)### Tools I consider essential A basic mandolin setup kit should include: - **A digital tuner** that reacts quickly and reads accurately. Intonation work depends on this. If the tuner drifts or lags, you’ll move the bridge in the wrong direction. - **Feeler gauges** for checking very small gaps. Neck relief on a mandolin lives in a tiny window, and this is one place where guessing by eye doesn’t cut it. - **A small ruler** with fine markings for measuring string height at the fretboard. A short machinist-style rule is easier to use than a bulky tape measure. - **A peg winder and wire cutters** for string changes. Clean restringing matters more than many players think. - **The correct truss rod wrench** for your instrument. “Close enough” is how nuts get rounded off. Those tools let you measure, adjust, and then return to the same baseline if needed. That repeatability is the true value. ### Useful extras that save frustration Some items aren’t mandatory for a first pass, but they make life easier: ToolWhy it helpsNut lubricant or graphiteReduces binding at the nut during tuningSmall flashlightHelps you inspect nut slots, bridge angle, and fret contactSoft cloth or matProtects the instrument while you workPencilLets you mark current bridge position before moving anythingIf you’re learning setup and technique side by side, [Mike Marshall’s ArtistWorks school](https://artistworks.com/mike-marshall) also includes mandolin-focused instruction that can help you hear the difference between a mechanical issue and a picking issue. > **Shop habit:** Put every tool within reach before you start. Mid-job searching leads to rushed decisions, and rushed decisions lead to bad setup work. ### What not to improvise There are a few shortcuts I’d avoid. - **Don’t use oversized pliers** on hardware meant for a proper wrench. - **Don’t measure action with a tape measure** if a fine ruler is available. - **Don’t file a nut slot with random hardware-store tools** unless you’re fully prepared to replace the nut if it goes wrong. Mandolin setup rewards patience. The right tool slows you down just enough to do clean work. ## Bridge Placement and Perfecting Intonation Bridge placement is the first adjustment I check on almost any floating-bridge mandolin. If the bridge sits in the wrong spot, the instrument can be perfectly tuned open and still sound wrong everywhere that matters. That’s why this comes first in a practical mandolin setup guide. You need the scale length working properly before you judge anything else. ![A luthier uses a precision ruler to measure string height on the fretboard of a vintage mandolin.](https://cdnimg.co/35b048ee-ebf7-4a93-9228-e64fb0f15c79/2eb47932-5552-47ba-a187-834ffc9ac1c6/mandolin-setup-guide-luthier-tools.jpg)### The basic intonation method A reliable workflow is laid out in this [mandolin intonation setup guide from Dummies](https://www.dummies.com/article/academics-the-arts/music/instruments/mandolin/how-to-set-up-a-new-mandolin-274766/). The sequence is straightforward: tune the open strings, compare the fretted octave at the 12th fret with a digital tuner, and move the bridge in very small increments. If the fretted note is **flat**, move the bridge toward the neck. If it is **sharp**, move it toward the tailpiece. That same guidance notes that even **1–2 mm** can materially change intonation. That last part matters. Players often move the bridge too far, then chase the problem back the other way. ### How to do it without creating new problems Use this order: 1. **Tune the open strings cleanly.** Don’t rush. If the open course is off, every comparison afterward is misleading. 2. **Check the fretted note at the 12th fret.** Use a normal playing touch. Don’t press harder than you would in real playing. 3. **Move the bridge a tiny amount.** Think in nudges, not shoves. 4. **Retune the open strings.** Every bridge movement changes pitch. 5. **Check again.** Repeat until the octave is behaving. This is one of those jobs where calm repetition beats speed. > Keep the bridge upright while you adjust it. A leaning bridge changes contact and can skew your reading before you’ve actually solved intonation. ### Common bridge mistakes A lot of intonation trouble comes from a few simple errors: - **Moving the bridge without retuning first** after each adjustment. - **Checking with inconsistent fretting pressure**, which makes notes look sharp even when the bridge is close. - **Ignoring bridge alignment** so one side creeps forward and the other stays behind. - **Starting with action work first**, which confuses the diagnosis. A floating mandolin bridge should also stay visually centered and seated properly on the top. If it twists or leans, the instrument won’t respond consistently. ### What good intonation feels like musically When the bridge is in the right place, the fretboard stops arguing with your ear. Double stops settle in. Chords higher up the neck stop sounding sour. Melodies land where you expect them to. That’s a major reason setup and musicianship are inseparable. If the instrument doesn’t fret in tune, you can’t trust what you’re hearing. Players working on fretboard awareness often benefit from studying another fretted instrument too, and the [ArtistWorks guitar school](https://artistworks.com/schools/instruments/guitar) can be useful for hearing how intonation and left-hand pressure affect pitch across similar family instruments. ### When bridge movement doesn’t solve it If the bridge is close, upright, and moving it no longer improves the problem, stop there and reassess. Persistent pitch issues can come from other causes, including string condition, fret problems, or nut-related trouble. The mistake is assuming every tuning problem is a bridge problem. Bridge placement is foundational. It isn’t the whole story. ## Adjusting Action and Neck Relief A mandolin can tune up perfectly and still fight you under the pick. The usual cause is the relationship between neck relief and action. Get that relationship right, and the instrument feels quicker, cleaner, and more willing. Chords speak with less effort. Notes stop choking out when you dig in. Action always has a personal side, but good setup starts with order. Set neck relief first, then judge string height. If you reverse that sequence, you can lower the bridge to hide a neck problem and end up with a mandolin that looks fine on a ruler but plays poorly in the middle of the neck. ![A close-up view of a person using a peg winder to adjust the tuners on a Calace mandolin.](https://cdnimg.co/35b048ee-ebf7-4a93-9228-e64fb0f15c79/d689c50d-586c-406f-b735-2f37329d8804/mandolin-setup-guide-instrument-maintenance.jpg)### Start with neck relief As noted in Reverb’s mandolin setup guide, mandolin relief and action measurements live in a very small range. That matters because even a slight adjustment at the truss rod or bridge can change how the whole instrument responds. Relief is the slight forward bow in the neck that gives the strings room to vibrate. Too little relief usually shows up as buzz or chatter in the lower and middle positions. Too much relief makes the center of the neck feel stiff and needlessly tall, even if first position still feels acceptable. A quick diagnosis helps: SymptomLikely place to investigateBuzz in lower positionsToo little reliefStiff feel through middle fretsToo much reliefAction feels high across the neckRecheck relief, then bridge heightClean open strings but fretted notes feel hard to pressRelief or action may be too highUse a light touch while checking. A hard fretting hand can hide the actual problem by forcing notes clean that would otherwise show you where the setup is off. ### Then adjust action at the bridge Once the neck is behaving, set the string height at the bridge. Most adjustable mandolin bridges use thumbwheels. Turn both sides in small increments and keep the bridge top following the fingerboard radius. Watch the bridge while you work. If it starts leaning, straighten it before you tune back to pitch and measure again. The trade-off is simple. Lower action reduces left-hand effort, but it also reduces the room the string has to move. Players with a light attack can often run lower action cleanly. Rhythm players who drive hard, especially for bluegrass chop, usually need a bit more clearance to keep the sound crisp instead of buzzy. I use one bench rule more than any target number. The right action is the lowest height that stays clean under the player’s real picking hand, not an imaginary gentle touch used only during setup. ### Matching the setup to the music Setup transitions from purely mechanical to musical. A mandolin meant for hard rhythm work should not be dialed in the same way as one used for fluid melodic lines and light tremolo. The measurements may end up close, but the feel will not. A few patterns show up regularly: - **Heavy right hand:** Slightly higher action usually gives better headroom and a clearer attack. - **Light touch and melodic playing:** Lower action can feel faster and more responsive. - **Frequent upper-neck playing:** Judge the setup above fifth position too, because a mandolin that feels fine near the nut can still feel uneven farther up the board. Players studying articulate modern bluegrass phrasing can hear that connection clearly in [Sierra Hull’s mandolin lessons on ArtistWorks](https://artistworks.com/sierra-hull). Clean setup supports clean articulation. It does not create technique, but it stops the instrument from getting in the way. ### What the truss rod can and cannot do The truss rod adjusts relief. It does not serve as a shortcut for full action control. That mistake causes a lot of trouble. If relief is already reasonable and the strings still sit too high, the bridge height is the next place to work. If first-position notes feel unusually stiff, the nut may be part of the problem, which is a separate issue from neck relief altogether. Stop and hand the job to a professional if any of these show up: - the truss rod feels unusually tight - the neck does not respond predictably after small changes - buzzing appears only in one or two spots, which can point to fret problems - the mandolin needs more correction than a normal setup adjustment should require A good setup should make the mandolin feel like it wants to sing. If an adjustment starts feeling forced, that is usually the right moment to stop. ## Optimizing Strings, Nut, and Tuning Stability Once the bridge, relief, and action are in the ballpark, the rest of the instrument starts to matter more. Strings, nut slots, and tuner behavior work as a system. If one part drags, catches, or slips, the whole mandolin feels unstable. Many “mystery tuning problems” commonly stem from this point. ![A luthier uses a file to perform a professional setup on a Taylor acoustic guitar headstock.](https://cdnimg.co/35b048ee-ebf7-4a93-9228-e64fb0f15c79/3118c035-d618-4be0-a90e-fef3e27adb42/mandolin-setup-guide-guitar-maintenance.jpg)### Strings affect more than tone Players usually choose strings for sound first, but setup changes with string choice. Different gauges and tensions can change how stiff the instrument feels and how it responds under the pick. If you switch strings and the mandolin suddenly feels harder to fret or starts buzzing in new places, don’t assume your setup “went bad.” The string choice may have shifted the balance. That’s why I like consistency during setup work. Pick one set you expect to use for a while, then dial the instrument in around it. A few practical guidelines help: - **Stay consistent during setup work.** Don’t measure action with one set and evaluate feel with another. - **Replace tired strings before diagnosing fine issues.** Dead or kinked strings can imitate setup trouble. - **Restring neatly.** Sloppy wraps cause drifting pitch and uneven settling. ### Nut problems hide in plain sight The nut controls how the strings leave the headstock and enter the playing area. If a slot is too tight, the string can bind and then jump during tuning. If a slot is too high, first-position notes feel harder than they should and may fret sharp from extra pressure. You can spot warning signs without cutting anything: SymptomWhat to suspectString jumps in pitch while tuningBinding in the nut slotFirst-position chords feel unusually stiffNut slots may be too highOne course won’t return to pitch smoothlyFriction at nut or tunerA little graphite from a pencil can help lubricate a slot and reveal whether friction is part of the problem. > If a small amount of lubrication improves tuning, the nut is telling you something. Listen before you start filing. ### When to leave the nut alone Nut filing is one of the easiest setup jobs to do badly. Once material is gone, it’s gone. If the strings sit too low afterward, you’re into repair work, not setup. That’s why I tell most players to inspect, lubricate, and diagnose the nut themselves, but to be cautious about cutting. If your mandolin clearly has high or poorly shaped slots, that’s often a smart place to hand the instrument to a luthier. For players learning across multiple instruments and styles, [the ArtistWorks school directory](https://artistworks.com/schools) can also help you compare technique and maintenance habits across fretted instruments, especially if you come to mandolin from guitar, banjo, or ukulele. ### Tuning stability is a whole-instrument issue Stable tuning usually comes from several ordinary things done well: - **Clean string installation** - **Smooth nut slots** - **A stable bridge** - **Good tuning habits** - **Realistic expectations after restringing** When a mandolin won’t stay in tune, don’t blame the tuning machines first. The string path tells the story more often than the gears do. ## Final Checks and Style-Specific Tips The last stage is simple. Play the mandolin. Not for ten seconds. Play first-position chords, melodies up the neck, double stops, tremolo, and the kind of rhythm you use. Setup only means something if it survives real playing. A useful reminder from the earlier guidance is that setup isn’t a race to the lowest action. The better way to think about it is a balance between comfort and clean response. One source puts it plainly: *if the action feels too stiff, lower the bridge; if you have string buzz, raise it* from this [mandolin setup discussion on YouTube](https://www.youtube.com/watch?v=0w9lZA7D6nk). That’s a practical rule because it treats setup as an iterative compromise, not a trophy measurement. ### What to listen for after the adjustments Use a short checklist: - **Do chords in first position fret cleanly without extra force?** - **Do upper-fret notes sound in tune relative to open strings?** - **Does the mandolin buzz only when you attack hard, or even with a relaxed stroke?** - **Does one course behave differently from the others?** Those answers help you sort setup issues from technique issues. ### Knowing when to stop There’s a point where further adjustment stops being productive. If you’re chasing one buzz around the neck, fighting inconsistent frets, or making repeated changes that only move the problem, stop. That usually means one of three things: - the issue is beyond basic setup - the instrument needs fret or nut work - your technique is part of what you’re hearing None of that is failure. It’s good judgment. A good mandolin setup guide should leave you with a playable instrument and a better ear for what the instrument is telling you. It should also make one thing clear. There isn’t one perfect setup for everybody. There’s the setup that suits your hands, your attack, and your music. --- Ready to turn a better-playing mandolin into better music? Try an [ArtistWorks 7-day free trial](https://artistworks.com) and study with master instructors at your own pace. If mandolin is your focus, start with the [ArtistWorks Mandolin School](https://artistworks.com/schools/instruments/mandolin). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** mandolin --- ### [Jazz Guitar for Beginners: A Complete Starter Guide](https://blog.artistworks.com/jazz-guitar-for-beginners-a-complete-starter-guide/) **Published:** June 1, 2026 **Author:** ArtistWorks **Content:** Jazz guitar for beginners can look intimidating from the outside. The chord voicings have unfamiliar names. The standards seem to have a thousand changes per chorus. The recordings move at speeds that feel impossible to follow. The reality is that jazz guitar is built on a small set of fundamentals, and any guitar player with basic chord and scale knowledge can start learning it today. In this guide, we’ll walk through what makes jazz guitar distinctive, the essential scales and chords every beginner should know, and how to structure your practice for steady, real progress. ## Table of Contents - [What Makes Jazz Guitar Different](#what) - [Jazz Guitar for Beginners: Where to Start](#where) - [Easy Jazz Guitar Scales Every Beginner Should Know](#scales) - [Essential Jazz Guitar Chords for Beginners](#chords) - [How to Practice Jazz Guitar Day by Day](#practice) - [Jazz Guitar Lessons with World-Class Faculty](#lessons) ## What Makes Jazz Guitar Different Jazz guitar differs from blues, rock, and folk guitar in a few important ways. Jazz harmony moves more often, with chord changes that frequently shift every two beats or every bar rather than every four bars. The voicings tend to be smaller and more economical, often three or four-note chord shapes that leave room for a bass player and a pianist. The melodic vocabulary draws on a wider set of scales and modes, including some that won’t be familiar to a blues or rock player. And jazz puts a high value on improvisation, where you compose melodies in real time over the chord changes. That may sound like a lot, but the encouraging news is that none of it requires inherent talent or perfect pitch. Every great jazz guitarist started where you’re starting now: learning a few new scales, a few new chord shapes, and a few standard tunes, then putting in the consistent reps to make them fluent. ## Jazz Guitar for Beginners: Where to Start If you want to learn jazz guitar, three habits will serve you better than any single technique: - **Listen, deeply and constantly.** Put on Wes Montgomery, Joe Pass, Grant Green, Kenny Burrell, Jim Hall, Pat Martino, and Charlie Christian. You can’t speak the language without hearing it spoken fluently. Listening trains your ears and your imagination at the same time. - **Learn songs, not just scales.** Pick a standard, learn the melody, learn the chord changes, and play it every day for a week. Songs are the carriers of jazz vocabulary, and scales alone won’t get you there. - **Find a teacher who plays the music.** Jazz is a tradition passed from player to player. Reading about it is helpful, and watching and working with someone who actually does the work will accelerate your progress dramatically. ## Easy Jazz Guitar Scales Every Beginner Should Know Easy jazz guitar scales are the building blocks of melodic improvisation. ArtistWorks instructor [Dave Stryker](https://artistworks.com/dave-stryker) walks through the most important ones in the video above. We’ll summarize each scale and what it’s used for, then point you to the lesson for the actual fingerings and applications on the fretboard. The scales Dave covers in the lesson, in order: 1. **Major scale (Ionian).** The familiar do-re-mi scale. Dave uses F major as the parent scale and derives the other modes from it. 2. **Dorian.** Starting on the second degree of the major scale (G Dorian from F major). This is the most common minor scale in jazz. You’ll use it constantly over minor seventh chords. 3. **Phrygian.** Third degree of the major scale (A Phrygian from F major). Carries a Spanish, flamenco-leaning flavor. 4. **Lydian.** Fourth degree (B-flat Lydian from F major). Identifiable by its raised fourth. Use it over major seventh #11 chords (sometimes notated as “flat 5” major chords). 5. **Mixolydian.** Fifth degree (C Mixolydian from F major). The dominant scale. Use it over dominant seventh chords like C7. 6. **Aeolian.** Sixth degree (D Aeolian from F major). The natural minor scale. A natural sixth distinguishes it from Dorian. 7. **Locrian.** Seventh degree (E Locrian from F major). Use it over minor seventh flat five chords (also called half-diminished). 8. **Pentatonic.** A five-note scale. Often the very first scale a guitarist learns. Works over both dominant and minor harmonies. 9. **Minor blues scale.** Add a chromatic note between the fourth and fifth of the minor pentatonic. Essential blues vocabulary that also lives comfortably inside jazz playing. 10. **Bebop scale (dominant).** Based on the Mixolydian (dominant) scale with one extra chromatic passing tone added. The defining sound of bebop melodic phrasing. 11. **Bebop scale (major).** The major scale with one extra passing tone (a sharp fifth) added. Same melodic principle applied to major harmony. If you’re brand new to modes, start with three: the major scale, Dorian, and Mixolydian. Those three will cover the I, ii, and V chords in just about every jazz standard you encounter, which is more than enough to start improvising real solos over real tunes. ## Essential Jazz Guitar Chords for Beginners Jazz guitar chords are mostly seventh chords. The four shapes every beginner needs in their fingers, on every root, are: - **Major 7th (maj7):** root, third, fifth, seventh. Warm and dreamy. Used on the I chord in major keys. - **Minor 7th (m7):** root, flat third, fifth, flat seventh. The most common minor sound in jazz. Used on the ii chord and on many tonic minor situations. - **Dominant 7th (7):** root, third, fifth, flat seventh. The “wants to resolve” chord. Used on the V chord in every key. - **Minor 7 flat 5 (m7b5 or half-diminished):** root, flat third, flat five, flat seventh. Common as the ii chord in minor keys. Learn these four shapes in two positions each (one with the root on the 6th string, one with the root on the 5th string), and you can play through almost any jazz standard you’d encounter on a typical gig. ## How to Practice Jazz Guitar Day by Day How to play jazz guitar comes down to consistent, focused practice. A 30-minute daily session, structured roughly like this, will produce real progress within a few months: 1. **5 minutes: warm-up.** A scale, a chord exercise, or a simple comping pattern. 2. **10 minutes: tune of the week.** Work on the melody and chords of a single standard you’re trying to internalize. 3. **10 minutes: improvisation.** Play through the form of the tune and improvise lines. Use only one or two scales at first. Record yourself. 4. **5 minutes: listening reflection.** Listen to a master playing the same tune. Notice one thing they do that you didn’t think to try. Consistency beats intensity. Thirty minutes a day for six months will take you further than three-hour weekend marathons that leave your hands sore and your ears tired. ## Jazz Guitar Lessons with World-Class Faculty Jazz guitar lessons accelerate dramatically when you study with someone who actually plays the music. [Dave Stryker](https://artistworks.com/dave-stryker), a Grammy-nominated jazz guitarist with decades of touring and recording experience, teaches a full curriculum on ArtistWorks covering everything from foundational technique to advanced improvisation. The scale lesson featured above is one small slice of his catalog. Fellow jazz guitar instructor [Sean McGowan](https://artistworks.com/sean-mcgowan) brings a complementary approach focused on harmony-rich arrangements and fingerstyle technique. Both instructors use the ArtistWorks Video Exchange Learning model, in which you submit a video of your playing and receive personalized feedback from your instructor. That kind of structured, individualized guidance is one of the fastest paths from beginner to confident jazz player, and it’s something no book or app can replicate. ## Start Your Jazz Guitar Journey with Personal Guidance Jazz guitar for beginners is more accessible than it looks. A few scales. A few chord shapes. Consistent practice. Patient listening. And ideally, a great teacher to guide you. Every jazz guitar player you admire walked this same path at some point in their lives, and there’s no reason you can’t start walking it today. [Start a free trial at ArtistWorks and learn with personal guidance](http://go.artistworks.com/jazz). Submit videos of your playing, receive personalized feedback from world-class faculty, and build the jazz guitar foundation that will carry you through a lifetime of music. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** ArtistWorks Jazz School, Autumn Leaves, Bebop Scale, Beginner Guitar, Blue Bossa, Dave Stryker, Jazz Chords, Jazz Guitar, Jazz Guitar for Beginners, Jazz Scales, Jazz Standards, Modes, Pentatonic Scale, Sean McGowan, Seventh Chords, Video Exchange Learning --- ### [How to Solo in a Jam: Start with the Melody](https://blog.artistworks.com/how-to-solo-in-a-jam/) **Published:** May 27, 2026 **Author:** ArtistWorks **Content:** Learning how to solo in a jam is one of the most exciting milestones in any musician’s journey, and one of the most intimidating. The moment everyone in the circle turns to look at you, the chord changes start moving, and you’re expected to say something musical, all at once. The good news is that great soloing starts somewhere much simpler than most players assume. As 2x Grammy-winning ArtistWorks faculty [Cathy Fink and Marcy Marxer](https://artistworks.com/cathy-marcy) demonstrate in the video below, the doorway into improvisation is the melody itself. The video is excerpted from [**American Roots Songs & Arranging**](https://artistworks.com/cathy-marcy), Cathy and Marcy’s newly released ArtistWorks school. In just a few minutes, they walk a new soloist through a 12-bar blues in the key of A and show how the simplest possible move is also the most musical place to start. This article unpacks every concept from the lesson into practical, cross-instrument guidance you can apply on your guitar, mandolin, fiddle and beyond the next time you find yourself in a circle. ## Table of Contents - [Why the Melody Is the Best Place to Start](#why-melody) - [How to Solo in a Jam, Step by Step](#how-to) - [Using Vocal Melody for Solos](#vocal) - [Improvisation for Beginners: The Forgiving Move](#improv) - [Melodic Soloing Tips for Different Instruments](#instruments) - [Taking a Break: What It Means in a Jam](#break) - [Jam Session Solos: How to Actually Take One](#session) - [Cathy and Marcy’s Assignment: Sustain and Self-Recording](#assignment) ## Why the Melody Is the Best Place to Start Cathy Fink and Marcy Marxer have a rule they live by, and it’s the most useful single piece of advice for any new soloist: if you can’t play the melody of a song, you’re going to have a hard time playing around it. The melody is the song’s central thought. Every embellishment, variation, and improvisation gets its meaning by relating back to that central thought. Skip the melody and dive straight into licks, and you’ll often produce something that technically fits the chord changes but doesn’t actually say anything. That’s why the foundational move in soloing is also the simplest: play the melody beautifully, in time, on your instrument, with as much expression as you can manage. Once that’s solid, the embellishments come naturally. ## How to Solo in a Jam, Step by Step Here’s how to solo in a jam using the melody-first approach Cathy and Marcy teach: 1. **Know the melody by ear.** Before you ever try to embellish, you need to be able to sing the melody. Hum, whistle, and get it in your head so completely that you’d recognize it anywhere. 2. **Find the melody on your instrument.** Translate the sung melody into notes on your fretboard or keyboard. Take it slowly. Use your ears more than your eyes. 3. **Play the melody straight, in time, with feeling.** No flourishes yet. Just the melody, played beautifully. Most beginners skip this step because it feels too simple. Resist that impulse. 4. **Add sustain or vibrato.** Long, ringing notes are the easiest way to make a simple melody sound expressive. We’ll cover what this looks like across different instruments below. 5. **Embellish gradually.** Slide into notes. Bend up to them. Add a small turn or grace note. The melody is still your anchor, and every embellishment lands you back on a melody note. ## Using Vocal Melody for Solos Using vocal melody for solos is one of the most underrated techniques in roots music. When you treat your solo as if it were a sung verse, with breath, phrasing, and intention, it instantly sounds more musical than a string of fast notes ever will. Try this: pick a song with words. Sing the melody once, paying close attention to how the syllables fall, where you’d naturally breathe, and which words you’d emphasize. Then play that same melody on your instrument, mimicking those breaths and emphases as closely as you can. You’ll notice immediately that the spaces between phrases, the moments where a singer would inhale, carry just as much musical weight as the notes themselves. ## Improvisation for Beginners: The Forgiving Move One of the most encouraging things Cathy says in the video is that roots music is a forgiving style. If you land on what feels like a wrong note, you can usually slide up or slide down a half-step to a note that does work, and the listener will hear it as a deliberate, expressive move. This is a critical piece of permission for anyone new to improvisation for beginners. Mistakes are not fatal. Every “wrong” note is a fret or two away from a “right” note. The slide, the bend, the quick hammer-on or pull-off all turn near-misses into deliberate phrasing. The more you internalize this safety net, the more confidently you can take risks. Knowing the key of the tune helps too, which is why our [beginner’s guide to finding the key of a song](https://blog.artistworks.com/how-to-find-the-key-of-a-song-no-matter-what-instrument-you-play/) pairs naturally with everything in this article. ## Melodic Soloing Tips for Different Instruments Melodic soloing tips translate across instruments, but the specific techniques you use to make a melody sing depend on what’s in your hands. Cathy and Marcy point out that sustain is your friend whenever a melody calls for a long, lyrical note. Here’s how to find sustain on the most common roots instruments: - **Guitar:** Let the note ring without dampening it. A clean tone with a touch of natural resonance is perfect. Try fingerpicking with sustain on the low strings while you let melody notes ring on top. - **Mandolin:** The natural sustain is short, so use tremolo. A steady, even tremolo on a held note will sustain it for as long as you need it. - **Fiddle:** The bow gives you essentially infinite sustain. Use it. Long, slow bow strokes on melody notes will make any solo sing. - **Banjo:** Like the mandolin, sustain is short. Use rolls to keep notes alive, or pluck a note and add fretting-hand vibrato to give it expression. - **Ukulele:** Strum delicately and use small finger-hammer or vibrato gestures to give melody notes life. Roll between fingerings for sustained motion. - **Voice:** Don’t forget your own voice. Singing a phrase, then mirroring it on your instrument, is a powerful warm-up for any solo. ## Taking a Break: What It Means in a Jam In bluegrass circles, *taking a break* is the traditional language for taking a solo. When someone in the circle says “take a break,” they’re inviting you to step into the spotlight for a chorus, a verse, or a designated number of bars while everyone else continues to comp behind you. Taking a break is also a quiet contract. The group is supporting you, holding the time and the harmony so you can play freely. Your job is to honor that support by playing musically, staying in time, and handing the spotlight off cleanly when your turn is over. Knowing how to do this with grace is a core part of being a good jammer, and our [beginner’s guide to musical dynamics in a group](https://blog.artistworks.com/musical-dynamics-in-a-group-beginners-guide/) covers the broader etiquette of supporting and being supported in detail. ## Jam Session Solos: How to Actually Take One Jam session solos can feel intimidating until you’ve taken a few. A few practical guidelines will get you through your first dozen: - **Know the key.** Before you solo, you need to know what key the song is in and where the chord changes happen. - **Start with the melody.** Per Cathy and Marcy’s rule, play the song’s melody clearly first, then embellish second. - **Leave space.** The silences between phrases let the listener catch up and let your next idea land harder. - **End on a strong note.** The last note of your break should feel resolved. Land on the root of the key or any other chord tone of the I chord. - **Pass it cleanly.** When your bars are up, signal the next soloist with a nod or a glance so they’re ready to step in. ## Cathy and Marcy’s Assignment: Sustain and Self-Recording At the end of the video, Cathy gives a specific assignment to anyone working through the lesson: play the 12-bar blues melody in the key of A as simply and beautifully as you can, with as much sustain as possible. This assignment captures the heart of how Cathy and Marcy teach. You can take this assignment one step further further through ArtistWorks’ [Video Exchange Learning](https://artistworks.com/) model, where you submit a video of your playing and your instructor sends back personal feedback on what you nailed and what to refine. If you’re working through this lesson on your own, you can still apply the assignment to your own practice. Record yourself playing the simple melody. Listen back. Notice where you rushed, where you held back, where the sustain rang and where it stopped short. Self-recording is one of the fastest paths to becoming a better soloist, and it’s a habit Cathy and Marcy have built into every part of their teaching. ## Go Deeper with American Roots Songs & Arranging The lesson featured above is one small slice of Cathy Fink & Marcy Marxer’s new school, [**American Roots Songs & Arranging**](https://artistworks.com/cathy-marcy). Across the full curriculum, Cathy and Marcy walk students through community singing, jam-session etiquette, song-leading, harmony arranging, multi-instrument transitions, and the deep song catalog that anchors American folk, bluegrass, and old-time traditions. The school is designed for players working across guitar, banjo, ukulele, fiddle, mandolin, and voice, with the melody-first soloing approach you saw in the video as one of many practical through-lines. Combined with the ArtistWorks Video Exchange Learning model, this school is a structured path into roots music with two of the tradition’s most beloved teachers. [Cathy and Marcy](https://cathymarcy.com/) have spent decades building welcoming, technique-rich education for adult learners and lifelong students, and the new school distills that experience into one cohesive curriculum. ## Start Soloing with Personal Guidance Learning how to solo in a jam is one of the great open doors in your musical life, and the melody-first approach Cathy and Marcy teach is the simplest and most reliable way through it. Start with the melody. Play it beautifully. Add sustain. Embellish gradually. Trust the forgiving safety net of slides and bends when you reach for a note that doesn’t quite land. Before long, you’ll be the player in the circle who others actually want to follow. [**Start a free trial at ArtistWorks and learn with personal guidance**](https://artistworks.com/)**.** Submit videos of your playing, receive personalized feedback from world-class faculty, and build the cross-instrument soloing skills that will carry you through every jam, session, and performance to come. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [How to Find the Key of a Song (No Matter What Instrument You Play)](https://blog.artistworks.com/how-to-find-the-key-of-a-song-no-matter-what-instrument-you-play/) **Published:** May 18, 2026 **Author:** ArtistWorks **Content:** Learning how to find the key of a song is one of the most useful skills a musician can develop, regardless of which instrument you play. Once you can identify a song’s key, you’ll know which chords to expect, where to place your capo, what feels comfortable to sing, and how to fit in when you’re playing along with a recording, a friend, or a roomful of people at a community sing. In the lesson featured below, multi-Grammy-winning ArtistWorks faculty [Cathy Fink and Marcy Marxer](https://artistworks.com/cathy-marcy) walk a group of beginners through exactly how to navigate keys across different instruments. The video is excerpted from their newly released school, **American Roots Songs & Arranging**, using the classic folk song “Let’s Build That Lovin’ Land” in the key of B-flat to show how banjo players, guitarists, fiddlers, mandolinists, and ukulele players each find their way into the same key from their own starting point. Cathy and Marcy also introduce the **Nashville Numbers System**, the universal language that lets any musician play in any key without rewriting the chord chart. Read on for a breakdown of every concept they cover. ## Table of Contents - [Why Finding the Key of a Song Matters](#why) - [How to Match Key When Playing Along to a Song](#along) - [Singing in the Right Key for Your Voice](#voice) - [The Nashville Numbers System: A Universal Language](#nashville) - [What Key Should I Play In?](#what-key) - [Go Deeper with *American Roots Songs & Arranging*](#school) ## Why Finding the Key of a Song Matters Every song lives in a key, which serves as the harmonic home base. When you know a song’s key, you know which group of chords you can expect to hear (the I, the IV, the V, and a handful of cousins), which notes will sound consonant if you’re improvising, and what your vocal range will need to accommodate. Cathy points out in the video that a key like B-flat can sound intimidating to a beginner. The lesson reveals it as three chord shapes any guitarist or banjo player already knows, moved up the neck with a capo. That’s the recurring lesson of playing with other instruments: keys that look hard on paper are often friendly once you understand how players actually approach them on each instrument. ## How to Match Key When Playing Along to a Song How to match key when playing along to a song is a slightly different challenge from identifying the key on a chord chart. With a recording, the song is happening at a fixed pitch. You can’t ask it to slow down or change keys, so you have two practical options: - **Find the key, then play in that key.** Use the ear technique above to identify the home note. If the song is in B-flat, you’ll play in B-flat. - **Use a capo to transpose.** If you play guitar or banjo, keep your familiar G, C, and D chord shapes and place a capo on the third fret to transpose them up to B-flat, E-flat, and F. Same shapes, new key. Players of fiddle, mandolin, ukulele, and other instruments without capos simply play the actual chords in the new key. This is exactly the move Cathy and Marcy demonstrate in the lesson. Banjo players capo at the third fret and use G-position shapes. Guitarists do the same. Fiddle, mandolin, and ukulele players (no capo needed) play the actual chords in B-flat, E-flat, and F. Everyone arrives at the same musical content from their own instrument’s vantage point. For more on the social side of playing well with others, the concepts in this article pair naturally with our [beginner’s guide to musical dynamics in a group](https://blog.artistworks.com/musical-dynamics-in-a-group-beginners-guide/), which covers volume, listening, and supporting the soloist. ## Singing in the Right Key for Your Voice Finding the key of a song matters even more once you start singing it. Singing in the right key for your voice is the difference between a comfortable, expressive performance and a strained vocal that serves neither the song nor you. Most original recordings sit in whatever key worked for the original singer, which can often be a key that doesn’t suit your range. The simplest workflow: pick a song, find its original key, and then try singing it. If the highest notes feel too high or the lowest notes too low, move the key up or down a few half-steps until the melody sits in the most expressive part of your range. For guitarists and banjo players, capo placement is your friend. For pianists, vocalists working a cappella, and instruments without a capo, you’ll transpose to the new key by ear or by chart. In community singing scenarios like the one Cathy and Marcy demonstrate, the song leader typically chooses a key that works for the most singers in the room. That key may not be your favorite, but the goal of community music is to include everyone, and the Nashville Numbers System covered next is what makes that inclusion possible across an entire ensemble. ## The Nashville Numbers System: A Universal Language The Nashville Numbers System is the shorthand that professional session musicians use to communicate across keys. Instead of naming chords by letter, you name them by their number within the key. A I-IV-V progression in G (G, C, D) is the same I-IV-V in B-flat (B-flat, E-flat, F). When you understand the numbers, the letters take care of themselves. The basics: - **1** is the root chord (G in the key of G, B-flat in the key of B-flat). - **4** is the IV chord (C in G, E-flat in B-flat). - **5** is the V chord (D in G, F in B-flat). - **2** is the ii chord (A minor in G, C minor in B-flat). - **6 minor** is the relative minor (E minor in G, G minor in B-flat). For example: in practice, the song leader would call out “1, 1, 1, 5, 1, 1, 1, 4, 5, 1” and every musician in the room could translate it on the fly into their own chord vocabulary. Capoed banjos, guitars, mandolins, fiddles, and ukuleles all play the same numbered chords, just voiced for their own instrument and tuning. This is the moment that makes everything click for most beginning musicians. Once you can think in numbers, you can play in any key with anyone, anywhere. ## What Key Should I Play In? What key should I play in is one of the most common questions beginners ask, and the honest answer is that it depends on the situation. A few practical guidelines: - **For solo practice and learning songs:** play in the original key when you can, so you get used to hearing standard arrangements. - **For singing:** pick the key that lets you sing comfortably and expressively, even if it means transposing the original. - **For jam sessions:** follow the song leader. If they call B-flat, you play B-flat (with or without a capo). - **For your own arrangements:** choose the key that gives you the richest voicings on your specific instrument while still working for any singers involved. ## Go Deeper with American Roots Songs & Arranging The lesson featured above is one small slice of our new school, **[American Roots Songs & Arranging](https://artistworks.com/cathy-marcy).** Across the full curriculum, Cathy and Marcy walk students through community singing, jam-session etiquette, song-leading, harmony arranging, multi-instrument transitions, and the deep song catalog that anchors American folk, bluegrass, and old-time traditions. Combined with the ArtistWorks **Video Exchange Learning** model, in which your instructor will review your playing personally and give you targeted feedback, the school is a structured path into roots music with two of its most respected modern teachers. [Cathy and Marcy](https://cathymarcy.com/) have spent decades building exactly this kind of welcoming, technique-rich music education for adult learners and lifelong students. ## Start Playing in Any Key with Personal Guidance Learning how to find the key of a song is the doorway into playing well with other people, choosing arrangements that suit your voice, and understanding how songs are actually built. **American Roots Songs & Arranging** takes you from your first capo placement to confident participation in any jam, community sing, or recording session, with Cathy Fink and Marcy Marxer guiding every step. **[Start a free trial at ArtistWorks and learn with personal guidance](http://artistworks.com).** Submit videos of your playing, receive personalized feedback from world-class faculty, and build the cross-instrument skills you need to make music with anyone, in any key. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Know Your Role: A Beginner's Guide to Playing with Other Musicians](https://blog.artistworks.com/musical-dynamics-in-a-group-beginners-guide/) **Published:** May 12, 2026 **Author:** ArtistWorks **Content:** Musical dynamics in a group is one of the most rewarding skills any musician can develop, and one of the most overlooked in early practice. It covers the moments when you choose to play softer to support a singer. It covers when to take the lead and when to step back. It covers the listening, the responding, and the quiet generosity that turns a roomful of people with instruments into a band. In this guide, we’ll walk through the practical concepts a beginner musician needs to play well with others, regardless of which instrument you play. ## Table of Contents - [What Musical Dynamics in a Group Really Means](#what) - [How to Start Playing with Others as a Beginner](#start) - [Rhythm vs Lead Playing](#rhythm-lead) - [Volume Control for Musicians](#volume) - [Ensemble Playing Tips: Listening Comes First](#listening) - [Backing Up a Soloist with Generosity](#backing) - [Accompaniment Techniques That Work on Any Instrument](#accompaniment) - [Solo Practice That Builds Group Skills](#practice) ## What Musical Dynamics in a Group Really Means For most students, the word “dynamics” first shows up in a classical context: forte, piano, mezzo-forte, crescendo. Those markings describe volume. In an ensemble setting, the concept widens. Musical dynamics in a group includes volume, certainly, and it also includes the entire conversation of how musicians take turns, support each other, build energy together, and pull back together. Think of it as the etiquette of musical conversation. Everyone gets to speak. Nobody talks over the soloist. The whole group breathes together. For a beginner, learning to hear these dynamics is just as important as learning new notes. A player with a small vocabulary who listens beautifully is more valuable to a group than a flashier player who never leaves room for anyone else. ## How to Start Playing with Others as a Beginner The most common question beginners ask is when they should start playing with other musicians. ArtistWorks banjo instructor [Tony Trischka](https://artistworks.com/tony-trischka) once posed the same question to the legendary Earl Scruggs. Earl’s answer was direct: play with as many different people as you can, right from the beginning. Even if you only know three chords. Even if you only know one strum pattern. Find someone with a guitar, a mandolin, or a piano and play along. This advice holds up. The social side of music is one of its greatest gifts. Whether you’re walking into a bluegrass parking-lot jam at a festival, sitting in on an old-time circle, or showing up to a casual songwriter’s round at a local cafe, the experience of making music with other humans creates friendships and skills you cannot build alone. Once you’re comfortable participating, ArtistWorks has a complete walkthrough on [starting and ending a song with confidence](https://blog.artistworks.com/how-to-start-and-end-a-song-leading-the-group-with-confidence/) for the moment you start leading your own informal sessions. ## Rhythm vs Lead Playing Almost every musical role in a group falls somewhere on a spectrum between rhythm and lead. Rhythm playing means supporting the song. You hold the chord changes, you keep time, and you provide the harmonic and rhythmic foundation. Lead playing means taking the melodic spotlight. You play the head of the tune, you solo over the changes, you sing the vocal line. Beginners often assume they should aim for lead playing as fast as possible. A more useful path begins on the rhythm side. Strong rhythm players are the backbone of every great band, and they’re the players that the best soloists most want to play with. Spending your early years getting really good at supporting other musicians will serve you for the rest of your musical life. ## Volume Control for Musicians Volume control for musicians sounds obvious until you’re sitting in a jam circle and someone is playing twice as loud as everyone else. The cardinal rule of ensemble volume is simple. When someone else is taking a solo or a vocal, you bring your part down. Stay in the song, stay supportive, just take up less space. When it’s your turn, you can push forward a little. When the group is hitting a high-energy chorus, everybody can lean in together. For acoustic instruments, this is largely a matter of pick attack, finger pressure, and bow weight. For amplified instruments, it lives in your volume knob and how you balance against the room. For singers, it shows up in how much air you push and how close you sit to the microphone. Whatever your instrument, the goal is the same: serve the music in front of you, in this moment, with this group of players. ## Ensemble Playing Tips: Listening Comes First The most important ensemble playing tip you’ll ever receive is this: listen more than you play, especially when you’re new. Before you join a song already in progress, take a chorus or two to hear what’s happening. What’s the groove? What’s the tempo? Who’s singing the lead? Where’s the harmonic motion? Is someone soloing? Once you’ve absorbed those details, you can find a place to add something useful. If you’d like a deeper look at the social and musical conventions of a group setting, ArtistWorks has a beginner-friendly walkthrough of [jam session etiquette](https://blog.artistworks.com/jam-session-etiquette-a-beginners-guide-to-playing-music-with-others/) that covers the unspoken rules of playing music with others. ## Backing Up a Soloist with Generosity Backing up a soloist is one of the most generous and underrated skills in group music. ArtistWorks bass instructor [Missy Raines](https://artistworks.com/missy-raines) frames it as a team-player mindset: the role works the same way whether someone is singing the song or taking an instrumental lead. In that moment they’re in the spotlight, and every note you choose should answer a single question: **how can I make what they’re doing land better?** The specific moves depend on your instrument. As a bass player, Missy might walk a leading tone into the next chord or add a small percussive slap as a rhythmic accent. A guitarist might switch from full strums to a quieter alternating bass pattern. A pianist might move to a sparser left-hand voicing. A vocalist providing harmony might drop down to a single sustained note. Across every instrument, the underlying principles hold: come down in volume, simplify the part, and keep the time absolutely steady. One of Missy’s most useful images for this work is the ocean. Songs move in swells, and the music feels alive because of that motion. As an accompanist, you’re listening for the small spaces at the ends of phrases or lines where a tasteful accent will lift the soloist without crowding them. When their playing energizes you, channel that energy back into supporting what they’re doing, and soloists will want to play with you forever. ## Accompaniment Techniques That Work on Any Instrument Most accompaniment techniques boil down to a small set of principles that translate across instruments. Whether you play guitar, banjo, mandolin, piano, fiddle, ukulele, bass, or sing, the same underlying ideas apply. - **Hold the changes.** When someone else has the melody, your job is the harmony. Strum, comp, arpeggiate, walk a bass line, or sustain a pad. Anything that supports without distracting. - **Match the rhythmic feel.** If the song is in a shuffle, swing your accompaniment. If it’s straight eighths, stay straight. If it’s a waltz, count three. Lock to the groove. - **Use space.** Silence in your part is often more powerful than another flurry of notes. Try playing on beats one and three only. Try leaving an entire bar open. - **Respond to dynamic cues.** If the band quiets down, you quiet down. If the band builds, you build. Watch for visual cues from the soloist or bandleader. - **Resolve gracefully.** When a phrase or section ends, land it together. A clean ending is a kindness to everyone in the room. ## Solo Practice That Builds Group Skills You can develop strong group instincts even when you’re practicing alone. A few suggestions: - **Play along with recordings.** Pick a song you love and add a quiet rhythm part underneath. Try to match the energy of the recording rather than overpower it. This trains your ears for support roles. - **Record yourself, then play with the recording.** Record a simple chord progression, then play a melody or harmony over your own track. You’ll start to hear what works as accompaniment and what gets in the way. - **Practice volume swells deliberately.** Pick a short phrase and play it ten times across the full dynamic range: very soft, slightly louder, mezzo-forte, forte, fortissimo, and back down. Build conscious control over your instrument’s volume range. - **Work with a metronome at multiple volume levels.** Sometimes the metronome is the only other “musician” in the room. Practice playing softly with it, then loudly with it. Notice how your time feel changes at each volume. [ArtistWorks instructors](https://artistworks.com/schools) across genres include accompaniment and ensemble work in their curriculum, and the Video Exchange Learning approach means your instructor will review your playing personally and give you specific feedback on how you sound in a group context. [Cathy Fink and Marcy Marxer](https://artistworks.com/cathy-marcy), [Michael Daves](https://artistworks.com/michael-daves), [Craig Chee and Sarah Maisel](https://artistworks.com/craig-sarah), [Tyler Grant](https://artistworks.com/tyler-grant) and many more all have dedicated lessons on playing well with others, drawn from decades of experience across bluegrass, old-time, swing, ukulele, and folk traditions. ## Bring Your Musical Dynamics in a Group to the Next Level Mastering musical dynamics in a group is a lifetime project, and it’s also a project you can start today. Listen more. Play a little softer. Resist the urge to fill every measure. Make space for the person next to you. The musicians you most admire built these instincts over years of generous, attentive playing with others, and there’s no reason you can’t begin building yours this week. [Start a free trial at ArtistWorks and learn with personal guidance](http://artistworks.com)**.** Study with world-class faculty across dozens of instruments, submit videos of your playing, and receive personalized feedback from instructors who have spent their careers building exactly the kind of group musicianship this article describes. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [How to Start and End a Song: Leading the Group with Confidence](https://blog.artistworks.com/how-to-start-and-end-a-song-leading-the-group-with-confidence/) **Published:** May 7, 2026 **Author:** ArtistWorks **Content:** You are standing in a circle of musicians. Someone nods at you. It is your turn to call a song. You know what you want to play, but suddenly the mechanics of actually starting it feel uncertain. Do you count it in out loud? Do you just start playing and hope everyone follows? What do you do when the song ends? Knowing how to lead a song in a jam is one of those skills nobody explicitly teaches, and yet it is the thing that separates players who drive the music from players who just participate in it. Here is what you need to know. ## Table of Contents 1. [What Leading a Song Actually Means](#what-leading-means) 2. [Before You Start: Calling the Song](#before-you-start) 3. [Counting In a Band: How to Do It Right](#counting-in) 4. [Musical Cues During the Song](#musical-cues) 5. [Calling Solos and Passing the Melody](#calling-solos) 6. [Ending a Song Musically](#ending-a-song) 7. [Jam Session Leadership and Etiquette](#etiquette) 8. [Go Deeper](#go-deeper) ## What Leading a Song Actually Means Jam session leadership is not about being the best player in the circle. It is about being the clearest communicator. When you call a song, your job is to give everyone around you enough information to play confidently: the song, the key, the tempo, and the feel. Everything else, the solos, the dynamics, the ending, flows from how well you set that up at the start. The good news is that most jams operate on common assumptions. There is an informal protocol that experienced jammers recognize wherever they go, and once you understand it, you can walk into almost any roots music session and hold your own as a leader. Bluegrass, old-time, folk, ukulele circles: the specifics vary, but the underlying principles are the same. ## Before You Start: Calling the Song Before you count anything in, the group needs to know what they are playing. Call the song by name, and state the key. That is the minimum. If the tune is obscure or the group is mixed in experience level, hum or sing the melody through once before you count in. This is sometimes called a “hum through” and it is one of the most useful tools a jam leader has: it reminds experienced players of the form and gives newer players a fighting chance to follow along. Cathy Fink and Marcy Marxer, whose [American Roots Songs and Arranging school](https://artistworks.com/cathy-marcy) launches May 13th on ArtistWorks, have spent four decades leading jams and teaching others how to do it. Their approach to jam etiquette emphasizes checking the vibe of a session before diving in, understanding who the jam is for, and making every player feel oriented before the music starts. That orientation begins the moment you call the song. A few things worth stating explicitly when you call a song: - **The title.** Say it clearly, not mumbled under your breath. - **The key.** Even if you think everyone knows it. Especially if you think everyone knows it. - **The feel or tempo.** “Nice and slow” or “up-tempo” goes a long way toward getting everyone on the same page before the first note lands. - **Any structural notes.** If the song has an unusual form, a tag ending, or a key change, mention it now rather than hoping people figure it out mid-song. ## Counting In a Band: How to Do It Right Counting in a band is where a lot of leaders quietly fall apart. They either rush it, turning the count into a formality rather than a genuine tempo-setter, or they count it at a different speed than they actually intend to play the song. Both create problems that ripple through the entire performance. The count-in is not administrative. It is the first four beats of the song, played out loud with your voice. Whatever tempo you count, that is the tempo you are committing to. So before you open your mouth, take a breath, find the groove in your body, and then count from that place. One, two, three, four: even, unhurried, intentional. A few practical rules for counting in: - Count at the tempo you want to play, not faster. - Make eye contact with the group as you count, especially the rhythm players. - For songs with a pickup note or an anacrusis, you may need to adjust: “one, two, ready, play” or simply “and a one” depending on the tradition you are working in. - In bluegrass and old-time, a strong rhythmic strum or tap on the body of the instrument is often used alongside or instead of a verbal count. Learn what is common in the circles you frequent. [Michael Daves,](https://artistworks.com/michael-daves) whose bluegrass guitar school at ArtistWorks covers jamming skills in depth, addresses song intros, countoffs, and the verbal and physical cues that make a jam run smoothly. In the video below, he covers the intermediate-level jam protocol that most players need and almost no one teaches formally. ## Musical Cues During the Song Once the song is underway, your job as leader does not end. You are still the person the group is watching for direction. Musical cues are the non-verbal language of jam leadership, and learning to give them clearly is what allows a jam to breathe and respond without anyone having to stop and talk. The most important cues to develop: ### The nod A deliberate nod toward a player signals that it is their turn to take a solo. Make it clear and unhurried. A vague half-nod creates confusion. A clear, direct nod creates momentum. ### The head turn Turning your head toward a section of the group signals that you want them to come up in volume or take more of a role in the texture. Turning away slightly signals the opposite. ### The hand signal A raised open hand, palm down, moving slightly downward, is a nearly universal signal for “bring the volume down.” Learn it and use it. A circle motion with one finger pointing upward typically signals “one more time around.” A flat hand drawn across the throat means “we’re ending here.” ### The body lean In a standing jam circle, leaning in slightly increases energy and signals a push toward the end or a climactic moment. Pulling back slightly invites space and softness. These are subtle, but experienced players will feel them. ## Calling Solos and Passing the Melody One of the most important aspects of jam session leadership is managing the solo order. In most roots music jams, the leader takes the first solo, then passes to the left or right around the circle. But the leader also has the right to skip players who are not ready or who signal they want to pass, and to call on specific players when the music calls for it. The key is making the invitation clear. A direct nod with eye contact works in most situations. If the circle is large or the sound is loud, pointing is perfectly acceptable. What you want to avoid is a vague gesture that leaves two players unsure whether they have been called, resulting in either both playing at once or an awkward silence. Passing the melody back to a vocalist, or signaling that the group is going back to the head of the tune, can be done with a simple nod toward the singer or a return to strumming the chord pattern more prominently. In bluegrass specifically, the lead instrument often signals the return to the verse by coming back to the melody clearly and confidently. The group follows that signal. ## Ending a Song Musically Ending a song musically is one of the marks of a genuinely experienced jam leader, and it is something many players never consciously develop. A song that ends confidently and together feels finished. A song that trails off, or where half the group stops two bars before the other half, leaves everyone slightly deflated. There are a few standard approaches to endings in roots music jams: ### The ritard ending Gradually slowing the tempo in the final measure or two signals to the group that the song is wrapping up. This works best when the leader makes the slowdown deliberate and visible, not subtle. If you are slowing down, slow down with your whole body. ### The tag A tag is a repeated final phrase, played two or three times, usually with a ritard on the last repetition. In bluegrass and old-time, this is extremely common and immediately recognizable to experienced players. Signal it clearly the first time through so players know to repeat. ### The hard stop A hard stop on a specific beat is often signaled by the leader lifting their instrument or strumming hand clearly on the final downbeat and stopping abruptly. Again, make the physical gesture large enough to be seen across a circle. Whatever ending you use, the most important principle is this: commit to it. A tentative ending creates a tentative group. If you lead the ending with clarity and confidence, the group will follow. ## Jam Session Leadership and Etiquette Leading a song is one dimension of jam leadership. How you carry yourself throughout the session is another. Cathy Fink and Marcy Marxer put it simply in their jam session teaching: the three most important elements of any jam are listening, blending, and dynamics. Listening means your primary reference point is always the group, not yourself. As [Craig and Sarah](https://artistworks.com/craig-sarah), who lead ArtistWorks’ ukulele school, put it when teaching their students about playing with others: there is beauty in space. The instinct when playing with a group is often to fill, to strum every beat, to be heard. The discipline is to play less, blend more, and trust that a little goes a long way when multiplied across a circle of players. Blending means matching the volume and energy of the room. Cathy and Marcy are direct about this: you never want to be the loudest thing in the room. If you cannot hear the soloist clearly, play more quietly. If you cannot hear the singer, pull back further. This is not about being timid. It is about being musical. Dynamics means understanding that your volume and intensity are not fixed settings. They are tools you use to serve the song. A great jam leader models this explicitly: coming down under a quiet soloist, pushing the energy toward a peak, and pulling back to let space breathe. The group watches the leader for these cues, consciously or not. One practical note from Cathy and Marcy’s teaching that is worth keeping in mind: if someone in the jam is playing too loud or out of tune, they may genuinely not know. Acoustics are funny, and some instruments project much more sound outward than the player hears from above. A quiet, friendly word is almost always better than frustration. And if you are the leader, that word is yours to give. ## Go Deeper The skills covered in this post, song intros and outros, counting in a band, musical cues, jam session leadership and etiquette, are exactly what ArtistWorks instructors teach through the [Video Exchange Learning](https://artistworks.com/how-it-works) method. You submit a video of yourself playing or leading, and your instructor responds with personalized feedback on what they actually see and hear. Not generic tips. Your playing, reviewed by someone who has spent decades in these circles. If you play bluegrass, old-time, folk, or roots music and want to become the kind of player people look to when it is time to call the next song, explore [ArtistWorks instrument schools](https://artistworks.com/schools). Instructors like Michael Daves, Tyler Grant, Seth Rosenbloom, Mike Block, Missy Raines, and Alison Brown all bring deep jamming experience to their teaching. And if American roots music across multiple instruments is where your heart is, Cathy Fink and Marcy Marxer’s new school, [American Roots Songs and Arranging](https://artistworks.com/cathy-marcy), launches May 13th. It is built specifically for the kind of communal, multi-instrument music-making that jams are made of. New to ArtistWorks? You can **try it free with a 7-day trial**. Watch Video Exchanges from other students in your school, see the feedback in action, and get a feel for the method before you commit. **[Start your trial today.](http://artistworks.com/schools)** [Start free trial](http://artistworks.com/schools) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Tips **Tags:** ensemble, jam, lead --- ### [Jam Session Etiquette: A Beginner's Guide to Playing Music with Others](https://blog.artistworks.com/jam-session-etiquette-a-beginners-guide-to-playing-music-with-others/) **Published:** May 6, 2026 **Author:** ArtistWorks **Content:** You’ve spent months learning chords, scales, and your favorite songs. Now you’re standing on the edge of your first jam session, instrument in hand and palms sweating slightly, wondering what the unspoken rules actually are. Good news: **jam session etiquette** is a small set of habits that, once you understand them, make every session more musical, more welcoming, and a lot more fun. This guide walks you through the core principles of jam session etiquette every beginner needs. You’ll learn what makes a jam session sound good, the protocol cues that keep songs running smoothly, and common volume mistakes that drive seasoned players up a wall. The principles apply whether you’re sitting in on a bluegrass picking circle, a blues jam, an old-time fiddle gathering, and beyond. ## Table of Contents - [Why Jam Session Etiquette Matters](#why-etiquette-matters) - [The Big Three: Listening, Blending, Dynamics](#big-three) - [Volume: The Most Common Beginner Mistake](#volume) - [Instrument Directionality: The Hidden Volume Trap](#directionality) - [Jam Protocol: How Songs Actually Run](#protocol) - [Common Mistakes to Avoid](#mistakes) - [How to Practice for Jams Before You Show Up](#practice) - [Where to Start](#start) ## Why Jam Session Etiquette Matters One of the magical things about acoustic music is that you can travel almost anywhere, whether a festival campsite, a back porch, or a music store, and play with strangers within minutes of meeting them. That only works because there’s a shared set of conventions experienced players carry from town to town. Learning **jam session etiquette** early means you can step into any circle with confidence instead of guessing. Etiquette and protocol go hand in hand – Etiquette is about how you treat your fellow musicians, while protocol is how the song itself runs. Get both reasonably right and people will be happy to play with you again, regardless of how fast or fluent your soloing is yet. These music session manners are some of the most important habits any beginner can internalize before showing up. ## The Big Three: Listening, Blending, Dynamics Strip jam circle protocol down to its essentials and you’re left with three musical priorities that should govern almost every choice you make: **listening, blending, and dynamics**. These are three angles on the same core idea, that playing music with others is a shared conversation where everyone takes turns being heard. ### Listening Beginners often play the way they practice: heads down, focused on their own hands. In a jam, that’s the wrong default. Before you adjust your volume, choose a fill, or jump in on harmony, you should be tracking what the soloist and singer are doing. If you can’t clearly hear them, something has to change, usually the volume of everyone else, including you. ### Blending Blending is the art of adding to a sound without taking over. It might mean simplifying your rhythm pattern when a guitarist starts a quieter break. It could also mean dropping out altogether for a verse. The musicians who get invited back to jams are the ones who make whoever’s currently featured sound better. ### Dynamics Dynamics (the practice of playing softer and louder in service of the music) are the glue that holds the first two together. The biggest dynamic shift in any jam happens whenever the soloist or singer changes; everyone else has to come down to make room. Learning to do that instinctively is one of the clearest signs that a player has graduated from “jam-curious beginner” to “welcome at the circle.” ## Volume: The Most Common Beginner Mistake Of the three priorities, volume is where beginners stumble most. Acoustic instruments together get loud fast. Three guitars, a couple of mandolins, a fiddle or two, and suddenly you’re in a cacophonous wall of sound where nobody can hear themselves think. The same dynamic plays out in any acoustic gathering: blues nights, kitchen sessions, jazz brunch jams, fiddle tunes around a campfire. The single most useful rule of thumb in all of jam etiquette is this: > “If you can’t hear a soloist clearly, you need to play more quietly.” > > *[Michael Daves](https://artistworks.com/michael-daves), ArtistWorks instructor* That same principle applies to singers. Some singers project, but others don’t. Wherever they are on the volume spectrum, your job is to come down underneath them so the listener can actually hear the words. This is true for backup players, harmony singers, and especially the louder instruments in the room. Not all instruments are created equal in this regard. Fiddles, banjos, and brass project hard. Guitars can be quieter, especially when they step out for a lead. Mandolins and ukuleles fall in between depending on the build. When a quieter instrument takes a break, it’s usually a cue for everyone else to drop a notch or two. When a louder one solos, the rest of the room can usually hold steady. Reading those volume requirements on the fly is a real skill, and it gets easier the more jams you sit in on. ## Instrument Directionality: The Hidden Volume Trap Here’s a piece of jam etiquette almost no beginner thinks about: **your instrument doesn’t sound to other people the way it sounds to you**. Some instruments, such as mandolins, banjos, and horns, are highly directional. Most of the sound shoots straight out of the front of the instrument. Stand above one and it sounds reasonable, but stand five feet in front of one, and it can be dramatically louder. That has two practical consequences: 1. **If you play a directional instrument**, assume you’re louder to everyone else than you are to yourself, and dial back accordingly. 2. **If you’re getting blasted by another player**, be charitable. They probably don’t realize how loud they sound from where you’re standing. A quiet word or a small position change usually solves it without drama. Want to feel this for yourself? Next jam you attend, walk a slow lap around the circle while a banjo or horn player is taking a break. Notice how dramatically the volume changes from in front of the instrument to behind it. Once you’ve felt it, you’ll never forget to factor it in. ## Jam Protocol: How Songs Actually Run If etiquette is about how you treat people, protocol is the small set of common conventions that makes a song run smoothly. Most acoustic genres share a similar shape: someone picks a song, kicks it off, leads it, and hands off solos in turn. The specifics vary by tradition, but the general flow is consistent enough that you can usually follow along even in an unfamiliar style. ### Kick-offs and counting in The person who picks the song usually kicks it off with a short instrumental intro that establishes the key, tempo, and feel. Pay attention to it. The kick-off tells you everything you need to know to come in cleanly with the rest of the band. ### Calling solos In most jams, the song leader (or whoever’s currently singing) calls solos. They’ll point, nod, or say someone’s name to hand off the next break. Two important behaviors here: don’t take a solo unless it’s clearly offered to you, and when one is offered, don’t refuse it for too long. A quick smile-and-shake-of-the-head is enough if you’d rather pass. ### Verbal cues and body language Watch faces and hands as much as you listen. Eyebrows raise when a solo is coming back around. A foot tap might shift to signal the last verse. A nod from the leader can mean anything from “your turn” to “let’s wrap this up after the chorus.” The more jams you attend, the more fluently you’ll read these cues. Bluegrass jam rules tend to be especially well-codified, which is partly why bluegrass jams are such a friendly entry point for beginners; the protocol is consistent enough that you can drop into a circle in any town and follow along. Jazz jams, blues sessions, and Irish trad sessions each have their own conventions worth learning if you’re drawn to those styles, but the etiquette baseline is the same everywhere. ## Common Mistakes to Avoid - **Playing through someone else’s solo at full volume.** The single biggest etiquette violation in any jam. Come down. Always. - **Taking unsolicited solos.** Wait until one is offered. Reaching out and grabbing a break is a fast way to be quietly excluded next time. - **Tuning loudly mid-song.** If your instrument drifts, step back from the circle and tune quietly, or wait for a song break. - **Calling a song you don’t actually know.** If you call it, you should be able to lead it, including the kick-off and the form. Otherwise, suggest it and let someone else lead. - **Talking through someone else’s vocal verse.** Save the conversation for between songs. - **Forgetting that your instrument is louder out front than it is to you.** Especially true for banjo, mandolin, and horn players. ## How to Practice for Jams Before You Show Up The fastest way to feel ready for a jam is to build a few specific habits at home. Think of these as *acoustic jam tips* you can rehearse anywhere: 1. **Practice with a metronome at slower tempos.** Most jams move briskly, but the muscle memory of locking in with a steady pulse is what keeps you in the pocket when nerves hit. 2. **Sing along (even quietly) while you play.** Knowing the lyric melody helps you anticipate phrase endings, which is exactly when dynamics need to shift. 3. **Build a “jam-ready” repertoire in your genre.** Knowing a few songs cold beats kind-of-knowing fifty. 4. **Watch real jams.** Spend an hour watching campsite jams, pub sessions, or open mics in your style. Notice how players signal each other, when they drop volume, and how the energy builds and releases. 5. **Record yourself playing rhythm.** Listen back specifically for whether your volume changes with the song’s dynamics, or whether you stay locked at one level the whole time. Working with an instructor who can give you direct feedback on these habits dramatically shortens the learning curve. ArtistWorks instructors like [Michael Daves](https://artistworks.com/michael-daves), [Tyler Grant](https://artistworks.com/tyler-grant), and [Cathy Fink & Marcy Marxer](https://artistworks.com/cathy-marcy) teach the protocol and etiquette you need to walk into any jam, with deep roots in bluegrass, old-time, folk, and roots music. Through **Video Exchange Learning**, your instructor will review your playing and give you personal guidance on what to adjust before your next session. That kind of personalized feedback is hard to come by from a tutorial video alone. ## Where to Start Strong **jam session etiquette** is a learnable skill set, and it gets easier with structured practice and honest feedback. Listen first, blend always, manage your dynamics, and be honest about how loud your instrument really is to the people around you. Do those four things and you’ll be welcomed into circles for the rest of your playing life. [Start a free trial at ArtistWorks and learn with personal guidance.](http://go.artistworks.com/bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** acoustic, beginner, Beginner Tips, bluegrass, etiquette, Performance · Tags: jam session, playing with others --- ### [Bluegrass Mandolin vs Classical Mandolin: Which is Right for You?](https://blog.artistworks.com/bluegrass-mandolin-vs-classical-mandolin-which-is-right-for-you/) **Published:** April 29, 2026 **Author:** ArtistWorks **Content:** The mandolin is a remarkably versatile instrument. If you are just starting your journey, you may find yourself at a crossroads of **bluegrass mandolin vs classical mandolin**. While the physical instrument remains the same, the techniques, repertoire, and cultural histories of these two mandolin music genres are worlds apart. Choosing between them isn’t just about picking songs. It’s about choosing a musical philosophy and a technical path. In this guide, we will explore the nuances of these **mandolin styles** to help you find your voice. ## Table of Contents - [The Bluegrass Tradition: Drive, Rhythm, and Melody](#the-bluegrass-tradition) - [The Classical Tradition: Precision, Articulation, and Etudes](#the-classical-tradition) - [Physical Differences: A-Style vs. F-Style vs. Bowl-Back](#physical-differences) - [Common Mistakes for Beginners](#common-mistakes) - [Conclusion: Finding Your Path](#conclusion) --- ## The Bluegrass Tradition: Drive, Rhythm, and Melody Bluegrass is an inherently social and rhythmic genre. Often defined by “the chop,” bluegrass requires the player to be both a melodist and a rhythm section. For those interested in **learning bluegrass mandolin**, the focus is often on speed, volume, and building a repertoire of “fiddle tunes.” While improvisation plays a role in more progressive styles of bluegrass, traditional players typically focus on learning set melodic arrangements and developing their rhythmic drive. In this style, you are following in the footsteps of legends. At ArtistWorks, we are proud to offer instruction from modern masters who have redefined the genre. Whether you are studying with [Mike Marshall](https://artistworks.com/mike-marshall) or [Sierra Hull](https://artistworks.com/sierra-hull), you will learn that bluegrass is about more than just playing fast. It’s about the “drive” and the “pocket.” ## The Classical Tradition: Precision and Articulation Classical mandolin, by contrast, is a discipline of deep precision. Instead of learning fiddle tune repertoire, you are interpreting the works of composers like Vivaldi, Calace, or Bach. The focus here is on , dynamic control, and complex tremolo techniques. If you lean toward the conservatory approach, studying under a world-class instructor like [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg) is essential. In the classical realm, **mandolin for beginners** starts with proper posture and a focus on reading notation, ensuring that every note rings with clarity and intent. The goal is to make the mandolin sing. ## Physical Differences: A-Style vs. F-Style vs. Bowl-Back While any mandolin can technically play any music, specific designs have become standard within each genre: ### **F-Style Mandolins** ![](https://blog.artistworks.com/wp-content/uploads/2026/04/Copy-of-ArtistWorks-Mike-Marshall-DSC_1355.jpg "Copy of ArtistWorks-Mike Marshall-DSC_1355 - ArtistWorks Blog")Recognized by their ornate scrolls and points, these are the gold standard for bluegrass. They offer a “percussive” bark that cuts through the sound of a banjo or fiddle. ### **A-Style Mandolins** ![](https://blog.artistworks.com/wp-content/uploads/2026/04/LM-290-MS_grande.webp "LM-290-MS_grande - ArtistWorks Blog")Source [Folkmusiciancom](https://www.folkmusician.com/collections/a-style-mandolins)Simple, teardrop-shaped instruments that are widely used across bluegrass, folk, and Celtic music alike. They are an excellent and cost-effective starting point for beginners in any style. ### **Bowl-Back (Neapolitan)** **Mandolin**s ![](https://blog.artistworks.com/wp-content/uploads/2026/04/Sample-Lessons_1920x1080_Lichtenberg-1.jpg "Sample-Lessons_1920x1080_Lichtenberg (1) - ArtistWorks Blog")The traditional choice for classical music. Its deep, rounded back produces a delicate, resonant tone perfect for solo recitals. ## Common Mistakes for Beginners Whether you are playing Vivaldi or Bill Monroe, keep these common pitfalls in mind: - **The “Death Grip”:** Squeezing the neck too hard slows down your fretting hand and causes fatigue. - **Ignoring the Metronome:** In bluegrass, timing is everything. In classical, “tempo rubato” must still be grounded in a solid beat. - **Inconsistent Pick Direction:** Most styles rely on a “down-up” logic. Breaking this pattern randomly will ruin your flow. To truly progress, consistency is key. We recommend checking out these [mandolin practice tips](https://blog.artistworks.com/mastering-the-fretboard-the-best-mandolin-practice-tips-for-adults/) to help structure your daily routine. ## Conclusion: Finding Your Path Ultimately, **bluegrass mandolin vs classical mandolin** is a personal choice, and stylistic exploration is a highly rewarding process. Classical music improves your reading and precision, while bluegrass builds your rhythmic drive and melodic fluency. Regardless of the path you choose, having a world-class mentor makes all the difference. Through **Video Exchange Learning**, you can send videos of your playing to legends like Mike Marshall, Caterina Lichtenberg or Sierra Hull, and they will record a video response with **personal guidance** tailored specifically to you. It is the most effective way to master the mandolin from the comfort of your home. **Ready to take the next step in your musical journey?** [Start a free trial at ArtistWorks and learn with personal guidance today.](http://go.artistworks.com/mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mastering Mandolin Scales: The Definitive Guide to Fretboard Fluency](https://blog.artistworks.com/mastering-mandolin-scales-the-definitive-guide-to-fretboard-fluency/) **Published:** April 15, 2026 **Author:** ArtistWorks **Content:** While many beginners may rely on open-string patterns to get through a jam session, the serious student recognizes that learning **mandolin scales** is key to breaking through to the next level. They provide the framework for improvisation, the logic behind chord construction, and the physical dexterity required for high-velocity bluegrass or intricate classical passages. At [ArtistWorks](http://go.artistworks.com/mandolin), we believe that technique is the gateway to expression, and mastering these patterns with the **personal guidance** of a world-class instructor is the fastest way to bridge the gap between competence and virtuosity. In this comprehensive guide, we will explore the **essential scale shapes** every mandolinist must know, how to integrate **mandolin music theory** into your daily routine, and the specific **mandolin finger exercises** that build the muscle memory required for professional-level performance. ## Table of Contents - [The Power of Symmetry: Understanding the GDAE Fretboard](#symmetry) - [Essential Mandolin Scale Patterns](#major-patterns) - [Mandolin Chord Scales: The Secret to Melodic Soloing](#chord-scales) - [How to Practice Mandolin: A Structured Approach](#how-to-practice) - [Refining Your Technique with Video Exchange Learning](#feedback) - [Conclusion](#conclusion) ## The Power of Symmetry: Understanding the GDAE Fretboard Because the mandolin is tuned in perfect fifths (G-D-A-E), the intervals between strings remain constant across the entire fretboard. This symmetry means that once you learn a scale shape, it is “movable.” Unlike the guitar, where the B string disrupts the interval pattern, the mandolin allows you to take a closed-position scale and shift it to any key without changing your fingering. To master **mandolin scales**, one must move beyond the “first position” mentality. By focusing on closed-position scales (those that do not use open strings), you unlock the ability to play in difficult keys like E♭ or F♯ with the same ease as G or C. This is a hallmark of conservatory-level instruction: teaching the student to see the fretboard as a unified map rather than a collection of isolated patterns. ## Essential Mandolin Scale Patterns Scale patterns are one of the most practical and musical tools you can add to your playing. As [Mike Marshall](https://artistworks.com/mike-marshall) explains in the video above, they can be inserted into a hole after a piece of melody, used as a brief moment in an improvisation, or even serve as a “tie line” to carry you to a new position on the fingerboard. Some tunes are actually built on this idea: Marshall points to the opening of [“Blackberry Blossom”](https://www.youtube.com/watch?v=xxzav4yt51I&pp=ygUbYmxhY2tiZXJyeSBibG9zc29tIG1hbmRvbGlu) as a classic example, where you can continue the pattern all the way down the neck simply by staying within the notes of the key. The key insight is that scale patterns don’t have to be a straight up-or-down run. As Marshall puts it, there are endless ways to play them. The goal is ascending or descending through the scale in a way that feels musical rather than mechanical. Here are the core pattern types to explore: ### Linear scale runs The foundational version: moving up or down through every note of the scale in sequence. This is where you start, but it’s also where you’ll keep returning. Marshall demonstrates above how a linear run can be dropped into a tune like “Old Joe Clark” as a tag. Even a simple linear pattern, played with conviction, can function as a genuine musical statement. ### Two-note leaping patterns One of Marshall’s techniques involves a two-note pattern that skips through the scale rather than stepping through it. Because it has gaps between the notes, it creates space to shift positions as you move up the neck, making it an effective way to leap from one area of the fingerboard to another without the move feeling abrupt. In a tune like “Old Joe Clark,” this kind of pattern can propel you up to the B section cleanly and musically. ## Mandolin Chord Scales: The Secret to Melodic Soloing Once the major scale feels second nature, you can start using it as a map for understanding every chord in a key, not just the I, IV, and V you already know. As [Sierra Hull](https://artistworks.com/sierra-hull) explains above, if you can play a basic major scale, you’re well on your way to understanding the full chord scale: a chord built on each note of that scale, all connected and moving in harmony. The process is straightforward: Take the key of G. G is your one chord. Move up to the second note of the G major scale (A) and that names your two chord. But here’s the critical detail: because you’re staying strictly within the notes of the G major scale, moving everything up one interval naturally produces a minor chord. There’s no G♯ or A♭ in a G major scale, so the harmony resolves to A minor, not A major. The same logic applies as you continue up the scale: - **I:** G Major - **ii:** A minor - **iii:** B minor - **IV:** C Major - **V:** D Major - **vi:** E minor - **vii°:** F♯ diminished Hull points out that on the mandolin, this is particularly intuitive because many of the chord shapes stay the same as you move up the neck. You’re simply shifting your fingers to the next position within the scale. The difference between a major and minor chord comes down to that third: raise it and you have major, lower it and you have minor. The diminished chord at the seventh degree (F♯ diminished in the key of G) gets less use in bluegrass, but Hull offers a useful shortcut: it sounds a lot like a D7, so when in doubt, trust your ear. Understanding the chord scale as something that grows naturally out of the major scale you already know closes the gap between playing rhythm and playing lead. Your solos will start to follow the changes intuitively, because the melody and the harmony are coming from the same source. To take these learnings to the next level, check out [this article on 5 common bluegrass chord progressions for mandolin](https://blog.artistworks.com/mandolin-chord-progressions-5-common-bluegrass-changes/). ## How to Practice Mandolin: A Structured Approach Knowing *what* to play is only half the battle. knowing **how to practice mandolin** effectively is what separates the hobbyist from the musician. At ArtistWorks, our faculty including legends like [Mike Marshall](https://artistworks.com/mike-marshall), [Sierra Hull](https://artistworks.com/sierra-hull), and [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg), emphasize a structured routine. ### The 15-Minute Scale Intensive 1. **Slow Precision (5 mins):** Play a two-octave G major scale at 60 BPM. Focus entirely on tone. Is every note ringing clearly? Is your pick stroke consistent? 2. **The Metronome Ladder (5 mins):** Increase the tempo by 5 BPM every two repetitions. Find your “breaking point”: the speed where your technique begins to crumble. Back off by 10 BPM. 3. **Interval Variation (5 mins):** Instead of playing the scale linearly, play it in thirds (G-B, A-C, B-D, etc.). This breaks the mechanical “finger crawl” and trains your ears to hear intervals. ## Refining Your Technique with Video Exchange Learning You can read about scales and watch videos for hours, but music is an auditory and physical art. Without **personal guidance**, it is easy to develop blind spots in your technique: perhaps a slight tension in your right wrist or an inefficient thumb position on the neck. This is the core philosophy of **Video Exchange Learning®**. As a student at [ArtistWorks](http://go.artistworks.com/mandolin), you have the unique opportunity to record a video of yourself practicing these scale patterns. **Your instructor will review** your footage and provide a detailed video response, correcting your form and offering specific drills tailored to your progress. It’s like having a masterclass in your living room, ensuring you never practice a mistake into permanence. ## Conclusion Mastering **mandolin scales** is not a destination, but a continuous journey of refinement. By moving beyond simple patterns and embracing **mandolin music theory**, chord scales, and disciplined **practice routine**, you give yourself the tools to speak through your instrument. Whether your goal is to command the stage at a festival or find solace in a Bach partita, the foundation remains the same: a fluent, effortless command of the fretboard. If you are ready to take the next step in your musical education, we invite you to join our community. With structured lessons and direct feedback from the masters, your path to excellence is clearly marked. [Start a free trial at ArtistWorks and learn with personal guidance today.](http://go.artistworks.com/mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** mandolin --- ### [Cathy Fink & Marcy Marxer Are Coming to ArtistWorks: Get a Sneak Peek at Their New School](https://blog.artistworks.com/cathy-fink-marcy-marxer-are-coming-to-artistworks-get-a-sneak-peek-at-their-new-school/) **Published:** April 10, 2026 **Author:** ArtistWorks **Content:** Some musicians perform American roots music. Cathy Fink and Marcy Marxer live inside it. Two-time Grammy winners, teachers to the likes of Kaki King and Rhiannon Giddens, and fixtures at folk festivals and music camps for more than 40 years, they have spent their careers doing something rare: making deeply rooted American music feel genuinely welcoming to everyone in the room. On May 6th, they bring that approach to ArtistWorks with the launch of American Roots Songs and Arranging. Before the school opens, you can get an early look inside. Read on to find out how. ## Table of Contents 1. [Who Are Cathy Fink and Marcy Marxer?](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#who-are-they) 2. [What Is American Roots Songs and Arranging?](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#what-is-the-school) 3. [What You Will Actually Learn](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#what-you-will-learn) 4. [Who This School Is Built For](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#who-its-for) 5. [Get a Sneak Peek Before Launch](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#sneak-peek) 6. [How Learning Works on ArtistWorks](https://www.claudeusercontent.com/?domain=claude.ai&parentOrigin=https%3A%2F%2Fclaude.ai&errorReportingMode=parent&formattedSpreadsheets=true#how-it-works) ## Who Are Cathy Fink and Marcy Marxer? If you have spent any time in the American folk, bluegrass, or roots music world, you have likely crossed their path. Cathy and Marcy have been performing and teaching together for over 40 years, releasing more than 53 recordings, earning two Grammy Awards, and accumulating over 60 Washington Area Music Association awards across folk, bluegrass, and children’s music categories. They have performed at the Kennedy Center, the Smithsonian, and the Rock and Roll Hall of Fame. They have shared stages with Pete Seeger, Tom Paxton, and Theodore Bikel. But the credential that might matter most to anyone who wants to learn from them is this: they have taught at close to 100 music camps, and their past students include Kaki King and Rhiannon Giddens. They are not just performers who decided to teach. They are the people serious musicians go to when they want to go deeper. Tom Paxton put it well: “Cathy and Marcy are at home in a dozen musical styles. They swing you, jazz you, and old timey you till you just give up and bliss out.” The Boston Globe called them “spellbinding acoustic musicians with a rare mastery of American roots styles.” Their instrument range alone tells a story: guitar, five-string banjo, ukulele, mandolin, and cello-banjo. That breadth is not incidental. It is the foundation of how they teach. ## What Is American Roots Songs and Arranging? This is not a single-instrument course. American Roots Songs and Arranging is built for players across the spectrum: banjo, guitar, ukulele, mandolin, cello-banjo, and voice are all explicitly welcome. It is also built for all levels, from players just getting comfortable with chord changes to experienced musicians who want to dig into arrangement and style. The school covers old-time, bluegrass, folk, country, and swing through a song-based curriculum designed for real musical participation. The goal is not just to learn songs. It is to understand how those songs are built, how to arrange them, and how to play them confidently with other people. The feel of the school matches the personalities of its instructors: warm, playful, and genuinely communal. Pull up a chair. Join the party. ## What You Will Actually Learn The curriculum goes beyond chord charts and melody lines. Here is what students can expect to work through: - **Chord changes and arranging approaches** across multiple American roots styles, from old-time and bluegrass to swing and folk - **The number system** for calling out chords, a practical tool for jamming with others across instruments and keys - **Songs taught in multiple keys** so every voice finds a home, including Swing and Turn Jubilee, Careless Love, Get in the Water, and Wild Rose of the Mountain - **Music theory through a roots lens**, practical and approachable rather than academic - **Backing tracks** to practice with real musical context - **Arranging skills** that translate across styles and situations The through-line across all of it is community music-making. Cathy and Marcy have spent four decades helping people find their place in a room full of musicians. That is exactly what this school is designed to do. ## Who This School Is Built For American Roots Songs and Arranging is explicitly designed to be multi-instrument and multi-level. But beyond the practical logistics, the school is built around a specific kind of learner: someone who loves American roots music and wants to participate in it, not just observe it. This school is particularly well suited for: - Players who want to sit in at jams but feel uncertain about navigating chord changes and keys on the fly - Singers who play an instrument and want to understand how to arrange songs for their own voice - Instrumentalists who have technique but want to develop more musical instinct and style - Anyone drawn to the social, communal dimension of folk and roots music - Players of any level who want world-class guidance from instructors who genuinely love to teach If you have ever stood at the edge of a jam session and wished you knew how to jump in, this is the school that teaches you exactly how. ## Get a Sneak Peek Before Launch The school opens May 6th, but you do not have to wait until then to see what Cathy and Marcy are bringing to the platform. Get a preview of the school right here: Want to go deeper before launch day? Sign up for the sneak peek experience and we will send you early access content directly, including lesson previews and a closer look at what Cathy and Marcy have built. [Get your sneak peek here.](https://go.artistworks.com/new-songwriting-lessons-cathy-fink-marcy-marxer) ## How Learning Works on ArtistWorks American Roots Songs and Arranging is built on the ArtistWorks platform, which means students get more than a video library. At the center of the experience is [Video Exchange Learning](https://artistworks.com/how-it-works), ArtistWorks’ proprietary feedback method. You record a video of yourself playing, submit it directly to Cathy and Marcy, and receive a personalized video response addressing your specific playing. Not generic tips. Your actual playing, reviewed by your actual instructors. Every school also includes: - A structured lesson path designed by the instructors - Access to the full archive of other students’ Video Exchanges - Offline study materials including MP3 and PDF downloads - A student forum and community across all ArtistWorks schools If you are new to how Video Exchange Learning works, [read our full explainer here](https://artistworks.com/blog/what-is-video-exchange-learning). [Sign up for the sneak peek and get early access content before May 6th.](https://go.artistworks.com/new-songwriting-lessons-cathy-fink-marcy-marxer) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [What Is Video Exchange Learning? Learn An Instrument Online](https://blog.artistworks.com/what-is-video-exchange-learning-learn-an-instrument-online/) **Published:** April 8, 2026 **Author:** ArtistWorks **Content:** If you have ever searched for online music lessons, you already know the problem. There is no shortage of content. YouTube has millions of tutorials. Streaming platforms offer libraries with thousands of courses. Tabs, chord charts, and how-to videos are everywhere. And yet, most people who try to learn an instrument online quietly give up within a few months. Not because they lack talent. Because they lack feedback. That gap between watching someone play and actually knowing whether *you* are playing correctly is where most online learning falls apart. Video Exchange Learning, the core method behind ArtistWorks, was built specifically to close that gap. ## Table of Contents 1. [Why Feedback Is the Missing Piece in Online Music Education](#why-feedback-matters) 2. [What Is Video Exchange Learning?](#what-is-video-exchange) 3. [How It Works: Step by Step](#how-it-works) 4. [Why This Method Actually Produces Results](#why-it-works) 5. [What to Expect as a Student](#what-to-expect) 6. [Who Video Exchange Learning Is Built For](#who-its-for) 7. [Hear From Real Students](#hear-from-students) 8. [How to Get Started](#get-started) ## Why Feedback Is the Missing Piece in Online Music Education Learning an instrument is fundamentally a physical skill. Like learning to throw a baseball or speak a second language, it requires constant course correction. A coach watching your mechanics, a teacher hearing your tone, a mentor pointing out the habit you do not even know you have. Without that loop, bad technique calcifies. You practice the same mistake thousands of times until it becomes your default. Most online music education is built on a one-way model. An instructor demonstrates. You watch and attempt to replicate. If something sounds off, you guess at the cause and try again. You might eventually find your way to a correct result, but the path is slow, indirect, and often demoralizing. In-person lessons solve this directly. A teacher sitting next to you can hear your tone, watch your hand position, and give you specific, actionable notes in real time. The problem is access. Elite instructors are concentrated in a handful of cities. Lesson slots are limited. Scheduling is inflexible. For most serious learners, consistent access to a world-class instructor is simply not realistic. Video Exchange Learning was designed to change that equation. ## What Is Video Exchange Learning? Video Exchange Learning is ArtistWorks’ proprietary teaching method. At its core, it is a structured video feedback system that connects you directly with your instructor. You submit a video of yourself playing. Your instructor watches it, records a personal video response with specific notes on your technique, timing, tone, and musical interpretation, and sends it back to you. This is not a forum where you post and hope someone comments. It is not an AI analysis tool. It is your actual instructor, someone like [Bryan Sutton](https://artistworks.com/bryan-sutton), [Alison Brown](https://artistworks.com/alison-brown), or [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), watching you play and speaking directly to your playing at your level. That distinction matters enormously. Generic advice sounds like this: “Keep your picking hand relaxed.” Personalized feedback sounds like this: “I notice your elbow is lifting when you cross strings. Try anchoring it and see how that changes your tone on those transitions.” The second note is only possible if someone has actually watched you. ## How It Works: Step by Step The Video Exchange Learning process connects you directly with your instructor for custom feedback. Here is exactly how it works. ### Step 1: Follow a structured lesson path Every ArtistWorks school is built around a curriculum designed by your instructor. Rather than hunting for random content, you move through lessons that build skills in a logical sequence. Core lessons introduce technique and theory. Bonus material deepens your understanding as you progress. ### Step 2: Submit your video Record a clip of yourself playing something you are working on. It could be a technique, a specific passage, or even a follow-up to something you have shared before. Submit it directly through the platform, and add a note about what you are focused on or where you feel uncertain. There is no performance pressure here. The point is to show your instructor where you actually are. ### Step 3: Receive your custom video critique Your instructor records a detailed, personalized video lesson in return. This is the heart of the method. The response addresses what they see and hear in your playing specifically, covering technique, phrasing, rhythm, tone, or encouragement when something is working well. ### Step 4: Learn, apply, master You receive clear, actionable steps to move toward your musical goals. Then you return to practice with that diagnosis in hand, and the cycle continues. Every exchange is logged on a trackable progress trail so you can see how your playing develops over time. Video Exchange is available on the Premium Plan. If you are not ready to submit your own videos, the Standard Plan still gives you access to the full archive of student Video Exchanges in your school, which is a genuinely valuable way to learn by watching others get coached at every level. ## Why This Method Actually Produces Results There is a concept in skill acquisition research called deliberate practice. The idea is that improvement does not come from repetition alone. It comes from focused repetition with feedback and correction. Elite performers across every domain, from chess to surgery to music, improve faster when they have a coach identifying specific errors and prescribing targeted adjustments. Video Exchange Learning is structured deliberate practice. You are not just logging hours. You are submitting work to an expert, receiving a specific diagnosis, and returning to practice with that diagnosis in mind. That cycle compounds quickly. ### You cannot hide from the camera One underappreciated benefit of recording yourself is what it reveals. Most players have habits they are completely unaware of: excess tension in the fretting hand, inconsistent pick attack, subtle timing drift, a tendency to slow down on difficult passages. Watching yourself play back is uncomfortable at first, and then it becomes one of the most useful tools in your practice routine. Video Exchange builds this habit into your learning from the start. ### The instructor relationship creates accountability Knowing that your instructor will watch you play changes how you practice. It is not about performing for approval. It is about showing up prepared. That psychological layer, having a specific person invested in your progress, mirrors the accountability structure of in-person study in a way that solo online learning cannot replicate. ### The community accelerates learning Access to other students’ exchanges turns the platform into a living library of real-world playing at every level. Watching how your instructor responds to a beginner struggling with the same challenge you faced last month, or watching an advanced student’s exchange to understand where the technique eventually leads, adds context that static lesson content cannot provide. ## What to Expect as a Student Video Exchange Learning has a rhythm that is different from weekly in-person lessons or binge-watching tutorial videos. Here is what the experience typically looks like: - **Early weeks:** You orient to the curriculum, develop a practice routine, and prepare your first exchange. It may feel nerve-wracking at first. It gets more productive quickly. - **First feedback exchange:** Receiving your instructor’s first video response is often a turning point. Hearing a world-class musician address your specific playing directly is a different experience than any written note or generic video lesson. - **Ongoing study:** The pattern of study, submission, feedback, and return to practice becomes natural. Many students find they accelerate significantly compared to previous methods because the feedback loop identifies inefficiencies they had been repeating for years. - **Long-term growth:** The archived exchanges become a record of your development. Students who stay with the method consistently report reaching levels they did not think were accessible outside of formal conservatory study. Students also have access to offline study materials including MP3 and PDF downloads, and a student forum and community connecting learners across all instruments and skill levels. ## Who Video Exchange Learning Is Built For Video Exchange Learning works best for learners who are serious about improvement and willing to engage actively with their education. It is particularly well suited for: - Adult learners who have tried other online methods and found them lacking - Players with some foundational knowledge who have hit a plateau - Beginners who want to build correct technique from the start rather than unlearn bad habits later - Players in locations without access to elite local instruction - Anyone who has dreamed of studying with a specific world-class musician and thought that access was out of reach ArtistWorks offers schools across a wide range of instruments. You can browse all available schools and instructors at [artistworks.com/schools](https://artistworks.com/schools). ## Hear From Real Students Dave has been studying blues guitar with instructor Keith Wyatt for some time. In this conversation, the two discuss how their Video Exchange relationship has evolved beyond technique into musical direction, repertoire, the psychology of playing live, and the value of having a mentor who genuinely knows their craft. It is a candid look at what long-term study through this method actually feels like. Want to hear more from students and their instructors? Here are two more conversations worth watching: - [How Alison Brown works with her student, Kathy](https://www.youtube.com/watch?v=qpURhDaDndM) - [Seth Rosenbloom coaches blues guitar students](https://www.youtube.com/watch?v=eOkMZcZKIgU) ## How to Get Started Video Exchange Learning is the closest thing available to studying with a world-class instructor from anywhere in the world. The method is not a workaround for in-person lessons. For many students, it is better. The flexibility, the archived feedback, the structured curriculum, and the access to instructors who would otherwise be completely unreachable make it a genuinely different kind of learning experience. New students can try out ArtistWorks with a **7-day free trial** to see if it’s right for you. During your first week, watch Video Exchanges from other students to see the feedback in action. After your trial ends, you’ll be ready to start submitting your own. Explore [ArtistWorks instrument schools](https://artistworks.com/schools) and start learning with the world’s top instructors. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Common Mandolin Mistakes to Avoid: Mastering the Modern Mandolin](https://blog.artistworks.com/common-mandolin-mistakes-to-avoid-mastering-the-modern-mandolin/) **Published:** April 7, 2026 **Author:** ArtistWorks **Content:** The mandolin is a soulful instrument that rewards precision and patience. However, if you’re not paying attention, bad habits can settle in quickly, hindering your progress for years. In this guide, we will explore the most **common mandolin mistakes to avoid**, ensuring your journey is built on a foundation of conservatory-level technique. Whether you are learning bluegrass with [Sierra Hull](https://artistworks.com/sierra-hull), classical with [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg), or something in between with [Mike Marshall](https://artistworks.com/mike-marshall), the path to mastery begins with mindful mechanics. ## Table of Contents - [1. Ignoring Posture and Ergonomics](#posture) - [2. Not Holding Your Pick Correctly](#holding-pick) - [3. Using Poor Left Hand Technique](#left-hand) - [4. Using the Wrong Fingering Approach](#fingering) - [5. Practicing Without a Plan](#practice) - [Conclusion](#conclusion) --- ## 1. Ignoring Posture and Ergonomics One of the most overlooked mistakes isn’t even about playing notes. It’s about how you hold the instrument. Many beginners hunch over the mandolin to see the fretboard, which leads to neck strain and restricted breathing. A common error is supporting the weight of the neck with your left hand. Your left hand should be free to glide across the fretboard, not occupied with holding the instrument up. Use a high-quality strap, even when sitting, to ensure the mandolin stays at a consistent 45-degree angle. This allows your thumb to rest lightly against the back of the neck, rather than “hooking” it in a way that creates tension. ## 2. Not Holding Your Pick Correctly Understanding **how to hold a mandolin pick** is a vital foundational skill that affects everything from your initial downstrokes to advanced tremolo. While some beginners gravitate toward thin, flexible plectrums, world-class classical mandolinist [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg) suggests opting for a thicker, slightly larger pick. A larger surface area provides a better feeling in the hand and prevents the bright, overly sparkly tone associated with thin plastic. A common mandolin mistake to avoid is tucking the pick too far back into the crook of the index finger. When you bury the pick, you lose the ability to articulate notes and are forced to grip the pick with excessive force just to keep it from falling out. To find the perfect placement, Caterina recommends a simple exercise: **touch your nose.** Observe where the tips of your thumb and index finger naturally meet when you touch your nose. That exact point of contact is where your pick should live. By holding the pick more toward the front of both fingers, you maintain the flexibility required for different dynamics. For a deeper dive into these mechanics, check out our expert guide on [pick techniques for perfect tone](https://blog.artistworks.com/how-to-hold-a-mandolin-pick-expert-techniques-for-perfect-tone/). ## 3. Poor Left Hand Technique The mandolin’s short scale length requires a specific approach to the fretboard. A common mistake is using guitar-style fingering, where the fingers approach the frets at a perpendicular angle. On the mandolin, your **mandolin left hand technique** should be more reminiscent of a violinist’s approach. ### Eliminating “Flying Fingers” Watch a master like [Sierra Hull](https://artistworks.com/sierra-hull), and you’ll notice her fingers stay remarkably close to the strings even when they aren’t fretting a note. Beginners can suffer from “flying fingers,” where the unused fingers lift 2-3 inches off the fretboard. This creates wasted motion and makes fast passages impossible. To correct this, practice slow scales while focusing on keeping your fingers hovering just millimeters above the strings. ### The Thumb Position Avoid the “death grip.” If your thumb is squeezed tight against the back of the neck, your fingers will lose their reach. Your thumb should be a mobile pivot point, not a vise. Keeping a “hole” or space between the crook of your thumb and the neck is vital for mobility. ## 4. Overcomplicating Your Fingering Approach One of the most exciting things about the mandolin is how quickly you can start making real music. As [Sierra Hull](https://artistworks.com/sierra-hull) points out, in bluegrass and folk music there are literally hundreds of songs you can play with just three chords, and on the mandolin, those chords are surprisingly easy to learn. The mistake most beginners make is overcomplicating their fingering before they’ve even built a foundation. ### Start with the Two-Finger G Chord Sierra’s advice is to make the two-finger open G chord your home base. Because the mandolin has open G and D strings that are already part of the G Major scale, you only need two fingers to complete the chord: your index finger on the second fret of the A string, and your middle finger on the third fret of the E string. Strum all four string courses together and you have a full, resonant G chord. Sierra recommends returning to this chord whenever you feel lost. “When in doubt, remember your two-finger G chord,” she says, because a lot of other things can be found from there. ### Moving to C: Same Frets, Different Strings Here’s where beginners often go wrong: they assume that moving to a new chord means learning an entirely new hand shape. With the mandolin’s tuning, that’s often not the case. To move from G to a two-finger open C chord, Sierra teaches that you simply keep your fingers on the same frets (second and third) but shift them up one set of strings, from the A and E strings to the D and A strings. That’s it. Same fingering, new chord. One thing to be mindful of: with the C chord, you’ll want to lightly mute the open E string. Sierra notes that if your left hand has a natural bend to it and you’re not gripping the neck too tight, some muting is probably already happening naturally. ### The D Chord: A Small Shift from G For the two-finger open D chord, Sierra suggests starting from your G chord shape and making two small adjustments: drop the index finger entirely to let the A string ring open, then move the middle finger back one fret to the second fret of the E string, and bring the index finger up to the second fret of the G string. You now have an F# and an A fretting over open D and A strings, giving you a clean, full D chord. The key takeaway is that G, C, and D are a family of chords that share fingering logic on the mandolin. Learning to move between them fluidly is the real goal. It will take time and your fingertips will get sore as you build calluses, but with time it gets easier. If you’re struggling with transitions, **Video Exchange Learning** is a great resource. Submit a video of your chord changes and **your instructor will review** your technique and provide **personal guidance** to help you get there faster. ## 5. Practicing Without a Plan The final “mistake” is an unstructured **mandolin practice routine**. Many students fall into the trap of playing what they already know rather than pushing into new territory. To see real growth, your practice should be divided into three distinct phases: PhaseDurationFocus Areas**Warm-up**10 MinsOpen string tremolo, slow scales, finger independence exercises.**Technical Study**20 MinsNew chord shapes, arpeggios, or a specific Video Exchange lesson.**Repertoire**20 MinsApplying techniques to a song (e.g., “Soldier’s Joy” or a Bach Partita).Consistency is more valuable than intensity. Practicing for 30 minutes every day is significantly more effective than a single four-hour session once a week. ## Conclusion Identifying **common mandolin mistakes to avoid** is the first step toward becoming the musician you’ve always wanted to be. By refining your pick grip, mastering your left-hand technique, and committing to a disciplined routine, you bypass the frustration that causes many beginners to quit. At ArtistWorks, you don’t have to learn in a vacuum. You get **personal guidance** from world-class masters. When you submit a video, **your instructor will review** your progress, catching those tiny errors in your fingering or posture before they become permanent habits. Ready to transform your playing? [Start a free trial at Artist](https://go.artistworks.com/mandolin)[Works and learn with personal guidance today.](https://go.artistworks.com/mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** mandolin --- ### [Your Complete Guide to the ArtistWorks Experience: A Site Tour](https://blog.artistworks.com/your-complete-guide-to-the-artistworks-experience-a-site-tour/) **Published:** March 31, 2026 **Author:** ArtistWorks **Content:** Whether you just signed up for your free trial or you’ve been eyeing ArtistWorks from afar, you might be wondering: *what exactly am I getting when I join?* We put together a quick site tour video to walk you through everything — and in this post, we’ll break down the key features that make ArtistWorks unlike any other music learning platform out there. **Watch the full site tour video here:** ## More Than Just a Video Library Most online music lesson platforms work the same way: you press play, you watch, you try to keep up. If you get stuck on a tricky passage or can’t figure out what your fingers are doing wrong, you’re on your own. ArtistWorks is built differently. Yes, there are hundreds of structured video lessons for every instrument — from your very first note through advanced techniques — but that’s only the starting point. What sets ArtistWorks apart is the interactive learning experience layered on top of those lessons. ## Choose Your School, Choose Your Master When you land on ArtistWorks, the first thing you’ll do is choose a school. We offer over 40 schools across guitar, piano, banjo, mandolin, ukulele, harmonica, violin, bass, voice, drums, and more. Each school is led by a single world-class instructor — we’re talking Grammy winners, touring legends, and master musicians who have dedicated their careers to their craft. This isn’t a rotating cast of anonymous instructors. When you pick a school, you’re building a relationship with one teacher who knows their curriculum inside and out and who will personally review your playing. ## The Curriculum: Structured for Real Progress Inside your school, you’ll find a complete curriculum organized from beginner through advanced. Every lesson builds on the last. Your instructor has designed a clear learning path so you always know what to work on next — no guessing, no jumping around aimlessly between random YouTube videos. Each lesson includes video instruction, downloadable study materials, and specific assignments. Work at your own pace, revisit lessons as many times as you need, and move forward when you’re ready. ## Video Exchange Learning®: The Feature That Changes Everything Here’s where ArtistWorks truly stands alone. Once you’ve worked through a lesson and practiced the assignment, you can record a video of yourself playing and submit it directly to your teacher through the platform. Your instructor watches your submission and records a personalized video response — a custom mini-lesson addressing exactly what you need to work on. Think about that for a moment. You’re getting direct, one-on-one video feedback from a Grammy-winning musician on *your* specific playing. No other platform offers this at any price point, let alone as part of a standard membership. And here’s the brilliant part: both your submission and your teacher’s response become part of the Video Exchange Library, which every student in the school can browse. That means you’re not just learning from your own feedback — you’re learning from the hundreds of exchanges between your teacher and fellow students. Every common mistake, every breakthrough technique, every nuance your teacher addresses becomes a resource for the entire community. ## The Video Exchange Library: A Living Archive The Video Exchange Library is one of the most underrated features on the platform. With over 130,000 recorded exchanges across all schools, it’s essentially a massive, searchable archive of personalized instruction. Chances are, whatever challenge you’re facing, another student has already asked about it — and your teacher has already addressed it on video. Browse by topic, difficulty level, or just explore. Many students tell us they learn as much from watching other people’s exchanges as they do from the core lessons themselves. ## Community and Support ArtistWorks isn’t a solo experience. Each school has an active student community where you can connect with fellow musicians, share your progress, ask questions, and find practice partners. The forums and message boards are full of encouragement, tips, and camaraderie — it’s like having a worldwide practice room. And if you ever run into any technical issues or account questions, our customer support team is responsive and ready to help. ## Getting Started Is Easy Ready to see it all for yourself? Here’s how to jump in: 1. **Start your free 7-day trial** — explore the full lesson structure and get a feel for your school before you commit. 2. **Pick the school and teacher** that matches your instrument and goals. 3. **Work through the lessons** at your own pace. 4. **Submit your first Video Exchange** when you’re ready — yes, it takes a little courage, but it’s worth it. ## See It in Action We know that reading about a platform and actually *seeing* it are two different things. That’s why we created a quick site tour video that walks you through the entire ArtistWorks experience — from choosing your school to navigating your lessons to submitting your first Video Exchange. **[Watch the ArtistWorks Site Tour →](https://youtu.be/ZVfLpI0a4IM)** Whether you’re a complete beginner picking up an instrument for the first time or an experienced player looking to level up with world-class guidance, ArtistWorks gives you the tools, the teachers, and the community to make real progress. Come take a look around. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Announcements **Tags:** ArtistWorks --- ### [How to Hold a Mandolin Pick: Expert Techniques for Perfect Tone](https://blog.artistworks.com/how-to-hold-a-mandolin-pick-expert-techniques-for-perfect-tone/) **Published:** March 30, 2026 **Author:** ArtistWorks **Content:** The mandolin is an instrument of incredible dynamic range, capable of whispering delicate tremolos or leading a bluegrass breakdown with percussive authority. However, for many students, achieving a professional sound feels like an uphill battle. The secret often lies not in the complexity of the music, but in the fundamentals of your right hand. Learning **how to hold a mandolin pick** correctly is the cornerstone of your musical development, impacting everything from your volume to the clarity of your **mandolin tone**. At ArtistWorks, we pride ourselves on providing **personal guidance** from world-class faculty. In this guide, we’ve distilled the conservatory-level techniques used by classical virtuoso [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg) to help you find a grip that is flexible, powerful, and tension-free. Whether you are a beginner or looking to refine your mandolin flatpicking, mastering these micro-movements is the first step toward a lifetime of beautiful playing. ### Table of Contents - [Choosing Your Tool: Why Pick Size Matters](#pick-selection) - [The “Nose-Touch” Method: Finding Your Natural Grip](#nose-touch-method) - [Flexibility and Dynamics: The Role of the Index Finger](#flexibility-dynamics) - [The Silent Killer: Managing Hand Tension](#avoiding-tension) - [Actionable Drills for a Better Grip](#beginner-exercises) - [Refining Your Technique with Video Exchange Learning](#video-exchange) ## Choosing Your Tool: Why Pick Size Matters Before you learn **how to hold a mandolin pick**, you must ensure you are holding the *right* pick. As Caterina Lichtenberg notes, the material and size of your plectrum dictate your foundational sound. While thin picks might feel “easier” at first, they often produce a “sparkly” or overly bright sound that lacks the depth of a professional **mandolin tone**. Ideally, look for a pick that is slightly larger and thicker. Whether you prefer the rounded German “Wolle” picks used in classical styles or popular tri-corner picks, a larger surface area gives you a better “feeling” in the hand. A thicker pick (typically 1.14mm or higher) allows you to drive the double strings of the mandolin without the pick flapping or bending, providing a more “open” and resonant sound. ## The “Nose-Touch” Method: Finding Your Natural Grip One of the most common beginner mandolin tips is to avoid tucking the pick too far back into the index finger. If the pick is buried deep against your palm, you lose the ability to make fine adjustments, and you’ll find yourself squeezing harder just to keep it from slipping. ### Step-by-Step: The “Nose-Touch” Alignment To find the perfect placement for your **mandolin pick technique**, try this simple exercise recommended by Caterina: 1. **The Touch:** Reach up and lightly touch the tip of your nose with your thumb and index finger. 2. **Observe the Contact:** Notice exactly where the pads of your fingers meet. This is the most sensitive and flexible part of your hand. 3. **Insert the Pick:** Place your pick between those two exact points. The thumb should cover a significant portion of the pick, leaving only a small amount of the tip “peeking out.” By holding the pick near the front of your fingers rather than the side of the knuckle, you maintain the “options” needed for advanced techniques later in your [mandolin lessons](http://go.artistworks.com/mandolin). ## Flexibility and Dynamics: The Role of the Index Finger A common misconception is that the grip must be static. In reality, a professional **mandolin pick angle** and pressure are constantly shifting. Caterina teaches that the index finger should remain flexible to accommodate different techniques: - **For Downstrokes:** The index finger moves slightly away, allowing for a firm, authoritative strike. - **For Tremolo:** The index finger curls in more, “covering” more of the pick to provide stability during rapid-fire movements. This “active grip” is what separates a mechanical player from a musical one. When you [learn mandolin online](https://artistworks.com) with ArtistWorks, **your instructor will review** your finger transitions to ensure you are developing this essential adaptability. ## The Silent Killer: Managing Hand Tension If your hand feels tired after ten minutes of playing, you likely have a “death grip” on your plectrum. Tension is the enemy of **mandolin flatpicking** speed and tonal quality. When you hold the pick too tough, your sound becomes “rough” and choked. To achieve a loud, projecting volume without tension, let the weight of your arm do the work. Imagine your arm is a heavy pendulum and your wrist is a loose hinge. The pick should be held just firmly enough so it doesn’t fly away, but loosely enough that it can “breathe” against the strings. ## Actionable Drills for a Better Grip To integrate these **beginner mandolin tips** into your daily routine, try these two short exercises. ### 1. The “Drop-and-Catch” Drill Hold your pick over your lap. Intentionally loosen your grip until the pick almost falls out, then catch it by applying just a tiny bit of pressure. Repeat this until you find the absolute minimum amount of force required to keep the pick stable. This is your “baseline” pressure. ### 2. The Ghost Stroke Practice your **mandolin pick angle** by “ghosting” over the strings without actually touching them. Focus on keeping your wrist completely limp. Gradually move closer until you are striking the strings. If you feel your hand tighten the moment you make contact, stop and reset. For more structured help, see our guide on [mandolin practice tips for adults](https://blog.artistworks.com/mastering-the-fretboard-the-best-mandolin-practice-tips-for-adults/). ## Refining Your Technique with Video Exchange Learning It can be difficult to diagnose your own hand tension or pick alignment in a mirror. This is why the ArtistWorks **Video Exchange Learning** platform is so transformative. You can record a close-up of your right-hand technique and send it to our faculty. Your instructor will watch your video, pointing out exactly where a small adjustment in your index finger or wrist could unlock more speed and a richer **mandolin tone**. This level of **personal guidance** ensures that you aren’t just practicing, but practicing *correctly*. ## Conclusion Understanding **how to hold a mandolin pick** is a journey of constant refinement. By choosing a substantial pick, using the “nose-touch” method for alignment, and letting your arm weight provide the power rather than your grip, you’ll develop a sound that is open, professional, and musical. Don’t let technical hurdles slow your progress. [Start a free trial at ArtistWorks](http://artistworks.com) and learn with personal guidance from the masters of the instrument. Whether your heart lies in bluegrass or the classical traditions of Europe, we are here to help you find your voice. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** mandolin --- ### [Mastering the Fretboard: The Best Mandolin Practice Tips for Adults](https://blog.artistworks.com/mastering-the-fretboard-the-best-mandolin-practice-tips-for-adults/) **Published:** March 24, 2026 **Author:** ArtistWorks **Content:** For many adult learners, the mandolin is more than just an instrument; it is a gateway to a rich musical heritage and a profound sense of personal achievement. However, unlike a child with hours of unstructured time, the adult learner must navigate a landscape of professional responsibilities and family commitments. Finding the **best mandolin practice tips for adults** isn’t just about learning where to put your fingers—it’s about optimizing your cognitive resources and physical longevity. Whether you are aiming for the lightning-fast bluegrass runs of [Sierra Hull](https://artistworks.com/sierra-hull), the sophisticated jazz and choro inflections of [Mike Marshall](https://artistworks.com/mike-marshall), or the elegant, precise tremolo of classical titan [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg), the secret lies in high-quality, focused practice. ### Table of Contents - [Overcoming the Adult Learning Curve in Music](#learning-curve) - [The Power of 15-Minute Mandolin Warm-ups](#warm-ups) - [Refining the Intermediate: Insights from Mike Marshall](#intermediate-drills) - [The ArtistWorks Advantage: Personal Guidance](#video-exchange) - [Ergonomics and Longevity](#ergonomics) - [Conclusion: Your Path to Mastery](#conclusion) ## Overcoming the Adult Learning Curve in Music There is a persistent myth that if you didn’t start the mandolin at age five, you’ve missed the boat. On the contrary, adults possess a distinct advantage: a developed “executive function.” You have the ability to analyze patterns, understand music theory intellectually, and apply **personal guidance** more efficiently than a younger student might. **Overcoming the adult learning curve in music** requires shifting your mindset from “quantity of hours” to “quality of intention.” Adults often struggle with a self-critical inner monologue that children lack. To combat this, lean into the structured methodology offered by world-class faculty. When you follow a proven curriculum, like the [comprehensive mandolin lessons](http://go.artistworks.com/mandolin) available at ArtistWorks, you remove the guesswork that leads to frustration. Every breakthrough starts with the realization that even the most complex pieces are simply a series of well-executed fundamentals. ## Efficiency First: The Power of 15-Minute Mandolin Warm-ups When time is at a premium, you cannot afford to spend forty minutes “noodling” before you get to the heart of your lesson. Incorporating structured **15-minute mandolin warm-ups** ensures that your hands are limber and your brain is engaged before you tackle difficult repertoire. ### The 15-Minute Breakdown: - **0-5 Minutes: Tone and Tremolo.** Start with open strings. Focus on a relaxed grip and a fluid wrist. Practice a slow, steady tremolo, ensuring the pick stroke is even on both the up and down. - **5-10 Minutes: Scales and Speed.** Run through a G major or D major scale using a metronome. Start at a comfortable tempo and increase by 5 BPM once you achieve three perfect repetitions. - **10-15 Minutes: Arpeggios and Chord Changes.** Move through a common progression (I-IV-V) using various inversions. This bridges the gap between mechanical exercise and musical application. ## Refining the Intermediate: **Intermediate Mandolin Drills for Hobbyists** If you already have a file cabinet full of standard tunes like *Red Haired Boy* or *Whiskey Before Breakfast*, you may feel you’ve reached a plateau. As [Mike Marshall](https://artistworks.com/mike-marshall) notes, the key to reaching the next level often involves returning to beginner issues with a new level of awareness. “Intermediate” isn’t just about playing faster. It’s about clarity and efficiency. ### 1. Bringing Out the Upstroke A common pitfall for intermediate players is “ghosting” the upstroke. In bluegrass, players often focus so much on the driving downstroke that the upstroke loses its voice. This leads to a loss of rhythmic integrity. **The Drill:** Take a phrase from a tune you know well. Consciously emphasize the index finger coming up under the pick. Practice until the upstroke speaks as clearly and loudly as the downstroke. This “mental consciousness” will escalate your tone production across all your repertoire. ### 2. The “Flat Talk” Technique To gain absolute control over your right hand, Mike Marshall recommends playing your tunes “flat”—without the groove or the swing. **The Drill:** Play a tune like *Old Joe Clark* with perfectly even, straight eighth notes, almost as if you were speaking in a monotone voice. By removing the swing, you become hyper-aware of your pick’s contact with the strings. Once you’ve mastered the flat version, you can intentionally reintroduce the swing with far greater control and dynamic range. ### 3. String Crossing and the Right-Hand Twist Intermediate tunes often demand awkward jumps, such as moving from a downstroke on the E string to an upstroke on the A string. This requires a subtle “twisting motion” in the right hand. **The Drill:** Identify these “awkward moves” in your favorite tunes. Slow the tempo down significantly. Ensure your left hand is free to navigate the fingerboard and isn’t stuck “holding up” the instrument. Good posture is vital for intermediate efficiency. ## The ArtistWorks Advantage: Personal Guidance The biggest challenge for the adult learner is the lack of immediate correction. You might be practicing a drill incorrectly for weeks, inadvertently baking in a bad habit. This is where [Video Exchange Learning®](https://artistworks.com/) becomes your most valuable tool. At ArtistWorks, you aren’t just watching a static video. You are entering a supportive community. When you submit a video of your progress, **your instructor will review** your hand position, pick angle, and timing. This **personal guidance** provides the “conservatory-level” feedback necessary to break through plateaus. You can even see responses to other students, creating a collaborative environment where everyone roots for each other’s success. ## Ensuring Longevity: **Best Mandolin Practice Tips for Adults** Physical health is paramount for the adult player. To implement the **best mandolin practice tips for adults**, you must treat your practice sessions with the same care as a physical workout. - **The Core of Posture:** Your posture dictates your efficiency. Ensure your left hand is entirely free to play rather than supporting the weight of the neck. - **Hydration and Breaks:** Take a 2-minute stretch break every 20 minutes to keep muscles elastic. - **Instrument Setup:** A “low action” setup is non-negotiable for avoiding strain. Find a luthier who can ensure your instrument isn’t fighting you. ## Conclusion: Your Path to Mastery Embarking on a musical journey as an adult is a profound act of self-care and intellectual curiosity. By utilizing **15-minute mandolin warm-ups**, engaging in focused **intermediate mandolin drills for hobbyists**, and **overcoming the adult learning curve in music** through patience and structure, you are setting yourself up for a lifetime of musical joy. The **best mandolin practice tips for adults** ultimately boil down to one thing: never practicing in a vacuum. With the **personal guidance** found in our Video Exchange library, you can learn with confidence, knowing that a masters like Mike Marshall, Caterina Lichtenberg and Sierra Hull are ready to review your progress and help you find that next level of clarity. Every great player started exactly where you are. The difference is the decision to start today. **Ready to take your playing to the next level?** [Start a free trial at ArtistWorks and learn with personal guidance.](https://artistworks.com/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** mandolin --- ### [Online Banjo Lessons with Real Teachers: How Personalized Feedback Changes Everything](https://blog.artistworks.com/online-banjo-lessons-with-real-teachers-how-personalized-feedback-changes-everything/) **Published:** March 24, 2026 **Author:** ArtistWorks **Content:** Most online banjo lessons follow the same formula: watch a video, try to copy what you see, hope you’re doing it right. There’s no one on the other end checking your hand position, listening to your timing, or telling you that your forward roll is rushing the second string. If you’ve been searching for online banjo lessons with real teachers who actually know your name and watch you play, ArtistWorks is built for exactly that. ArtistWorks connects students with world-class banjo instructors through a platform called Video Exchange Learning. You don’t just stream lessons. You record yourself playing, submit the video, and your instructor reviews it and sends back a personal video response with specific guidance on what to fix, what’s working, and what to try next. It’s the closest thing to sitting across from a master musician, and it happens on your own schedule. **Table of Contents** - [Why "Real Teachers" Matters More Than You Think](#aioseo-why-real-teachers-matters-more-than-you-think) - [How Video Exchange Learning Works for Online Banjo Lessons with Real Teachers](#aioseo-how-video-exchange-learning-works-for-online-banjo-lessons-with-real-teachers) - [Meet Your Banjo Instructors](#aioseo-meet-your-banjo-instructors) - [Choose Your Picking Style](#aioseo-choose-your-picking-style) - [What You'll Actually Learn](#aioseo-what-youll-actually-learn) - [Common Mistakes Beginners Make (and How Feedback Fixes Them)](#aioseo-common-mistakes-beginners-make-and-how-feedback-fixes-them) - [How to Get Started with Online Banjo Lessons](#aioseo-how-to-get-started-with-online-banjo-lessons) --- ## Why “Real Teachers” Matters More Than You Think There’s a ceiling you hit when you learn banjo from pre-recorded videos alone. You can memorize tab, learn the shapes, and play along with a backing track. But without someone listening to you and responding to your specific playing, bad habits take root. A slightly muted string in your roll pattern, an inconsistent thumb attack, a timing drift you can’t hear yourself. These are the kinds of things that only a trained ear catches. That’s the gap personalized banjo instruction online is designed to close. When an instructor watches your submission and records a response, they’re not giving generic tips. They’re diagnosing your playing. They might notice your fretting hand is collapsing at the second fret, or that you’re anchoring your pinky too far from the bridge. That level of detail is what separates practice from progress. This is also what separates ArtistWorks from app-based platforms or YouTube playlists. The instructors here aren’t voice-over narrators. They’re working musicians with decades of performing and teaching experience, and they’re actively engaged with their students through the [Video Exchange platform](https://artistworks.com/how-it-works). --- ## How Video Exchange Learning Works for Online Banjo Lessons with Real Teachers Video Exchange Learning is straightforward. Once you enroll in a banjo School, you get unlimited access to a structured video lesson library. Lessons are organized by level, from fundamentals through advanced repertoire and technique. Work through them at your own pace. When you’re ready, record yourself playing a lesson, a tune, or a trouble spot, and upload it directly through the platform. Your instructor will review your submission and record a video response. That response is tailored entirely to you: what you played, how you played it, and what your next step should be. There’s another layer that makes this powerful. Every Video Exchange between an instructor and a student is available for other students in that School to watch. So beyond your own feedback, you can browse hundreds of exchanges where your instructor is coaching other players through the same material. It’s like sitting in on a masterclass library that grows every week. --- ## Meet Your Banjo Instructors ArtistWorks doesn’t hire session teachers or generalists. The banjo faculty includes some of the most recognized players in the world, each teaching a distinct style and tradition. ### Tony Trischka: The Foundation of Modern Banjo ![](https://blog.artistworks.com/wp-content/uploads/2026/03/Copy-of-DSC_0151.jpg "Copy of DSC_0151 - ArtistWorks Blog")[Tony Trischka’s Banjo School](https://artistworks.com/banjo-lessons-tony-trischka) is the longest-running program on the platform, active since 2009. Tony is widely regarded as one of the most influential modern banjoists. He has recorded with artists including Steve Martin and Bela Fleck, received IBMA’s Banjo Player of the Year award, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. [His career](https://www.tonytrischka.com/bio) spans more than four decades of recording, performing, and pushing the instrument into new territory. His ArtistWorks library covers over 365 lessons, from absolute beginner basics through advanced concepts, old-time fingerpicking, clawhammer, Celtic tunes, and playing backup. Students praise his patience, his pacing, and his ability to meet players where they are. With a 4.9-star rating across 49 reviews, it’s one of the highest-rated Schools on the platform. ### Noam Pikelny: Grammy-Winning Precision ![](https://blog.artistworks.com/wp-content/uploads/2026/03/ArtistWorks-DSC_4990.jpg "ArtistWorks-DSC_4990 - ArtistWorks Blog")[Noam Pikelny’s Banjo School](https://artistworks.com/banjo-lessons-noam-pikelny) is built for players who want to go deep into bluegrass technique and beyond. As a founding member of Punch Brothers, [Noam](https://www.noampikelny.com/) has won a Grammy for Best Folk Album, received the inaugural Steve Martin Prize for Excellence in Banjo and Bluegrass, and earned two IBMA Banjo Player of the Year awards. In 2025, he was inducted into the American Banjo Museum Hall of Fame. His school covers 3-finger/Scruggs style, melodic style, and single-string technique through hundreds of lessons, tabs, and play-along tracks. Noam’s teaching breaks down complex musical ideas into clear, actionable steps. Whether you’re working on fretboard mapping, chord voicings, or improvisation, his School offers a structured path with room for musical exploration. ### Alison Brown: A Different Voice on the Banjo ![](https://blog.artistworks.com/wp-content/uploads/2026/03/DSC07621.jpg "DSC07621 - ArtistWorks Blog")[Alison Brown’s Banjo School](https://artistworks.com/banjo-lessons-alison-brown) brings a distinctive approach. A Grammy winner and co-founder of [Compass Records](https://www.alisonbrown.com/about), Alison was the first woman to win the IBMA Banjo Player of the Year award. She’s also the only female five-string banjoist inducted into the American Banjo Hall of Fame. Her playing blends bluegrass with jazz, Latin, and Celtic influences. Her School focuses on Scruggs-style fundamentals and builds toward fluency on the fingerboard, comfort improvising in jam sessions, and intermediate-to-advanced techniques like melodic style, single string, and chord melodies. With over 150 lessons, tablature, and play-along tracks recorded at Compass Sound Studio in Nashville, it’s the best online banjo curriculum for beginners who want a structured, encouraging entry point with serious depth behind it. ### Allison de Groot: Clawhammer Banjo ![](https://blog.artistworks.com/wp-content/uploads/2026/03/Allison-Degroot_4148-1.jpg "Allison Degroot_4148 (1) - ArtistWorks Blog")If your interest is in old-time music and clawhammer technique, [Allison de Groot’s Banjo School](https://artistworks.com/allison-degroot) is purpose-built for that. Allison is a [Berklee-trained performer](https://www.allisondegroot.com/), a member of the acclaimed duo Allison de Groot and Tatiana Hargreaves, and the 2024 recipient of the Steve Martin Banjo Prize. Her playing has been praised for its rhythmic intensity, melodic depth, and emotional range. Her school covers over 100 lessons on clawhammer basics (bum-ditty rhythm, tuning, chords), alternate tunings, double thumbing, accompanying a fiddle, and traditional old-time repertoire. For anyone searching for clawhammer banjo lessons online, this is one of the most comprehensive and well-taught options available anywhere. --- ## Choose Your Picking Style One of the first decisions new banjo students face is picking style. The two main traditions are three-finger (Scruggs) style and clawhammer, and they produce very different sounds. ### Three-Finger / Scruggs Style This is the driving, rolling sound most people associate with bluegrass banjo. You wear fingerpicks on your index and middle fingers plus a thumbpick, and play patterns (rolls) that create a continuous stream of notes. Tony Trischka, Noam Pikelny, and Alison Brown all teach three-finger style, each with a different emphasis. Tony covers the broadest range of sub-styles. Noam goes deepest into advanced bluegrass and progressive technique. Alison offers the most accessible starting point for beginners. ### Clawhammer Clawhammer is an older technique rooted in old-time Appalachian music. Your hand strikes downward across the strings, creating a rhythmic, percussive tone. It’s sometimes called frailing. Allison de Groot is the clawhammer specialist on the ArtistWorks faculty, and her school covers everything from the basic bum-ditty pattern through advanced modal tunings, ghost notes, and the Galax lick. Not sure which style fits you? [You can explore both](http://go.artistworks.com/banjo). ArtistWorks lets you try free sample lessons from any School before committing. --- ## What You’ll Actually Learn Here’s a practical look at what a structured banjo curriculum covers at each level. The specifics vary by instructor, but the general arc is consistent across Schools. ### Beginner Tuning the banjo, basic right-hand technique (forward roll, alternating thumb roll, backward roll for three-finger; bum-ditty for clawhammer), basic chords (G, C, D7, Em), your first tunes, and reading tablature. Expect to spend time building clean, consistent tone before worrying about speed. ### Intermediate Slides, hammer-ons, pull-offs, playing backup behind a vocalist or lead instrument, more complex roll patterns, introduction to melodic and single-string styles, playing in different keys using a capo, and building a repertoire of jam-session standards like “Cripple Creek,” “Foggy Mountain Breakdown,” and “Old Joe Clark.” ### Advanced Improvisation and soloing, chord melody arrangements, alternate tunings, advanced backup techniques (vamping, muting, off-beat accents), playing over chord progressions in unfamiliar keys, and developing your own voice on the instrument. --- ## Common Mistakes Beginners Make (and How Feedback Fixes Them) These are the issues that come up again and again in beginning banjo students. They’re also exactly the kind of thing that personal guidance from an experienced instructor catches immediately. ### Rushing the Roll New players tend to speed up their roll patterns without realizing it. The notes blur together and timing falls apart. An instructor watching your video will hear this instantly and often prescribe metronome work at a specific BPM, then gradually increase. Tony Trischka’s students frequently mention how much his metronome guidance improved their playing. ### Anchoring Too Tightly Planting your ring finger or pinky on the head of the banjo is standard, but gripping too hard creates tension through your entire hand. This limits speed and causes fatigue. A Video Exchange response might show you exactly where and how lightly to anchor. ### Ignoring Left-Hand Efficiency Beginners often lift their fretting fingers too far from the fretboard between notes. This wastes motion and slows transitions. It’s nearly impossible to self-diagnose from feel alone, but it’s immediately visible on camera. This is one of the most common corrections instructors give in their first few exchanges with a new student. ### Skipping Backup Many new players focus entirely on lead playing and never learn to play backup. But backup is what you’ll do 80% of the time in a jam session. Learning to support other musicians with tasteful rhythm and chord work is critical, and it’s covered in depth across all four ArtistWorks banjo Schools. --- ## How to Get Started with Online Banjo Lessons If you’ve been looking for a way to learn banjo online from a professional, not a faceless app, and you want structured lessons paired with real feedback from someone who knows what they’re hearing, here’s how to begin. First, visit the ArtistWorks [banjo page](https://artistworks.com/schools/instruments/banjo) and explore the available Schools. Read about each instructor, watch their introductory videos, and get a feel for their teaching style. Second, choose the style that interests you most. If you’re drawn to bluegrass, you have three excellent options depending on your level and goals. If old-time clawhammer is your focus, Allison de Groot’s School is the clear choice. Third, try free sample lessons. ArtistWorks offers sample content from every School so you can experience the lesson quality and the instructor’s approach before enrolling. Finally, start your free trial. You’ll get access to the full lesson library for your chosen School, and you can begin learning, practicing, and submitting your first Video Exchange. Your instructor will review your playing and send back personal video feedback, and from that point forward, you’re not learning alone. [Start a free trial at ArtistWorks and learn banjo with personal guidance from a world-class instructor.](https://artistworks.com/schools/instruments/banjo) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bluegrass **Tags:** banjo, bluegrass --- ### [Clawhammer vs Scruggs Style Banjo: What’s the Difference and Which Should You Learn?](https://blog.artistworks.com/clawhammer-vs-scruggs-style-banjo-whats-the-difference-and-which-should-you-learn/) **Published:** March 20, 2026 **Author:** ArtistWorks **Content:** **Clawhammer vs Scruggs style banjo** is one of the first big questions many new players ask, and it is an important one. These are two of the most recognizable banjo traditions in American roots music, yet they sound, feel, and function very differently. If you are just getting into banjo, understanding the difference can save you a lot of confusion. More importantly, it can help you choose a learning path that actually matches the music you love. In this guide, we’ll break down what defines each style, where they come from, how they sound, and what kind of player each one tends to suit best. Along the way, we’ll also point you toward a few listening and learning resources so you can hear the difference for yourself and begin with confidence. ## Table of Contents - [What Is Scruggs Style Banjo?](#what-is-scruggs) - [What Is Clawhammer Banjo?](#what-is-clawhammer) - [Clawhammer vs Scruggs Style Banjo: Key Differences](#key-differences) - [Which Banjo Style Should You Learn?](#which-style) - [Hear Clawhammer in Action](#hear-clawhammer) - [How to Start Learning Banjo the Right Way](#learn-banjo) - [Final Thoughts](#final-thoughts) ## What Is Scruggs Style Banjo? Scruggs style banjo is the three-finger picking approach most listeners associate with bluegrass. It was popularized by Earl Scruggs, whose playing helped define the modern sound of the five-string banjo in bluegrass music. At its core, Scruggs style relies on rolling right-hand patterns played with thumb, index, and middle fingers. These repeating patterns create the flowing, driving sound that gives bluegrass banjo its momentum. Because the right hand is constantly generating motion, the style often feels energetic, precise, and forward-moving. Here’s an example of banjo rolls, from Tony Trischka, one of our expert banjo instructors: Musically, Scruggs style is often used for: - lead breaks in bluegrass tunes - rhythmic backup behind vocals - fast, articulate roll-based playing - classic bluegrass phrasing and syncopation Of course, Earl Scruggs is the foundational figure here. However, many modern players have expanded the style in different directions. [Tony Trischka](https://artistworks.com/tony-trischka) helped open up new harmonic and melodic possibilities within bluegrass banjo. [Alison Brown](https://artistworks.com/alison-brown) brought elegance, clarity, and compositional depth to the instrument. [Noam Pikelny](https://artistworks.com/noam-pikelny), meanwhile, represents a newer generation of banjoists who combine deep tradition with a highly personal and modern voice. So while Scruggs style begins with one iconic approach, it does not end there. For many students, it becomes the gateway into bluegrass banjo as a whole. ## What Is Clawhammer Banjo? Clawhammer banjo comes from the older old-time tradition and uses a very different right-hand motion. Instead of fingerpicks and rolling patterns, the player strikes downward with the back of a fingernail while the thumb catches the fifth string as part of the rhythm. This creates a sound that is more percussive, groove-based, and pulse-driven than Scruggs style. Rather than sounding like a stream of rolling notes, clawhammer often feels earthy, dance-like, and rooted in the rhythmic lift of traditional tunes. The technique is sometimes described through the “bum-ditty” motion, but that phrase only scratches the surface. Strong clawhammer playing includes melody, drive, syncopation, drop-thumb variations, and a huge range of expressive nuance. Clawhammer is especially associated with: - old-time banjo traditions - string band music - dance tunes and fiddle tunes - rhythmic accompaniment with strong groove Because this style is so rhythmically distinctive, it often appeals to players who love the feel of traditional folk music and want the banjo to sound grounded, propulsive, and deeply connected to the melody. This is where [Allison de Groot](https://artistworks.com/allison-degroot) becomes especially relevant. She is widely respected as a modern clawhammer player with deep roots in the tradition, and her teaching reflects that. Rather than reducing the style to a few stock motions, she helps students hear how clawhammer banjo actually works as music. ## Clawhammer vs Scruggs Style Banjo: Key Differences The easiest way to understand the difference between these two styles is to compare how they sound and how they are played. FeatureScruggs Style BanjoClawhammer BanjoRight-hand motionThree-finger pickingDownstroke with thumb supportTypical soundRolling, bright, drivingPercussive, rhythmic, earthyMain genre associationBluegrassOld-time / traditional folkFeelFlowing and syncopatedGroove-based and pulse-drivenCommon musical roleLead breaks and backupMelody plus rhythm togetherThat said, the difference is not just technical. It is also musical. Scruggs style often emphasizes forward motion and intricate right-hand flow. By contrast, clawhammer emphasizes rhythm, shape, and the interplay between melody and pulse. Both styles can be expressive, powerful, and deeply traditional. They just arrive there through different means. ## Which Banjo Style Should You Learn? This is the practical question, and the answer depends less on “which style is better” and more on what kind of music you want to make. ### Choose Scruggs style if… - you love bluegrass music - you are drawn to fast roll patterns and lead breaks - you want to learn classic bluegrass backup and soloing - you enjoy precision, syncopation, and right-hand pattern work ### Choose clawhammer if… - you love old-time and folk traditions - you are drawn to groove and rhythmic feel - you want to play melody and rhythm at the same time - you enjoy a more percussive and earthy banjo sound Some players eventually explore both. In fact, learning the difference between them can deepen your overall musicianship even if you choose one path first. Still, most beginners do better when they commit to one approach long enough to build real fluency. ## Hear Clawhammer in Action One of the fastest ways to understand clawhammer banjo is to see how the technique works inside an actual tune. It is not just about the right-hand motion. It is about how rhythm, melody, and phrasing all come together. In this lesson, Allison de Groot breaks down the traditional tune “Backstep Cindy” in D major. As she walks through the A, B, and C parts, you can see how clawhammer combines core elements like the “bum-ditty” feel, drop thumb, hammer-ons, pull-offs, and slides into a single flowing musical idea. [Clawhammer Banjo Lesson: Learn to Play “Backstep Cindy” in D Major with Allison de Groot](https://www.youtube.com/watch?v=nfGtXboAVGs) Notice how the rhythm stays consistent even as the left hand moves through different phrases and embellishments. Techniques like hammer-ons and pull-offs are not just decorative. They are part of how the melody is expressed within the groove. You will also hear familiar endings and run-down phrases that show up across many traditional tunes, which is a big part of how this style builds vocabulary over time. In another lesson, Allison focuses specifically on right-hand development by introducing four interchangeable clawhammer patterns: the basic “bum-ditty,” double thumb, crossover, and roll patterns. [Clawhammer Banjo Lesson: 4 Interchangeable Patterns with Allison de Groot](https://www.youtube.com/watch?v=PSAANAkI0O8) Rather than treating these patterns as fixed exercises, she demonstrates how to combine and switch between them fluidly. This is what gives clawhammer its momentum. The right hand keeps moving, while the player chooses different rhythmic shapes to match the melody. Together, these examples show that clawhammer banjo is not just a single pattern you memorize. It is a flexible system where rhythm drives everything, and melody is woven into that motion. ## How to Start Learning Banjo the Right Way Once you know which style speaks to you, the next step is choosing a learning path that gives you real structure. This matters because banjo can feel deceptively simple at first. The motions look small, yet timing, tone, and musical feel take careful guidance to develop. That is one reason so many students benefit from learning through a clear curriculum instead of patching together random videos. With the right structure, you can build technique, repertoire, and musical understanding together. At ArtistWorks, students can explore different banjo paths through focused schools and [banjo learning options](https://artistworks.com/schools/instruments/banjo) designed around real styles and respected instructors. If clawhammer is the direction that excites you most, [Allison de Groot’s school](https://artistworks.com/allison-degroot) is a particularly strong fit. Her expertise allows students to learn from a player who understands both the technical mechanics and the deeper musical character of the style. Another advantage is ArtistWorks’ personalized learning model. Through Video Exchange Learning, students can submit videos and receive direct feedback from the instructor. That kind of guidance is rare, and it can make a real difference when you are trying to build strong habits in a style as nuanced as clawhammer. If you want broader banjo inspiration and further reading, the [ArtistWorks banjo blog archive](https://blog.artistworks.com/category/banjo/) is also a helpful place to explore. ### A simple way to decide If you are still unsure, try this: 1. Listen to a few bluegrass banjo performances and notice the rolling three-finger sound. 2. Then listen to a few old-time clawhammer recordings and pay attention to the rhythmic pulse. 3. Ask yourself which style feels more natural, exciting, or emotionally compelling. The right starting point is usually the one that makes you want to keep picking up the instrument. ## Final Thoughts **Clawhammer vs Scruggs style banjo** is not just a technical comparison. It is really a question about musical identity. Scruggs style offers drive, roll-based momentum, and a classic bluegrass vocabulary. Clawhammer offers groove, rhythmic depth, and a strong connection to old-time banjo traditions. Both are rich, expressive, and worth studying. The good news is that you do not need to master both right away. You just need to start with the style that answers your musical question most clearly. **[Explore ArtistWorks Banjo Schools](https://artistworks.com/schools/instruments/banjo) and start learning with the world’s top banjo instructors.** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [How to Join Your First Bluegrass Jam Session: The Essential Guide](https://blog.artistworks.com/how-to-join-your-first-bluegrass-jam-session-the-essential-guide/) **Published:** March 18, 2026 **Author:** ArtistWorks **Content:** There is a unique magic that happens when a group of musicians circles up, tunes their instruments, and launches into a high-energy rendition of [“Will the Circle Be Unbroken.”](https://youtu.be/uO-B97zw4oM?si=-YQFI-XZ0GMtBMQg) For many aspiring players, the transition from practicing in a bedroom to participating in a live circle can feel daunting. However, learning **how to join your first bluegrass jam session** is a rite of passage that transforms your playing from a solitary hobby into a shared language. At [ArtistWorks](http://artistworks.com), we believe that music is meant to be a conversation, and our world-class faculty, from [Tony Trischka](https://artistworks.com/tony-trischka) to [Bryan Sutton](https://artistworks.com/bryan-sutton), is here to ensure you have the skills and confidence to speak that language fluently. ## Table of Contents - [Preparation: What to Bring to a Bluegrass Jam Session](#preparation) - [Bluegrass Jam Etiquette for Beginners](#etiquette) - [Standard Bluegrass Jam Chords and Keys](#music-theory) - [Your Step-by-Step Action Plan](#action-plan) - [Refining Your Skills with Personal Guidance](#instruction) ## Preparation: What to Bring to a Bluegrass Jam Session Success at a jam begins long before the first note is struck. Being prepared shows respect for the other musicians and ensures you can focus entirely on the music. ### The Essentials Checklist - **Your Instrument:** Whether it’s a guitar, banjo, fiddle, mandolin, or upright bass, ensure it is in top playing condition. - **An Electronic Tuner:** Bluegrass is played at high volumes with acoustic instruments that are sensitive to temperature. A clip-on tuner is vital for staying in pitch without disrupting the flow. - **A Capo:** Think of this as your “key-change accelerator.” In the fast-paced environment of a jam, a capo allows you to instantly transpose to demanding keys while keeping your fingers in the familiar, high-resonance “home” shapes of G or C. - **A Digital Recorder:** With the permission of the group, recording the session is an incredible way to review new tunes later. - **Hydration and Comfort:** Bring water and, if the jam is outdoors, a folding chair without armrests (which can interfere with your instrument). ## Bluegrass Jam Etiquette for Beginners: The “Unwritten” Protocol In the world of bluegrass, we often speak about **jam protocol**: the common assumptions and tendencies that allow total strangers to circle up and make music together. As ArtistWorks instructor and bluegrass master [Michael Daves](https://artistworks.com/michael-daves) explains, these aren’t just rigid rules. They are a shared language that helps you get up and running quickly. Mastering **bluegrass jam etiquette for beginners** is about three core pillars: **listening, blending, and dynamics**. ### The Golden Rule of Volume Jams have a way of getting loud and “cacophonous” very quickly, especially when you have a circle filled with multiple guitars, banjos, and mandolins. To maintain a musical environment, you must stay aware of your relative volume. > “The big rule of thumb,” Michael Daves notes, “is that if you can’t hear a soloist or the singer clearly, you need to play more quietly.” Whether a singer is naturally quiet or a guitar player is taking a subtle lead break, the rest of the group must “tread lightly” and balance their volume to support the lead. ### Understanding Instrument Directionality One of the most surprising elements of jam etiquette involves the physics of your instrument. Instruments like the **banjo** or **mandolin** are highly directional—the sound shoots straight out the front. - **For Banjo/Mandolin Players:** You may not realize how loud you are because you are standing *above* the soundholes. Someone standing directly in front of you is hearing a much higher volume than you are. - **For Others:** If a fellow jammer is playing too loudly, don’t get salty. They likely don’t realize how much sound is projecting forward. Patience and understanding are key components of a healthy jam circle. ### Leading the Song: Kickoffs and Cues Once you’ve moved past the beginner basics, you’ll start participating in the “leadership” of a song. This involves: - **The Kickoff:** Clearly counting off the song so everyone starts on the same beat. - **The “Hum Through”:** If you’re introducing a song the group might not know, a quick vocal or instrumental “hum through” of the melody helps teach your fellow jammers the structure before the first verse. - **Body Language:** Using nods and eye contact to “call solos” and signal when a song is ending. These verbal and non-verbal cues are the “grease” that keeps the gears of a jam turning smoothly. For more on the specific instruments involved in these dynamics, see our [Complete Beginner’s Guide to Bluegrass Instruments](https://blog.artistworks.com/the-complete-beginners-guide-to-bluegrass-instruments/). ## Standard Bluegrass Jam Chords and Keys You don’t need to be a master of bluegrass to participate, but you do need to understand **standard bluegrass jam chords and keys**. Bluegrass primarily lives in the keys of **G, C, D, A, and B**. ### The Nashville Number System Most bluegrass musicians think in “numbers” (I, IV, V). In the key of G: - **I Chord:** G - **IV Chord:** C - **V Chord:** D (or D7) Mastering these basic shapes allows you to follow almost any song by watching the guitar player’s left hand. If you want to dive deeper into the technical mechanics of these transitions, our [Bluegrass Music Schools](http://go.artistworks.com/bluegrass) provide structured curricula for every instrument. ## Step-by-Step: How to Join Your First Bluegrass Jam Session 1. **Scout the Jam:** Visit the session once without your instrument. Observe the skill level and the “vibe.” Is it a fast-paced “pro” jam or a “slow jam” designed for learners? 2. **Find the “Slow Jam”:** Many festivals and local clubs host sessions specifically for beginners. These move at a manageable BPM and prioritize learning. 3. **Sit on the Perimeter:** You don’t have to be in the center of the inner circle. It is perfectly acceptable to sit just outside the main group and play quietly to get your bearings. 4. **Be Honest:** If someone asks you to take a break and you aren’t ready, a simple “I’m just going to pass and listen on this one” is perfectly acceptable. ## Refining Your Skills with Personal Guidance While jamming is the best way to gain experience, progress often hits a plateau without structured feedback. This is where the ArtistWorks philosophy of **Video Exchange Learning®** becomes invaluable. Instead of wondering if your crosspicking is correct or if your banjo rolls sound right, you can record a video of your playing and send it directly to a master musician. **Your instructor will review** your submission and provide a personalized video response, correcting your posture, timing, and tone. This **personal guidance** ensures that when you step into that jam circle, you aren’t just guessing—you’re playing with the authority of someone trained by the best in the world. Whether you are studying [bluegrass mandolin with Sierra Hull](https://artistworks.com/sierra-hull) or [fiddle with Darol Anger](https://artistworks.com/darol-anger), the goal is to get you jam-ready as efficiently as possible. ## Conclusion Learning **how to join your first bluegrass jam session** is an exciting milestone in your musical journey. By focusing on **bluegrass jam etiquette for beginners** and arriving prepared, you turn a potentially nerve-wracking experience into a joyful one. Remember, every master musician you see was once a beginner sitting on the edge of the circle, listening intently. If you’re ready to take the next step and want professional feedback on your technique before your big debut, we invite you to join our community at ArtistWorks. [Start a free trial at ArtistWorks and learn with personal guidance.](http://go.artistworks.com/bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** bluegrass, bluegrass jam --- ### [The History of the Banjo: From West African Roots to Modern Bluegrass](https://blog.artistworks.com/the-history-of-the-banjo-from-west-african-roots-to-modern-bluegrass/) **Published:** March 13, 2026 **Author:** ArtistWorks **Content:** The **history of the banjo** tells a remarkable story of cultural exchange, musical innovation, and artistic evolution. Few instruments carry such a layered heritage, blending West African traditions, early American folk music, minstrel-era performance, and modern bluegrass virtuosity. Today, the banjo is a cornerstone of bluegrass, folk, and roots music. Yet its origins stretch back centuries before it became synonymous with Appalachian string bands. If you’re curious about where the banjo came from, how it evolved into the instrument we know today, and why so many musicians are picking it up now, this guide will walk you through the instrument’s journey—and show how you can start learning from some of the world’s greatest banjo players. ## Table of Contents - [West African Origins of the Banjo](#african-roots) - [How the Banjo Evolved in Early America](#american-evolution) - [The Banjo and the Rise of Bluegrass](#bluegrass-era) - [Modern Banjo Styles and Innovations](#modern-banjo) - [Learning Banjo from Today’s Masters](#learning-banjo) - [How to Start Your Banjo Journey](#start-playing) ## West African Origins of the Banjo The **history of the banjo** begins in West Africa centuries before the instrument appeared in North America. Instruments such as the *akonting*, *ngoni*, and *xalam* featured a gourd body, animal skin head, and a fretless neck—elements that closely resemble early banjo construction. These instruments were played throughout West Africa as accompaniment for storytelling, dance, and communal gatherings. Their distinctive plucked sound and rhythmic drive laid the foundation for what would eventually become the banjo. Enslaved Africans brought these musical traditions with them to the Americas. Over time, those instruments evolved using locally available materials. Gourds were replaced with wooden rims, and the instrument began taking the shape that would eventually be recognized as the banjo. ## How the Banjo Evolved in Early America By the 18th century, versions of the banjo were appearing throughout the American South. Early depictions show instruments with gourd bodies, animal skin heads, and a short fifth string—one of the defining features of the modern banjo. During the 1800s, the banjo began spreading beyond African American communities and into broader American culture. Instrument makers started standardizing designs, adding frets, and experimenting with new construction methods. This period also saw the development of different playing techniques, including early fingerstyle approaches that laid the groundwork for the banjo techniques used today. ## The Banjo and the Rise of Bluegrass The banjo’s modern identity was shaped largely by the rise of bluegrass music in the mid-20th century. During this era, the instrument evolved from a rhythmic accompaniment into a virtuosic lead instrument capable of fast melodic passages and complex rolls. If you’re curious about how the banjo fits alongside instruments like fiddle, mandolin, and dobro in a traditional string band, check out our [complete beginner’s guide to bluegrass instruments](https://blog.artistworks.com/the-complete-beginners-guide-to-bluegrass-instruments/), which explores the role each instrument plays in the genre. The three-finger picking approach that became central to bluegrass banjo brought new technical possibilities to the instrument. Banjo players could now combine rhythmic drive with melodic complexity, giving the instrument a distinctive voice within string bands. At the same time, traditional clawhammer and old-time styles continued to thrive, preserving earlier banjo traditions that emphasized rhythm, groove, and storytelling. ## Modern Banjo Styles and Innovations Today’s banjo players draw from a wide range of influences. Bluegrass remains a core tradition, but the instrument now appears in folk, Americana, jazz, and even contemporary acoustic music. Modern banjo techniques combine traditional picking styles with melodic phrasing, improvisation, and genre-crossing creativity. This evolution has produced a new generation of players who expand the instrument’s vocabulary while staying rooted in its history. Artists such as **Tony Trischka**, **Alison Brown**, **Noam Pikelny**, and **Allison de Groot** represent different approaches to the instrument, each bringing their own voice and perspective to banjo playing. ## Learning Banjo from Today’s Masters While the banjo has a long and fascinating history, learning to play it today is more accessible than ever. At ArtistWorks, students can study directly with some of the most respected banjo players in the world through structured online schools that combine professional instruction with personal guidance. These programs offer a curriculum designed to build technique, musical understanding, and confidence step by step. Students also receive personalized feedback through ArtistWorks’ **Video Exchange Learning** system. This unique feature allows students to submit videos of their playing and receive direct responses from the instructor—giving learners the rare opportunity to hear feedback from master banjo players. ### Explore Banjo Instruction from Leading Artists - [Tony Trischka Banjo School](https://artistworks.com/tony-trischka) – Study with one of the most influential banjo innovators in modern bluegrass. - [Alison Brown Banjo School](https://artistworks.com/alison-brown) – Learn melodic banjo techniques from a Grammy-winning artist. - [Noam Pikelny Banjo School](https://artistworks.com/noam-pikelny) – Explore creative modern bluegrass banjo with one of today’s most celebrated players. - [Allison de Groot Clawhammer Banjo School](https://artistworks.com/allison-degroot) – Dive into the rhythmic traditions of clawhammer banjo. You can also explore all available programs through the [ArtistWorks Banjo Schools](https://artistworks.com/schools/instruments/banjo) hub. ## How to Start Your Banjo Journey If the history of the banjo inspires you to pick up the instrument yourself, the most important step is simply getting started. Learning with a structured curriculum can help you build strong fundamentals while avoiding the frustration that comes from trying to piece together random lessons. ArtistWorks provides a clear pathway through professionally designed lessons, guided practice materials, and direct instructor feedback. Whether you’re interested in bluegrass, clawhammer, or modern banjo styles, studying with experienced mentors can accelerate your progress and help you develop your own musical voice. You can learn more about the instrument and explore instruction opportunities during [Banjo Month](https://go.artistworks.com/banjo-month-2026), which celebrates the music, players, and traditions that continue to shape the instrument today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo **Tags:** African tradition, banjo, bluegrass, history of banjo --- ### [The Complete Banjo Setup Guide for Beginners](https://blog.artistworks.com/the-complete-banjo-setup-guide-for-beginners/) **Published:** March 10, 2026 **Author:** ArtistWorks **Content:** If you’ve just picked up your banjo, or pulled one out of a closet after years of neglect, a proper **banjo setup guide** is the most important thing you can read before you play a single note. An out-of-setup banjo buzzes, goes out of tune constantly, fights your fretting hand, and sounds nothing like what you hear on a great bluegrass record. The good news: most setup tasks are approachable for beginners, require only a few inexpensive tools, and make a dramatic difference in playability and tone. This guide walks you through every key element of banjo setup in plain language: banjo bridge placement, head tension, string selection, tone adjustment, and basic ongoing maintenance. By the end, you’ll understand what makes your banjo tick and feel confident making small adjustments on your own. ## Table of Contents 1. [Why Banjo Setup Matters More Than You Think](#why-setup-matters) 2. [Tools You’ll Need Before You Start](#tools-youll-need) 3. [Getting Banjo Head Tension Right](#banjo-head-tension) 4. [Banjo Bridge Placement: Finding the Sweet Spot](#banjo-bridge-placement) 5. [Choosing the Best Banjo Strings for Beginners](#best-banjo-strings) 6. [Banjo Tone Adjustment: Dialing In Your Sound](#banjo-tone-adjustment) 7. [Ongoing Banjo Maintenance Tips](#banjo-maintenance-tips) 8. [Common Setup Mistakes (and How to Avoid Them)](#common-mistakes) 9. [Next Steps: Start Playing With Confidence](#next-steps) ## Why Banjo Setup Matters More Than You Think Many beginners assume that if their banjo is hard to play or sounds thin, it must be a skill problem. Often, it’s a setup problem. A poorly set-up instrument creates unnecessary physical resistance. Strings that sit too high off the fretboard (high “action”) force you to press harder, which fatigues your hand and throws off your intonation. A loose head produces a muddy, unfocused tone instead of the crisp, projecting sound the banjo is famous for. Professional players have their instruments set up regularly, and they’re highly specific about it. When you learn on a properly configured banjo, you build good habits from the start: lighter touch, more accurate fretting, and a better ear for tone. Think of setup not as a one-time chore but as an ongoing relationship with your instrument. ## Tools You’ll Need Before You Start You don’t need a full luthier’s workshop. Here’s what you should have on hand: - **Head-tightening wrench (coordinator rod wrench or hex key)**, specific to your banjo’s hardware - **Ruler or string action gauge**: a cheap steel ruler graduated in 32nds of an inch works fine - **Clip-on chromatic tuner**, essential for intonation checks - **Light machine oil or lemon oil**, for fretboard conditioning on unfinished boards - **Soft polishing cloth** - **Replacement strings** (more on selecting these below) Most of these items cost only a few dollars each and are available at any music store. Having them ready before you start means you won’t stop mid-process searching for a tool. ## Getting Banjo Head Tension Right ![](https://blog.artistworks.com/wp-content/uploads/2026/03/18.png "18 - ArtistWorks Blog")The banjo head (the circular membrane stretched across the pot) is the engine of your tone. Proper **banjo head tension** is arguably the single most impactful setup variable on a five-string banjo. Too loose, and you get a dull, booming sound with poor sustain. Too tight, and the tone becomes harsh and brittle. ### How to Check Head Tension The most common method is the tap test. Lightly tap the head with your fingertip about an inch inside the hoop, rotating around the head in several spots. You’re listening for a consistent, medium-high pitch. Roughly an F to G# (about 85–95 Hz) is a commonly cited target range for most bluegrass-style banjos, though personal preference and playing style affect the ideal tension. The key word is *consistent*: if some spots sound higher or lower than others, the head is uneven and needs adjustment. ### How to Adjust Head Tension Head tension is controlled by the bracket nuts evenly spaced around the outside of the pot. Use a bracket wrench (or the appropriate hex key) and work in a star pattern, tightening or loosening opposing brackets in sequence, just like torquing a car wheel. Never tighten one side at a time; uneven tension causes the head to warp and can even crack it. Make quarter-turn adjustments, tap-test after each round, and be patient. If you’re tightening a head that’s been very loose for a long time, give the head 24 hours to settle and recheck. ### Head Type Matters Too Frosted tops are a staple for bluegrass Scruggs-style banjo setups – think your classic white banjo head. They are louder, brighter, have more sustain. Fyberskyn (which can be smooth, clear, animal or synthetic skin) or Remo Renaissance heads are quieter, darker and can have more of a “plunky” sound. These are commonly used for old-time, clawhammer/frailing style banjo. While you don’t need to change your head right away, having this information helps you understand your tone options later on. ## Banjo Bridge Placement: Finding the Sweet Spot ![](https://blog.artistworks.com/wp-content/uploads/2026/03/banjo-bridge.png "banjo-bridge - ArtistWorks Blog")Unlike the fixed saddles on most guitars, the banjo bridge is a small wooden piece that floats on the head, held in position only by string tension. This means it can shift, and if it drifts from its correct position, your intonation will suffer. **Banjo bridge placement** is the primary way you set intonation on a five-string banjo. ### The Starting Point: Scale Length The theoretical starting point for bridge placement is the scale length. On a standard five-string banjo, the scale length is typically 26-5/16 inches. Measure from the inside of the nut (the slotted piece at the headstock end of the neck) to the top edge of the bridge. This gives you the initial position. ### Fine-Tuning Intonation The true test of intonation is the harmonic check. Here’s how to do it: 1. Tune the open string to pitch with a chromatic tuner. 2. Play the natural harmonic at the 12th fret. Lightly touch the string directly above the fret without pressing down, then pluck. 3. Then fret the string at the 12th fret normally and play that note. 4. Compare the two pitches on your tuner. If the fretted note is sharp compared to the harmonic, move the bridge slightly away from the nut (toward the tailpiece). If the fretted note is flat, move the bridge slightly toward the nut. Repeat until the harmonic and fretted notes match. Do this check on multiple strings. Note that the fifth string (the short drone string tuned to high G) uses a small pip or capo at the 5th fret rather than running over the main bridge; its intonation is set separately. ### Bridge Height and Action The bridge also determines string action, which refers to how high the strings sit above the fretboard. A standard starting target for action at the 12th fret is approximately 5/32 inch on the first string and 3/16 inch on the fourth string. Beginners often benefit from slightly lower action to ease fretting. If your bridge is too tall, a luthier can sand the feet; if too short, you’ll need a new bridge. Bridges are inexpensive (typically $5–$20) and available in various heights for exactly this reason. ## Choosing the Best Banjo Strings for Beginners New strings do more for a banjo’s sound and playability than almost any other single change. Old strings lose brightness, go false (they won’t intonate properly even if the bridge is perfectly placed), and cause tuning instability. If you’re working on a used banjo and don’t know when the strings were last changed, change them now before doing any other setup work. ### Gauges Explained Five-string banjo strings are typically sold in light (.009–.020), medium-light (.010–.022), and medium (.011–.022) gauges. For most beginners playing bluegrass or folk: - **Light gauge (.009 sets)**: easiest on fingertips, slightly less volume and projection, great for learning - **Medium-light (.010 sets)**: the most popular all-around choice, a good balance of playability and tone - **Medium gauge**: fuller tone and more volume, but harder to bend and fret for new players ### Recommended String Brands for Beginners Several brands are consistently recommended by experienced players and teachers. [GHS](https://www.sweetwater.com/c1078--GHS--Banjo_Strings) (a brand our own [Tony Trischka](https://artistworks.com/tony-trischka) uses) and [D’Addario EJ55](https://www.daddario.com/products/ej55-5-string-banjo-strings-phosphor-bronze-medium-10-23?srsltid=AfmBOooSl9_0a0wQ5HgJ5qNuz4uhAZn2vOOuMLRTmCQWYeIX_mdJ2BZ7) phosphor bronze medium-light sets are popular choices and offer excellent consistency. ### How Often to Change Strings A reasonable guideline for regular players is every 1–3 months depending on how often you are playing. Here are some telltale signs its time to change your strings out: - Strings feel rough or gritty under the fingers - The tone sounds dull and lifeless - Your banjo won’t stay in tune even after careful adjustment. ## Banjo Tone Adjustment: Dialing In Your Sound ![](https://blog.artistworks.com/wp-content/uploads/2026/03/14.png "14 - ArtistWorks Blog")**Banjo tone adjustment** involves a combination of setup variables working together: head tension, bridge type and placement, string gauge, and the coordinator rods inside the pot. Understanding which lever to pull for which result helps you develop a more intentional approach to your sound. ### The Coordinator Rods Inside the banjo pot, most instruments have one or two coordinator rods running lengthwise. These rods perform two functions: they maintain the structural integrity of the pot, and adjusting them changes the neck angle relative to the head, which affects both action and tone. Tightening the rear rod (closest to the tailpiece) lowers the neck angle and typically lowers action. Small adjustments of an eighth of a turn at a time are all that’s needed. Be conservative; over-tightening can warp the pot. ### Tailpiece Adjustment The tailpiece angle affects how much downward pressure the strings exert on the head, called the “break angle.” More break angle generally means more volume and sustain but also increases string tension at the nut. Many entry-level banjos have a fixed tailpiece; adjustable tailpieces on mid-range instruments offer more tonal flexibility. If yours is adjustable, start with the factory setting and experiment gradually. ### Tone Ring Considerations Entry-level banjos often have either no tone ring or a simple cast ring. Higher-end instruments feature bell bronze tone rings, including the “flathead” and “archtop” designs associated with Gibson Mastertone-style instruments that defined classic bluegrass tone. Tone ring swaps are advanced modifications well beyond beginner setup, but understanding their contribution helps explain why two banjos of similar construction can sound dramatically different. ## Ongoing Banjo Maintenance Tips ![](https://blog.artistworks.com/wp-content/uploads/2026/03/16.png "16 - ArtistWorks Blog")Setup is not a one-time event. Good **banjo maintenance tips** become habits that keep your instrument in peak condition year-round. ### After Every Playing Session - Wipe down strings with a clean cloth to remove oils and sweat, which corrode strings and cause them to go false faster. - Give the neck and body a light wipe-down with a soft polishing cloth. ### Monthly Check-In - Check tuning stability. If the banjo is drifting more than usual, look at the tuner pegs for slipping and check for nut slot wear. - Check bridge position, as it can shift with string changes or temperature swings. - Check head tension, as humidity changes (especially seasonal ones) can affect it noticeably. ### Seasonal Considerations Wood and synthetic head material both respond to humidity. In dry winter months, banjo necks can shift slightly and heads can tighten unexpectedly. In humid summers, the opposite happens. Keeping your banjo in a case with a humidifier in very dry climates helps preserve the neck and prevent head cracking. A stable environment of 45 to 55 percent relative humidity is ideal. ### Fretboard Conditioning Unfinished ebony and rosewood fretboards benefit from occasional conditioning with a small amount of lemon oil or a dedicated fretboard conditioner. Apply sparingly with a cloth, let it sit for a few minutes, then wipe off the excess. Do this every six months or when the wood starts to look dry and gray. Do not use lemon oil on finished (lacquered) fretboards. ### When to See a Luthier Some tasks are best left to a professional: nut replacement or re-slotting, fret leveling and crowning, significant truss rod adjustments, and any structural repairs. A setup appointment with a good luthier (typically $40–$80) is worthwhile when you first acquire an instrument and annually if you’re playing regularly and taking your progress seriously. ## Common Setup Mistakes (and How to Avoid Them) ### Mistake #1: Changing the Bridge Before Checking Head Tension Head tension affects how the bridge acoustically couples to the head. Always get head tension in the right range before finalizing bridge placement and intonation work. ### Mistake #2: Moving the Bridge While Strings Are Off The bridge is held in place by string tension. Always re-string first, get approximately in tune, then make fine bridge position adjustments with the strings at pitch. ### Mistake #3: Ignoring the Fifth String Beginners often focus only on the four main strings and wonder why their G drone sounds out of tune at different positions. Check fifth-string intonation at the fifth-string pip or capo separately from main bridge work. ### Mistake #4: Over-Tightening the Head More tension is not always better. Excessively tight heads produce a thin, snare-drum-like sound with no warmth, and they risk cracking. Work gradually and test frequently. ### Mistake #5: Skipping the Setup on a Budget Banjo Factory-set entry-level instruments frequently leave the factory with action that’s too high, bridges not in the optimal position, and heads that haven’t been properly tensioned. Even a basic setup pass on a $200 banjo can make it feel and sound dramatically better than it did out of the box. For a deeper technical reference on action and intonation, topics we’ll touch on throughout this guide, [our intonation guide to banjo](https://blog.artistworks.com/five-string-banjo-setup-action-and-intonation-guide/) is an excellent companion resource. ## Next Steps: Start Playing With Confidence Our solid **banjo setup guide** gives you the foundation to make your instrument work with you, not against you. Once your banjo is properly set up with head tension dialed in, bridge placed correctly, fresh strings installed, and action comfortable under your fingers, you’re ready to focus entirely on what matters most: learning to play. That’s where great instruction comes in. Our [banjo schools at ArtistWorks](http://go.artistworks.com/banjo) offers world-class online lessons with award-winning instructors who have spent decades on stage and in the studio. Through our signature Video Exchange Learning® platform, you can submit videos of your playing and receive personalized video feedback directly from your instructor, a level of mentorship that’s rare in online music education. Whether you’re learning Scruggs-style three-finger picking from [Tony Trischka](https://artistworks.com/tony-trischka), old-time clawhammer technique from [Allison DeGroot](https://artistworks.com/allison-degroot), or melodic banjo with [Alison Brown](https://artistworks.com/alison-brown), or single string style with [Noam Pikelny](http://artistworks.com/noam-pikelny), having a properly set-up instrument and access to expert guidance changes everything about how quickly and enjoyably you progress. We encourage you to check out all the great content from our instructors in our [2026 Banjo Month](http://go.artistworks.com/banjo-month-2026) programming to learn more. Ready to get serious with banjo? [Start a free trial at ArtistWorks ](http://go.artistworks.com/banjo)and learn with personal guidance from an instructor who plays at the highest level of the craft. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** banjo, beginner --- ### [Essential Banjo Rolls: The Complete Guide You Need To Know](https://blog.artistworks.com/essential-banjo-rolls-the-complete-guide-you-need-to-know/) **Published:** March 5, 2026 **Author:** ArtistWorks **Content:** If you’ve moved past the basics and are ready to make your playing sound truly fluid and musical, mastering **essential banjo rolls** is the skill that will get you there. Rolls (those repeating, cyclical right-hand picking patterns that define the Scruggs style of bluegrass banjo) aren’t just exercises. They’re the engine of your sound. And at the intermediate level, the difference between playing notes and playing *music* almost always comes down to how deeply you’ve internalized these patterns. In this guide, we’ll break down the most important banjo rolls, show you how to practice them effectively, work through common mistakes that trip up intermediate players, and give you real exercises to weave these patterns into actual tunes. ## Table of Contents 1. [What Are Banjo Rolls and Why They Matter](#what-are-banjo-rolls) 2. [The Essential Banjo Rolls Every Intermediate Player Needs](#essential-rolls) - [The Forward Roll](#forward-roll) - [The Backward Roll](#backward-roll) - [The Alternating Thumb Roll](#alternating-thumb) - [The Forward-Reverse Roll](#forward-reverse) - [The Foggy Mountain Roll](#foggy-mountain) 3. [How to Practice Banjo Rolls Effectively](#how-to-practice) 4. [Exercises to Drill into Your Playing](#exercises) 5. [Common Mistakes and How to Fix Them](#common-mistakes) 6. [Applying Rolls to Real Songs](#advanced-applications) 7. [Take Your Rolls Further with Expert Instruction](#cta) ## What Are Banjo Rolls and Why They Matter A banjo roll is an eight-note picking pattern played by the thumb (T), index finger (I), and middle finger (M) of the right hand across the five strings of the banjo. In 4/4 time, each eight-note roll fills one measure, creating a cascading, harp-like texture that is the hallmark of three-finger bluegrass picking. The patterns were popularized by Earl Scruggs in the 1940s and have since become the foundational vocabulary of bluegrass banjo. Understanding the mechanics of each roll, and more importantly, how to transition between them fluidly, separates intermediate players who can *replicate* patterns from those who can *improvise* and *adapt* them in real time. For a broader look at where rolls fit within the full spectrum of banjo technique, check out this overview of [advanced banjo techniques](https://blog.artistworks.com/10-advanced-banjo-techniques/) on the ArtistWorks blog. ## The Essential Banjo Rolls Every Intermediate Player Needs There are roughly a dozen recognized banjo roll patterns, but intermediate players should prioritize five. These cover the majority of bluegrass repertoire and form the building blocks for more complex variations. ### The Forward Roll The forward roll follows a T–I–M–T–I–M–T–I sequence across strings 3, 2, and 1 (with the thumb occasionally dropping to string 5). It’s the most commonly used pattern in bluegrass and produces a bright, cascading sound moving from low strings to high. **Pattern:** T (3rd string) – I (2nd string) – M (1st string) – T (5th string) – I (1st string) – M (2nd string) – T (3rd string) – I (1st string) Practice the forward roll over an open G chord first. Once you can play it clean at 60 BPM, try adding a simple chord melody by fretting a D chord on the 4th beat. ### The Backward Roll The reverse of the forward roll, the backward roll moves from high strings to low: M–I–T–M–I–T–M–I. It creates a descending texture that works beautifully as a contrast to the forward roll and is especially effective in slower, melodic passages. **Pattern:** M (1st string) – I (2nd string) – T (3rd string) – M (1st string) – I (2nd string) – T (5th string) – M (1st string) – I (2nd string) ### The Alternating Thumb Roll The alternating thumb roll is one of the most versatile patterns you’ll learn. Rather than a continuous cascade, it features the thumb alternating between the 3rd and 5th strings while the index and middle fill in between. **Pattern:** T (3rd) – I (2nd) – M (1st) – T (5th) – M (1st) – I (2nd) – T (3rd) – M (1st) The alternating thumb roll exercises your right-hand independence significantly more than forward or backward rolls because the thumb must jump between non-adjacent strings without disrupting the rhythmic evenness of the pattern. A common exercise is to loop the pattern slowly with a metronome. Focus on keeping the thumb movement relaxed and minimal. The thumb shouldn’t lift high off the strings. Instead, think of it as brushing past each string. **Alternating thumb roll exercises to try:** - Play the pattern over G, C, and D chords in sequence, changing chords every four beats. - Set a metronome to 70 BPM. Play 4 repetitions of the alternating thumb roll, then rest 4 beats. This trains both muscle memory and the ability to “re-enter” the pattern cleanly. - Practice the alternating thumb roll while watching only your left hand — your right hand should know where to go without visual confirmation. ### The Forward-Reverse Roll The forward-reverse roll (also called the forward-backward roll) combines the first half of the forward roll with the second half of the backward roll, creating a pattern that pivots in the middle. **Pattern:** T (3rd) – I (2nd) – M (1st) – I (2nd) – T (3rd) – I (2nd) – M (1st) – I (2nd) Forward-reverse roll variations are especially useful for melodic banjo playing and for playing around chord tones because the pattern keeps returning to the index finger on the 2nd string, which acts as a rhythmic anchor. This gives you more options for where to place melodic notes without disrupting the roll’s feel. Try this variation: On beat 3 of the pattern, fret the 2nd string at the 3rd fret (creating a B note over a G chord). This simple change immediately makes the roll sound more melodic and intentional. ### The Foggy Mountain Roll Named after Earl Scruggs’ signature tune “Foggy Mountain Breakdown,” this roll is the one that most players recognize as the quintessential Scruggs sound. **Pattern:** T (3rd) – I (2nd) – T (5th) – I (1st) – M (1st) – T (3rd) – I (2nd) – M (1st) What makes this roll distinctive is the double thumb movement early in the pattern (T on the 3rd, then T again on the 5th), followed by I and M landing close together. It creates a rhythmic lurch that feels syncopated and driving. Mastering this roll is a rite of passage for any serious bluegrass player. ## How to Practice Banjo Rolls Effectively Knowing what the rolls are and being able to play them fluently are two very different things. The gap is closed through deliberate practice — not just repetition, but the *right kind* of repetition. Here’s how to practice banjo rolls effectively. ### Start Slower Than You Think You Need To The most common mistake intermediate players make is practicing at tempo before their hands are ready. If you’re making errors at 80 BPM, drop to 60 BPM or even 50 BPM. Clean slow reps build the neural pathways that support fast, accurate playing later. Speed is a byproduct of accuracy, not a goal in itself. ### Use a Metronome, But Not Just on the Beat Practicing with the metronome clicking on beats 2 and 4 (rather than 1 and 3) is a simple trick that dramatically improves your internal sense of rhythm. Set the metronome to half the tempo you think you need. If you want to play at 100 BPM, set the metronome to 50 BPM and treat each click as beats 2 and 4. This forces you to internalize the subdivision rather than relying on the click as a crutch. ### Practice Transitions, Not Just Isolated Patterns A roll in isolation is an exercise. A roll in context is music. Once you can play each roll cleanly, the real work begins: transitioning between them mid-song without losing the rhythmic flow. A good drill is to set a timer for 30 seconds and alternate between two rolls every two measures. Try forward roll → alternating thumb roll, or foggy mountain → forward-reverse. ### Record Yourself Your ears adapt to your own playing and stop catching errors that are plainly obvious on a recording. Even a simple phone recording can reveal uneven rhythms, muted strings, or inconsistent tone between fingers that you might not notice in the moment. ## Exercises to Drill Into Your Playing ### The Roll Chain Drill Play each of the five rolls above in sequence, two measures each, over an open G chord. Don’t stop between rolls — the goal is seamless transitions. Start at 60 BPM and increase by 5 BPM each week. This single exercise covers all five essential patterns and their transitions in one session. ### The Chord Change Roll Drill Choose one roll, like the forward roll. Play it continuously while moving through a basic I–IV–V progression in G (G – C – D). Change chords every two measures. Your right hand keeps rolling; your left hand does all the work. This teaches you to subordinate chord changes to the roll rather than breaking the picking pattern to accommodate them. ### The Isolation Drill Play your chosen roll, but fret only one chord tone. For example, hold down only the 2nd fret of the 3rd string (an A note over a G chord). Listen to which beats of the roll land on that fretted note and which land on open strings. This trains your ear to hear the roll not as a mechanical pattern but as a sequence of musical events you can control. ## Common Mistakes and How to Fix Them #### Mistake 1: Uneven Note Volume Between Fingers Most players’ middle fingers produce a softer tone than their index or thumb. This creates a “limp” on every third note of the roll. Fix: Practice isolated M-finger plucks until the tone matches your I finger in both volume and clarity. #### Mistake 2: Anchoring the Pinky or Ring Finger Too Rigidly Many players anchor their ring or pinky finger on the banjo head for stability. A light anchor is fine; a rigid, tense anchor restricts your wrist and kills tone. Think of the anchor as a resting point, not a brace. Your wrist should still have some freedom to rotate. #### Mistake 3: “Memorizing” Rolls Without Internalizing Them You can memorize the T–I–M sequence for the forward roll in an afternoon. But true internalization (where the pattern runs automatically while your conscious attention is on melody, chords, and expression) takes weeks of consistent, deliberate repetition. Don’t rush this stage. The plateau is part of the process. #### Mistake 4: Neglecting the 5th String The 5th string (the short drone string) is what makes the banjo sound like a banjo. Rolls that never or rarely use the 5th string lose their characteristic ring. Make sure your alternating thumb roll and foggy mountain roll exercises specifically drill the thumb’s movement to the 5th string. #### Mistake 5: Practicing Rolls in Isolation Too Long Rolls are a means to an end. After learning each pattern, apply it to actual tunes as quickly as possible. Even simple songs like “Cripple Creek” or “Banjo in the Hollow” can be played with variations of just two or three roll patterns. Real music gives the patterns context and purpose. ## Applying Rolls to Real Songs Once you’ve internalized these essential rolls, the next frontier is understanding how professional players choose which roll to use and when to switch. In the Scruggs tradition, the roll choice is often dictated by which chord tones fall on the strong beats of the measure. If the melody note lands on beat 1, you might choose a roll that starts on the string carrying that melody note. If the melody note falls on beat 3, you might use a forward-reverse pattern to accent it. This is where studying with an experienced instructor makes a profound difference. Seeing and hearing how a master player thinks about roll selection in real songs accelerates your learning dramatically. [ArtistWorks’ online banjo school](http://go.artistworks.com/banjo) offers exactly this kind of deep, mentor-level instruction, with the added benefit of personalized video feedback so your instructor can hear your actual playing and respond directly to what you need to work on. ## Take Your Rolls Further with Expert Instruction Essential banjo rolls are not something you learn once and check off the list. They’re a lifelong practice that deepens as your musicianship grows. The players who sound truly effortless are players who spent years ingraining these patterns until they became automatic. The fastest path to that level isn’t just more repetition. It’s feedback from someone who can hear what you’re doing, identify what’s holding you back, and give you the specific correction you need. That’s what sets ArtistWorks apart. With our **Video Exchange** system, you can submit a video of your playing, get personalized feedback from a world-class banjo instructor, and join a community of serious players all working toward the same goal — making the music sound like music. Whether you’re drilling alternating thumb roll exercises with a metronome, exploring forward-reverse roll variations in the context of a song, or just trying to figure out how to practice banjo rolls effectively without spinning your wheels, the answers are in the patterns themselves. Learn them slowly, apply them musically, and get feedback on your progress. That’s the whole formula. Be sure to check out all of our [Banjo Month](http://go.artistworks.com/banjo-month-2026) programming in March and explore the curriculums from our esteemed faculty including[ Tony Trischka](https://artistworks.com/tony-trischka), [Alison Brown](https://artistworks.com/alison-brown), [Noam Pikelny](https://artistworks.com/noam-pikelny) and [Allison de Groot](https://artistworks.com/allison-degroot). Ready to get started? [Start a free trial at ArtistWorks and learn with personal guidance](http://go.artistworks.com/banjo). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** banjo, bluegrass --- ### [How to Practice Piano Efficiently: A Smarter Roadmap for Serious Beginners](https://blog.artistworks.com/how-to-practice-piano-efficiently-a-smarter-roadmap-for-serious-beginners/) **Published:** February 24, 2026 **Author:** ArtistWorks **Content:** If you’ve ever sat down at the keyboard and wondered why an hour of practice didn’t seem to move the needle, you’re not alone. Learning **how to practice piano efficiently** is the single skill that separates students who plateau from students who progress steadily, and it has very little to do with how many hours you log. It’s about *how* you use them. Whether you’re stealing thirty minutes before work or carving out a weekend session, the right structure, paired with personal guidance from a world-class instructor at [ArtistWorks](https://artistworks.com/), can transform your playing faster than you might expect. ## Table of Contents 1. [Why Efficient Practice Matters More Than Long Sessions](#why-efficiency-matters) 2. [Building Effective Piano Practice Routines](#effective-routines) 3. [Improving Muscle Memory on Piano](#muscle-memory) 4. [Piano Practice Tips for Busy Adults](#tips-busy-adults) 5. [Common Mistakes That Slow Your Progress](#common-mistakes) 6. [How ArtistWorks Helps You Practice Smarter](#how-artistworks-helps) 7. [Conclusion](#conclusion) ## Why Efficient Practice Matters More Than Long Sessions Research in motor learning consistently shows that **deliberate, focused practice** outperforms mindless repetition by a wide margin. As psychologist K. Anders Ericsson’s landmark work established, deliberate practice focused on correcting specific weaknesses [outperforms unfocused repetition at virtually every skill level ](https://pmc.ncbi.nlm.nih.gov/articles/PMC6824411/)— and music is no exception. Quality truly trumps quantity every time. For beginner pianists especially, unstructured practice reinforces errors. Every time you play a passage incorrectly and move on, you’re teaching your hands the wrong motion. Efficient practice means catching mistakes early, correcting them deliberately, and encoding the right movements from day one. ## Building Effective Piano Practice Routines A well-structured session doesn’t need to be long — but it does need a clear arc. Think of your practice time in four distinct phases. Consistent routines also reduce the mental friction of “what should I work on today?” so you can get straight to playing. ### The Warm-Up Phase (5–10 minutes) Begin every session by gently waking up your hands and mind. Good warm-up options include: - **Pentascale runs** up and down the keyboard in every key, hands separately then together - **Simple contrary-motion scales** starting from middle C, which build symmetrical hand coordination Keep the tempo comfortable. The goal here is circulation, focus, and connection — not speed. ### Focused Skill Work (15–20 minutes) This is the heart of your session. Choose *one* technical challenge or short passage and work on it with full concentration. Techniques that actually work: #### Chunk and Isolate Break a difficult measure into two- or four-note groups. Perfect each group before connecting them. Trying to fix a whole phrase at once is one of the most common inefficiencies beginners fall into. #### Hands Separately First Even if a passage feels manageable hands-together, drilling each hand alone ingrains independent coordination and reveals fingering problems you’d otherwise mask. This is a principle stressed by leading pedagogues and a cornerstone of classical piano training at every level. #### Slow Practice with a Metronome Set the metronome to roughly 60% of your target tempo. A consistent, slow tempo forces your brain to make deliberate decisions about fingering and touch rather than guessing through passages. Once you can play something perfectly three times in a row at slow speed, increase by 4–5 BPM and repeat. ### Repertoire and Application (10–15 minutes) After technical work, spend time on a piece you’re actively learning or one you enjoy. This is where your skills get applied in a musical context. If you’re unsure where to start, [this list of easy piano songs for adult beginners](https://blog.artistworks.com/easy-piano-songs-for-adult-beginners/) is a great launching pad — pieces that are genuinely fun to play while still building real technique. ### Cool-Down and Review (5 minutes) End with something you already know well and enjoy playing. This closes the loop neurologically — you’re ending on a positive, confident note. Briefly journal or voice-memo one thing you improved and one thing to target tomorrow. This reflection habit compounds over weeks. ## Improving Muscle Memory on Piano Muscle memory is really *motor memory* — procedural pathways stored in the cerebellum and basal ganglia that let your hands execute familiar patterns without conscious effort. **Improving muscle memory on piano** is the long game, and it rewards patients who practice with intention. Here are the principles that actually accelerate motor learning: ### Repeat Correctly, Not Just Frequently Every repetition either reinforces a correct pattern or an incorrect one. Before you loop a passage, make absolutely sure you’re playing it right — even if that means going painfully slowly. Ten correct repetitions are worth more than a hundred sloppy ones. ### Use Spaced Repetition Return to the same passage across multiple sessions rather than drilling it into the ground in a single day. Your brain consolidates motor skills during sleep, so something practiced on Monday and revisited on Wednesday will feel cleaner than something you drilled for two hours straight. ### Practice Without Looking As soon as you’re comfortable with a passage, begin transitioning your gaze away from your hands. This forces tactile and proprioceptive feedback — the sense of where your fingers are in space — to take over, which is exactly what muscle memory is built on. ### Visualize the Music Away from the Piano Mental practice is real practice. Studies on motor learning have found that imagining a physical movement activates many of the same neural pathways as executing it. Run through a challenging passage in your mind (hearing every note, feeling the key weight, etc.) and you’ll often return to the piano with improved coordination. ## Piano Practice Tips for Busy Adults The biggest obstacle for adult beginners isn’t talent — it’s time. Here are piano practice tips for busy adults that actually work with a full schedule: ### Embrace the 20-Minute Session A focused 20-minute practice beats a distracted 60-minute one every day of the week. You can make meaningful progress on a single technical challenge in that time, especially if you’ve pre-planned what to work on. ### Practice at the Same Time Every Day Consistency builds habit. Even 15–20 minutes at the same time — before your morning coffee, during a lunch break, after dinner — creates a ritual that’s easier to maintain than sporadic long sessions. ### Keep Your Materials Open and Accessible If your sheet music is buried or your keyboard is in a closet, setup friction eats your practice time. Leave your music on the stand. Keep your instrument accessible. Reduce the barriers to sitting down. ### Use Video Exchange Learning for Accountability One of the most powerful tools for busy adult learners is structured feedback. [ArtistWorks’ Video Exchange Learning®](https://artistworks.com/) platform lets you record your practice and submit it to your instructor, who will review it and send back personalized video feedback at your own pace — no scheduling conflicts, no fixed lesson times. This kind of personal guidance keeps you on track even when life gets busy. ## How to Practice Piano Efficiently with ArtistWorks ArtistWorks brings together a faculty of world-class pianists to guide you through every stage of your journey. Our unique **Video Exchange Learning®** system means your instructor will review your playing personally and respond with individualized feedback — not generic tips, but specific, actionable guidance tailored to your hands, your music, and your goals. Our piano faculty covers a wide range of styles and skill levels, so you can learn within the genre that excites you most: ## **[Zachary Deak](https://artistworks.com/beginner-piano)** The ideal starting point for new pianists. Zachary’s beginner piano school is built to give you a confident, well-rounded foundation from your very first session. ## **[Christie Peery](https://artistworks.com/christie-peery)** For students drawn to the classical tradition and the rich repertoire that comes with it. ## **[Matt Rollings](https://artistworks.com/matt-rollings)** A Grammy-winning pianist and producer whose school is the destination for country and blues piano. ## [George Whitty](https://artistworks.com/george-whitty) For students who want to explore jazz harmony, improvisation, and contemporary styles. ## Conclusion: Start Practicing How to Practice Piano Efficiently Today Progress at the piano doesn’t have to be a mystery. When you structure your sessions around intentional warm-ups, focused technique work, and deliberate repetition, your playing responds. When you understand how muscle memory is built and protect it with correct, consistent practice, you stop running in circles. And when you have a world-class instructor providing personal guidance on your actual playing, the feedback loop accelerates everything. The best time to build smart practice habits is right now — before inefficient patterns have a chance to calcify. **Ready to put this into practice?** [Start a free trial at ArtistWorks](http://go.artistworks.com/piano) and experience what it feels like to learn with personal guidance from some of the finest piano educators in the world. Your instructor will review your playing, answer your questions, and help you build the exact habits this article has been pointing toward. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** piano --- ### [Effective Practice Routines for Intermediate Guitar Players](https://blog.artistworks.com/effective-practice-routines-for-intermediate-guitar-players/) **Published:** February 18, 2026 **Author:** ArtistWorks **Content:** There is a specific, often frustrating moment in every guitarist’s journey where the rapid gains of the beginner phase start to taper off. You know your open chords, your pentatonic shapes are under your fingers, and your rhythm is dependable. But suddenly, progress feels stagnant. To break through to the next level of artistry, you need more than just “playing” your guitar. You need a structured, conservatory-level approach. Developing intentional **practice routines for intermediate guitar players** is the definitive bridge between being a hobbyist and becoming a true musician. At [ArtistWorks](https://artistworks.com/), we believe that with the right personal guidance and a disciplined schedule, every player has the potential to reach virtuosity. ## Table of Contents - [The Philosophy of Intermediate Growth](#philosophy) - [Creating a Daily Guitar Practice Schedule](#daily-schedule) - [Exercises for Speed and Accuracy](#speed-accuracy) - [Fretboard Visualization Techniques](#visualization) - [Integrating Music Theory into Practice](#theory) - [The ArtistWorks Advantage: Personal Guidance](#video-exchange) - [Conclusion](#conclusion) ## The Philosophy of Intermediate Growth As an intermediate player, your greatest challenge isn’t a lack of information—it’s often a lack of structure. In the beginning, everything is new, so every minute spent with the instrument yields a high ROI. Once you hit the intermediate stage, you must transition from “generalist” to “specialist.” This requires a shift in mindset: moving away from mindless noodling and toward deliberate practice. Our world-class faculty, featuring legends like [Keith Wyatt](https://artistworks.com/keith-wyatt) and [Guthrie Trapp](https://artistworks.com/guthrie-trapp), will show you that a professional-grade routine balances technical maintenance with creative exploration. When you transition to a more serious study path, you are refining the mechanics of your instrument and the depth of your musical ear. ## Creating a Daily Guitar Practice Schedule To see tangible results, your **daily guitar practice schedule** should be divided into focused “blocks.” This prevents mental fatigue and ensures you are addressing all facets of your musicianship. If you have 60 to 90 minutes a day, consider the following breakdown to maximize your efficiency: ### 1. The Physical Warm-Up (10-15 Minutes) Never skip the warm-up. This isn’t just about preventing repetitive strain injury; it’s about “syncing” your left and right hands. Start with chromatic permutations (1-2-3-4 patterns) across the neck at a slow, deliberate tempo. Focus on minimum finger movement—keep your fingertips as close to the frets as possible. This builds the foundation for the more advanced **practice routines for intermediate guitar players** you will tackle later in the session. ### 2. Technical Maintenance (20 Minutes) This block is dedicated to refining your mechanics. Whether it’s alternate picking, sweep picking, or fingerstyle independence, this is the time to use a metronome. Start at a “comfortable-plus” tempo—fast enough to be challenging, but slow enough to maintain perfect form. ### 3. Musical Application (30 Minutes) This is where you work on your repertoire or specific [online guitar lessons](https://go.artistworks.com/guitar). Rather than playing a song from start to finish, isolate the “trouble spots.” Use the “looping” technique: take a difficult four-bar transition and play it perfectly ten times in a row before moving on. This builds muscle memory that holds up under the pressure of performance. ## Guitar Exercises for Speed and Accuracy Speed is a byproduct of accuracy and relaxation. To develop the fluid velocity seen in master players, you must eliminate wasted motion. One of the most effective **guitar exercises for speed and accuracy** is the “Burst Method.” ### The Burst Method Instead of trying to play a long passage fast, play a short four-note grouping as a “burst” of 16th or 32nd notes, then rest for a beat. This trains your nervous system for rapid firing while allowing your muscles to relax between bursts. Gradually increase the number of notes in the burst until you can play the entire phrase with ease. Another essential exercise is “string skipping.” Intermediate players often struggle with the right-hand precision required to jump over strings. Practice your major scales by skipping every other string (e.g., E string to D string, A string to G string). This forces your picking hand to develop a spatial map of the bridge, which is vital for improvising. ## Fretboard Visualization Techniques The neck of the guitar can feel like a labyrinth. **Fretboard visualization techniques** are designed to turn that labyrinth into a map. Most intermediate players are stuck in “box patterns,” but to play across the entire neck, you need to see the connections between shapes. Take a swing at some pentatonic patterns across the fretboard in this lesson from ArtistWorks instructor [Tyler Grant](https://artistworks.com/tyler-grant): ### The CAGED System and Beyond The CAGED system is the gold standard for connecting chord shapes to scale patterns. By visualizing the five basic open chord shapes (C, A, G, E, and D) across the neck, you can always find your “home base” regardless of where you are. However, don’t stop at chords. Try to visualize the “intervals” within those shapes. Knowing where the Major 3rd or the Flat 7th lies relative to the root note will transform your soloing from “guessing” to “knowing.” To further your visualization, practice the “Single String Challenge.” Play a familiar melody, like “Yesterday” or “Autumn Leaves,” entirely on one string. This breaks the vertical habit and forces you to see the intervals linearly, which is a key step toward true fretboard mastery. ## Integrating Music Theory into Practice Theory should never be a dry, academic exercise—it should be the “why” behind the “what.” When **integrating music theory into practice**, focus on how it changes your sound and emotional expression. For example, if you are studying the [essential blues scales every intermediate player must master](https://blog.artistworks.com/the-essential-blues-scales-every-intermediate-player-must-master/), don’t just run the scale up and down. Apply it to a backing track and focus on the “Blue Note” (the b5). Listen to how that specific interval creates tension and resolve. ### Ear Training as Theory A true intermediate player uses their ears as much as their fingers. Spend five minutes of your theory block on interval recognition. Can you hear the difference between a Major 6th and a Minor 7th? Working on this internal connection to the music is what separates mechanical players from soulful artists. ## The ArtistWorks Advantage: Personal Guidance The biggest hurdle in a self-taught **daily guitar practice schedule** is the lack of feedback. You might be practicing a technical flaw for months without realizing it. This is where [ArtistWorks](https://go.artistworks.com/guitar) changes the game through our patented **Video Exchange Learning** platform. When you join an ArtistWorks school, you aren’t just buying a library of videos. You are entering a true mentorship. You can record yourself performing an exercise or a difficult song and send it directly to your instructor. Then, **your instructor will review** your video and record a personalized response. They will point out nuances in your hand position, tone, and timing that you might have missed. This **personal guidance** ensures that every minute of your practice is moving you in the right direction. ## Conclusion: Consistency is Your Greatest Asset Mastering **practice routines for intermediate guitar players** is not about 10-hour marathon sessions. It’s about the quality and consistency of your daily engagement with the instrument. By structuring your time, focusing on accuracy, and seeking professional feedback, you will find that breaking through the “intermediate plateau” is simply a launching pad for your next great musical breakthrough. Are you ready to stop guessing and start growing? Your journey toward mastery deserves the best instruction available. [Start a free trial at ArtistWorks and learn with personal guidance.](https://artistworks.com/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** guitar --- ### [Best Blues Love Songs: Learn Expression, Phrasing, and Feel from the Masters](https://blog.artistworks.com/best-blues-love-songs-learn-expression-phrasing-and-feel-from-the-masters/) **Published:** February 14, 2026 **Author:** ArtistWorks **Content:** **The best blues love songs** have a way of cutting straight to the heart. Whether they are filled with longing, hope, or palpable heartbreak, these songs remind us that the blues is not just about sorrow. It is about honesty, connection, and deep emotional expression. As Valentine’s Day approaches and [Blues Month](https://go.artistworks.com/blues-month-2026) continues at ArtistWorks, we wanted to celebrate the songs that define what love sounds like in the blues tradition and explore what serious musicians can learn from them. These *classic blues love songs* do more than inspire us as listeners. They offer powerful lessons in phrasing, feel, tone, and restraint. These are the skills that transform good players into expressive musicians. --- ## Table of Contents - [Why Blues Love Songs Endure](#why-blues-love-songs) - [Six Best Blues Love Songs to Study](#six-best-blues-love-songs) - [What Musicians Can Learn from Blues Love Songs](#what-musicians-can-learn) - [Learn Blues Music with ArtistWorks](#learn-with-artistworks) - [Join the Conversation](#join-the-conversation) --- ## Why Blues Love Songs Endure Blues songs about love have lasted for generations because they tell the truth. They leave space. They breathe. They trust the listener to feel what is not said. Throughout blues music history, love songs are rarely flashy. Instead, they rely on: - Intentional phrasing - Dynamic contrast - Emotional restraint - Conversational call and response These qualities make romantic blues songs especially valuable for musicians who are learning blues music. They show us that expression matters more than speed and that feel matters more than complexity. --- ## Six Best Blues Love Songs That Define Expression and Feel We chose the songs below because they are widely recognized within the blues community, span multiple generations, and showcase different voices, instruments, and emotional approaches. *Note:* We intentionally selected video recordings whenever possible. While there may be cleaner studio audio available, seeing great musicians master their craft is just as important as hearing it. Watching posture, touch, phrasing, and interaction brings the music to life. ### I’d Rather Go Blind — Etta James Etta James delivers one of the most emotionally honest performances in blues history. Every phrase feels deliberate and shaped as much by what she’s singing…and what she leaves open for the listener to interpret. **Pay attention to the way she:** - Leaves space between phrases - Sings or plays slightly behind the beat - Lets emotion guide her phrasing choices ### Call It Stormy Monday — T-Bone Walker [Watch performance](https://www.youtube.com/watch?v=VAPDJheC0Jk&list=RDVAPDJheC0Jk&start_radio=1) This song is a cornerstone of blues guitar lessons for a reason. T-Bone Walker’s phrasing is melodic, conversational, and deeply intentional. **What musicians can learn:** - Call and response between voice and instrument - Long-form solo structure - Dynamic control in slow blues ### Three O’Clock Blues — B.B. King [Watch performance](https://www.youtube.com/watch?v=d9ozjCQkqZs&list=RDd9ozjCQkqZs&start_radio=1) B.B. King’s early recordings show how little it takes to say something meaningful. A single note, shaped by vibrato, can carry tremendous emotional weight. **Notice how B.B.:** - Uses vibrato as emotional punctuation - Chooses notes with intention - Lets phrases resolve naturally ### All Your Love (I Miss Loving) — Otis Rush [Watch performance](https://www.youtube.com/watch?v=628ToKymz5s&list=RD628ToKymz5s&start_radio=1) Otis Rush’s minor-key intensity shaped generations of blues guitarists. This song is raw, dramatic, and deeply expressive. **What musicians can learn:** - Building tension through bends - Using sustain and dynamics effectively - Expressive phrasing in minor blues ### It Hurts So Bad — Susan Tedeschi [Watch performance](https://www.youtube.com/watch?v=kRfh1M-0X-k&list=RDkRfh1M-0X-k&start_radio=1) Susan Tedeschi bridges classic blues feeling with modern sensibility. Her vocal phrasing and guitar work are powerful without overselling the emotion. **See how Susan:** - Builds dynamic over time - Balances strength and vulnerability - Roots modern blues phrasing in tradition ### Am I Wrong — Keb’ Mo’ [Watch performance](https://www.youtube.com/watch?v=cdQv5H_IeIU&list=RDcdQv5H_IeIU&start_radio=1) Keb’ Mo’ shows how intimate and conversational blues can be. This song feels like a quiet conversation, full of space and subtle groove. **What musicians can learn:** - Groove without rushing - Acoustic phrasing and touch - Storytelling through simplicity --- ## What Musicians Can Learn from the Best Blues Love Songs Across all six of these blues love songs, the lesson is clear. Expression matters more than excess. Whether you are studying blues guitar lessons, refining blues singing techniques, or exploring blues improvisation on another instrument, these songs reinforce essential fundamentals: - Play fewer notes, but mean them - Shape phrases like sentences - Use dynamics to create emotion - Leave room for the music to breathe These skills develop best with structure, feedback, and guidance. --- ## Learn Blues Music with ArtistWorks At ArtistWorks, students do more than watch lessons. They learn through interaction. With **Video Exchange Learning**, you submit a video of your playing or singing. **Your instructor will review** your performance and respond with personalized video feedback. This personal guidance helps you refine phrasing, improve feel, and build confidence faster. If today’s post inspired you, you can explore: - [Our full blues school offerings](https://go.artistworks.com/blues) - [Study blues guitar with Keith Wyatt](https://artistworks.com/keith-wyatt) - [Learn modern blues phrasing with Seth Rosenbloom](https://artistworks.com/seth-rosenbloom) - [Explore all ArtistWorks schools](https://artistworks.com/schools) **Start a free trial at ArtistWorks and learn with personal guidance.** --- ## Join the Conversation We would love to hear from you. What are your favorite blues love songs? Which performances taught you the most about feel, phrasing, or expression? Leave a comment below and save our full [Best Blues Love Songs playlist](https://open.spotify.com/playlist/7cUWSrysUMgeShcz81xm3c?si=xKltE99JRt-M-Z9ANJffCQ) to keep the inspiration going. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** blues, inspiration, love, valentine's --- ### [Mastering Time: The Best Metronome Exercises for Guitarists to Build Speed and Accuracy](https://blog.artistworks.com/mastering-time-the-best-metronome-exercises-for-guitarists-to-build-speed-and-accuracy/) **Published:** February 11, 2026 **Author:** ArtistWorks **Content:** Many players view the metronome as a cold, mechanical judge—a ticking constraint that highlights every mistake. However, at [ArtistWorks](https://artistworks.com/), we believe the metronome is your most reliable rhythm section. It is the tool that transforms sloppy riffing into a professional “pocket.” Whether you are studying bluegrass flatpicking or classical etudes, developing an internal clock is non-negotiable. In this guide, we will explore the **best metronome exercises for guitarists** designed to solidify your timing, increase your speed, and help you play with the confidence of a seasoned pro. We will also discuss how our unique [Video Exchange Learning®](http://go.artistworks.com/guitar) platform allows you to get personalized feedback on your timing from world-class masters. ## Table of Contents - [Why You Can’t Ignore the Click](#why-metronome) - [Setting Up: The Golden Rules of Metronome Practice](#setting-up) - [Beginner Guitar Metronome Exercises: The Subdivision Ladder](#beginner-exercises) - [Guitar Speed Building Exercises with the Metronome](#speed-building) - [The 10-Minute Metronome Workout for Guitar](#workout) - [Why Feedback Matters: The ArtistWorks Difference](#feedback) - [Conclusion](#conclusion) ## Why You Can’t Ignore the Click ![](https://blog.artistworks.com/wp-content/uploads/2026/02/metronome2.png "metronome2 - ArtistWorks Blog") Rhythm is the most primal element of music. You can play the wrong note and call it “jazz,” but if you play out of time, the music falls apart. For serious guitar learners, the metronome serves three critical functions: 1. **Accountability:** It reveals micro-fluctuations in your tempo that you might not hear on your own. 2. **Measurement:** It provides a tangible metric for progress. Moving from 80 BPM (Beats Per Minute) to 90 BPM is a clear victory. 3. **Relaxation:** Paradoxically, playing with a click forces you to relax. Tension kills speed. To lock in with the beat, you must loosen your grip and breathe. Instructors will frequently emphasizes that rhythm isn’t just about math—it’s about physical movement. When you practice **guitar timing exercises with a metronome**, you you are calibrating both your ears and your hands to be more accurate and efficient. ## Setting Up: The Golden Rules of Metronome Practice Before diving into the exercises, ensure your environment is conducive to conservatory-level focus. You need a metronome (a physical device or a reliable app), your guitar, and a distraction-free zone. ### Find Your “Comfort Tempo” Never start at your top speed. Start at a tempo where you can play the passage perfectly, with zero tension. for many beginners, this might be as slow as 60 BPM. Mastery comes from slow, deliberate repetition. ### The “Click” is the Drummer Treat the metronome click as a snare drum or a hi-hat. Don’t fight it; groove with it. If you are playing an electric guitar, ensure your volume is balanced so the click doesn’t drown out your nuances, specifically your pick attack. ## Beginner Guitar Metronome Exercises: The Subdivision Ladder The most effective way to internalize rhythm is to change how you divide the beat while keeping the tempo constant. This exercise, known as the Subdivision Ladder, is one of the **best metronome exercises for guitarists** starting their journey. ### Step 1: Whole Notes (The Foundation) Set your metronome to 60 BPM. Pick a single note (e.g., the open Low E string or a G major chord). Play once every four clicks. Count out loud: *“ONE, two, three, four.”* **Goal:** strike the string exactly when the first click sounds. The note should “cover” the click so perfectly that the click seems to disappear. ### Step 2: Quarter Notes (The Walk) Now, play on every click. Count: *“1, 2, 3, 4.”* This is the pulse of the song. Focus on the downstroke. Ensure your pick moves through the string with authority but without tension. ### Step 3: Eighth Notes (The Jog) Play two notes for every click. Count: *“1-and, 2-and, 3-and, 4-and.”* Your downstroke hits on the number (the click), and your upstroke hits on the “and” (the space between clicks). ### Step 4: Triplets and Sixteenths Once you are comfortable, try three notes per beat (Triplets: *“1-trip-let, 2-trip-let”*) and four notes per beat (Sixteenths: *“1-e-and-a, 2-e-and-a”*). Cycling through these subdivisions without stopping the metronome is a hallmark of rhythmic control. ## Guitar Speed Building Exercises with the Metronome Speed is a byproduct of accuracy. If you can play clean at slow tempos, speed is simply a matter of reducing the twitch fibers’ reaction time. Here is a exercise you can try to build fluid speed across the fretboard. ### The “Burst” Method Continuous fast playing causes fatigue, which leads to bad form. The “Burst” method allows you to taste speed in short intervals. 1. **Set the Tempo:** Start at a moderate pace, perhaps 80 BPM. 2. **The Pattern:** Choose a simple 3-note-per-string scale pattern (like G Major). 3. **The Routine:** - Play the scale as **Eighth Notes** for one measure (1-and, 2-and…). - In the next measure, switch to a burst of **Sixteenth Notes** (double time) for just two beats, then revert to eighth notes. 4. **The Review:** Did you rush the burst? Did you tense your shoulder? If so, slow down. This method tricks your brain into accepting faster tempos without the stress of a long endurance run. It is excellent for building guitar speed with a metronome because it prioritizes recovery between bursts of speed. ## The 10-Minute Metronome Workout for Guitar Consistency beats intensity. You do not need hours a day, just a few focused minutes. Here is a structured **10 minute metronome workout for guitar** that covers timing, synchronization, and speed. TimeActivityFocus**0:00–2:00****Warm-up: Quarter Notes**Lock in with the click. Focus on tone and relaxation.**2:00–5:00****Subdivision Shifting**Switch between quarter, eighth, and triplet notes every 4 bars.**5:00–8:00****Scale Bursts**Use the “Burst” method described above on a pentatonic scale.**8:00–10:00****The “Gap” Test**Mute the metronome for 1 bar, keep playing, and see if you land on “1” when the volume returns.The “Gap” test mentioned in the final two minutes is the ultimate test of your internal clock. It forces you to feel the pulse internally rather than relying on the external sound. It is challenging, but it is one of the most effective **beginner guitar metronome exercises** for developing true rhythmic independence. ## Why Feedback Matters: The ArtistWorks Difference You can practice with a metronome for years, but a machine cannot tell you if your hand position is causing drag or if your pick angle is slowing you down. A metronome gives you the *tempo*, but a teacher gives you the *technique*. This is where ArtistWorks stands apart. Through our **Video Exchange Learning®** platform, you can record yourself performing these metronome exercises and submit the video to your instructor. whether you are studying with [Dave Isaacs](https://artistworks.com/dave-isaacs) or shredding with [Guthrie Trapp](https://artistworks.com/guthrie-trapp), your instructor will review your performance and send a personalized video response. They might say, “You’re hitting the beat, but you’re lifting your fingers too high off the fretboard, which will cost you speed later.” That level of personal guidance is unavailable on standard video sites or apps. It’s the closest experience to sitting in a room with a master musician. ## Conclusion Mastering the metronome is a journey, not a destination. By incorporating the **best metronome exercises for guitarists** into your daily routine, you are building a musical foundation that will support everything from campfire strumming to intricate solos. Remember, speed is just a byproduct of accuracy and relaxation. Don’t struggle in isolation. If you want to ensure your practice is paying off, let us help. At ArtistWorks, we connect you with the legends of music to guide your hand every step of the way. ### Ready to Master Your Instrument? Get personalized feedback on your playing from world-renowned master musicians. [Start a free trial at ArtistWorks and learn with personal guidance today.](http://go.artistworks.com/guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** guitar, metronome --- ### [Beginner Bass Tips for Bluegrass Players: Building a Solid Foundation](https://blog.artistworks.com/beginner-bass-tips-for-bluegrass-players-building-a-solid-foundation/) **Published:** February 3, 2026 **Author:** ArtistWorks **Content:** The upright bass is often called the heartbeat of a bluegrass band. While the banjo rolls and the fiddle soars, it is the bass that provides the rhythmic engine and the harmonic ground that holds everything together. If you are transitioning from electric bass or picking up the “doghouse” bass for the first time, the journey is both physically demanding and incredibly rewarding. In this guide, we will explore essential **beginner bass tips for bluegrass players** to help you build good habits, avoid injury, and start driving the band with confidence. At [ArtistWorks](https://artistworks.com/), we believe that the best way to learn is through structured guidance from master musicians. When you learn from a legend like [Missy Raines](https://artistworks.com/missy-raines), you aren’t just learning notes. You are inheriting a tradition. --- ## Table of Contents - [The Role of the Bass in Bluegrass](#role) - [Getting Your Setup Right](#setup) - [Essential Beginner Bass Tips for Bluegrass Players](#technique) - [Common Bluegrass Bass Patterns](#patterns) - [Listening to the Masters](#listening) - [Get Personal Feedback from Missy Raines](#feedback) --- ## The Role of the Bass in Bluegrass Before you play your first note, it is vital to understand your job in the ensemble. In bluegrass, the bass player functions almost like a drum kit. You provide the “boom” on the downbeats (beats 1 and 3 in 4/4 time), while the mandolin chop provides the “chick” on the offbeats (beats 2 and 4). This interplay creates the driving pulse that defines the genre. As a beginner, your primary goal is not speed or complexity—it is **timing** and **tone**. A simple bass line played with impeccable timing is infinitely more valuable to a jam session than a complex run played out of time. For a deeper dive into how your instrument interacts with the rest of the band, read our article on [the role of the upright bass in a bluegrass ensemble](https://blog.artistworks.com/role-upright-bass-bluegrass-ensemble/). ## Getting Your Setup Right The upright bass is a physically imposing instrument. One of the most common reasons beginners quit is physical pain caused by a poor setup. Unlike an electric bass, where the strings are close to the fretboard, an upright bass requires higher action to produce the acoustic volume needed for bluegrass. However, if the “action” (string height) is too high, you will struggle to press the strings down, leading to hand fatigue or injury. If you are renting or buying your first instrument, take it to a luthier who specializes in double basses. Ask for a “bluegrass setup,” which typically balances playability with the ability to pull a big, warm sound. For a broader look at the gear used in this genre, check out [the complete beginner’s guide to bluegrass instruments](https://blog.artistworks.com/the-complete-beginners-guide-to-bluegrass-instruments/). ## Essential Beginner Bass Tips for Bluegrass Players Developing proper technique early on is crucial. Bad habits on the upright bass are hard to break and can lead to tendinitis. Here are three foundational areas to focus on. ### 1. Posture and Balance Don’t let the bass hold you. **You hold the bass**. Stand with your feet shoulder-width apart. Adjust the endpin height so that the nut of the bass (where the fingerboard meets the scroll) is roughly at eye level. Lean the bass slightly back into your body so that it balances naturally against your left hip/groin area. You should be able to let go of the neck with your left hand without the bass falling over instantly. This ensures your left hand is free to navigate the fingerboard rather than holding the instrument up. ### 2. The Left Hand: The Claw Unlike electric bass or guitar, you do not use one finger per fret. On the upright bass, you may have heard of the “Simandl” method (fingers 1, 2, and 4) for the lower positions. Your ring finger (3) supports the pinky (4) but doesn’t fret notes independently in the lower register. Keep your hand shape like a claw, with the thumb resting on the back of the neck, roughly opposite your middle finger. ### 3. The Right Hand: The Pull In bluegrass, we don’t just pluck the strings–we *pull* them. Use the entire side of your index finger (sometimes reinforced by the middle finger) to catch the string and pull it across the fingerboard. The goal is to get the string moving in a wide vibration pattern to move as much air as possible. A good bluegrass bass tone is often described as “thumpy” and “woody.” **Pro Tip:** Focus on pulling *through* the string into the next string, rather than pulling *out* away from the bass. This creates a fatter, warmer tone. ## Common Bluegrass Bass Patterns Once you are comfortable holding the instrument, you need to learn **how to play bluegrass bass** lines that fit the songs. The vast majority of bluegrass tunes are built on the “Root-Five” motion. ### The Root-Five This is the bread and butter of bluegrass. If the chord is G Major: - **Beat 1:** Play the Root note (G). - **Beat 3:** Play the Fifth note (D). You alternate between these two notes. If the chord changes to C Major, you shift to playing the Root (C) and the Fifth (G). Mastering the location of the root and fifth for the G, C, and D chords will allow you to play along with thousands of bluegrass standards. ### Leading Tones and Runs To move smoothly from one chord to another, bass players often use “walk-ups” or “walk-downs.” These are short, scalular runs that lead the ear to the next chord change. For example, to move from a G chord to a C chord, you might play G, A, B, then land on C. While these runs are fun, use them sparingly. Most instructors will stress that the groove comes first. If a run causes you to lose the beat, it’s better to stick to the root and fifth. ## Listening to the Masters You cannot learn this music in a vacuum. To truly understand the bounce and drive of bluegrass bass, you must listen to the pioneers. Spend time listening to: - **[Missy Raines](https://www.youtube.com/watch?v=FpGWE7DJCFA&pp=ygUMbWlzc3kgcmFpbmVz)** (ArtistWorks instructor and first woman to win IBMA Bass Player of the Year) - **[Tom Gray](https://www.youtube.com/watch?v=DED78KWTxbE&list=RDDED78KWTxbE&start_radio=1)** (The Seldom Scene) - **[Roy Huskey Jr.](https://youtu.be/KdaxYYxyROY?si=bilXLOH4nHdcO954)** (Nashville session giant) Missy Raines is not just a player–she is a historian and innovator of the instrument. Her work has been recognized by the [Blue Ridge Music Center](https://www.blueridgemusiccenter.org/team-showcase/missy-raines/) and countless other institutions for bridging the gap between traditional bluegrass and modern acoustic music. ## Get Personal Feedback from Missy Raines Reading about technique is helpful, but nothing compares to having a world-class instructor watch you play and correct your form in real-time. This is where ArtistWorks stands apart. Through our unique **Video Exchange Learning®** platform, you can record yourself playing these beginner patterns or practicing your posture and submit the video to the site. Missy Raines will review your submission and record a personalized video response, offering specific advice, encouragement, and corrections tailored exactly to your playing. Whether you are struggling with hand pain, timing, or figuring out a specific bass run, this [personal guidance](https://go.artistworks.com/bluegrass) ensures you don’t develop bad habits that could hold you back for years. It is like having a conservatory-level lesson right in your living room. ### Start Your Journey Today Learning the upright bass is a journey of patience and passion. By focusing on your setup, mastering the root-five pulse, and listening to the greats, you will be holding down the low end at your local jam session in no time. Are you ready to take your playing to the next level? [Start a free trial at ArtistWorks and learn with personal guidance from Missy Raines today.](https://artistworks.com/missy-raines) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Bluegrass **Tags:** bass, bluegrass, missy raines --- ### [Sierra Hull is a 2026 Grammy Nominee and Presenter](https://blog.artistworks.com/sierra-hull-2026-grammy-nominee/) **Published:** February 1, 2026 **Author:** ArtistWorks **Content:** Sierra Hull is one of the most respected and forward-thinking artists in modern bluegrass — and this weekend, her impact on acoustic music takes center stage once again. With multiple GRAMMY nominations across bluegrass, Americana, and American roots categories, plus an invitation to serve as a presenter at the 2026 Grammy Awards Premiere Ceremony, Sierra Hull continues to shape the future of acoustic music while honoring its deepest traditions. At ArtistWorks, we are incredibly proud to work with Sierra as an instructor and mentor. Her musicianship, artistry, and generosity as a teacher embody everything we believe great music education should be. [**Learn from Sierra Directly with ArtistWorks**](https://artistworks.com/sierra-hull) --- ## Watch Sierra Hull at the 2026 Grammy Awards Premiere Ceremony The annual Grammy Awards Premiere Ceremony is where the majority of (and more genre-specific) Grammy Awards are presented. **The 2026 Grammy Awards Premiere Ceremony will stream live from Peacock Theater in Los Angeles on Sunday, February 1, at 12:30 p.m. PT / 3:30 p.m. ET** via the Recording Academy’s YouTube channel and live.GRAMMY.com. Sierra Hull is among the official presenters. [**Watch the Grammy Premiere Ceremony**](https://www.grammy.com/news/2026-grammys-premiere-ceremony-performers-presenters-host) Later that evening: **Watch The Grammy Awards – February 1, 2026** CBS / Paramount+ 5:00 PM PST • 8:00 PM EST --- ## Sierra Hull’s 68th Annual GRAMMY Nominations - **Best Instrumental Composition** “Lord, That’s A Long Way” - **Best Bluegrass Album** *A Tip Toe High Wire* - **Best American Roots Song** “Spitfire” - **Best Americana Performance** “Boom” ### Previous GRAMMY Nominations - **63rd Annual GRAMMY Awards** Best American Roots Song — “Ceiling To The Floor” - **59th Annual GRAMMY Awards** Best Folk Album — *Weighted Mind* These nominations reflect not only Sierra’s virtuosity, but her unique ability to blend technical mastery, emotional depth, and modern songwriting into a sound that resonates across genres. --- ## Why Studying With a GRAMMY-Nominated Artist Matters Watching great musicians perform is inspiring. Studying with them is transformational. Inside Sierra Hull’s ArtistWorks school, students gain access to more than repertoire and exercises. They learn how a world-class musician thinks about: - Tone production - Right- and left-hand efficiency - Phrasing and articulation - Improvisation concepts - Musical decision-making Most importantly, students receive *personal guidance* through Video Exchange Learning. You submit a video of your playing. Your instructor will review your performance and respond with personalized video feedback addressing technique, timing, tone, and musicality. This feedback loop allows students to build strong fundamentals, avoid bad habits, and progress with clarity and confidence. --- ## Sierra’s Teaching Goes Beyond Mandolin While students learn all of the foundations, intermediate, and advanced techniques in her school, Sierra’s teaching also reflects the same musical values that define her career: - Serve the song - Develop a personal voice - Build technique in service of expression - Stay curious Students often discover that improvement accelerates not because they are practicing more, but because they are practicing more intentionally. This mindset shift is one of the most powerful lessons a serious musician can receive. --- ## Study With Sierra Hull at ArtistWorks Sierra Hull’s full online school is available at: [**artistworks.com/sierra-hull**](https://artistworks.com/sierra-hull) New students can start with a **one-week free trial** and explore her structured curriculum, lesson library, and Video Exchange Learning experience. --- As Sierra Hull steps onto the Grammy stage as both nominee and presenter, we celebrate not only her achievements, but the generosity with which she shares her knowledge. If you have ever wanted to study with a GRAMMY-nominated artist who combines tradition, innovation, and deep musical wisdom, this is your opportunity. **Start a free trial at ArtistWorks and learn with personal guidance.** We are proud of you, Sierra. And we are honored to learn from you. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** GRAMMY, sierra hull --- ### [The Easiest Lap Steel Songs to Learn: Slide Guitar](https://blog.artistworks.com/the-easiest-lap-steel-songs-to-learn-slide-guitar/) **Published:** January 30, 2026 **Author:** ArtistWorks **Content:** There is something undeniably haunting and beautiful about the sound of a lap steel guitar. Whether it’s the soaring swells of a country ballad or the tropical lilt of a Hawaiian melody, the instrument speaks in a way that standard guitar cannot. If you are just beginning your journey, the initial hurdle can feel daunting—navigating a fretless board with a heavy metal bar requires a new set of motor skills. However, by selecting the **easiest lap steel songs to learn**, you can build your confidence and technique simultaneously. At ArtistWorks, we believe that with the right structured learning and world-class instruction, any student can master the nuances of the slide. Our mission is to provide you with the personal guidance necessary to turn those initial slides into soulful musical expressions. ### Table of Contents - [The Foundations: Tuning and Technique](#foundations) - [Top 5 Easiest Lap Steel Songs to Learn](#easy-songs) - [Key Mechanics: Straight Bar and Vibrato](#mechanics) - [Tonal Control: Damping and Volume Swells](#tonal-control) - [The Value of Personal Guidance in Lap Steel](#guidance) - [Actionable Exercises for Beginners](#exercises) - [Common Beginner Pitfalls](#mistakes) ## The Foundations: Tuning and Technique Before we dive into the repertoire, we must ensure your instrument is set up for success. Most beginner songs are arranged in **Open G tuning** (G-B-D-G-B-D) or **C6 tuning**. For those just starting out, Open G is often the most intuitive as it allows you to play a full major chord simply by placing your bar straight across any fret. This eliminates the immediate need for complex fingerings and lets you focus on the “feel” of the slide. One of the most important concepts to grasp early on is **string damping**. Unlike standard guitar, where your fingers fretting the notes stop the vibration, on a lap steel, the bar rests on top of the strings. This means your trailing fingers must lightly touch the strings behind the bar to prevent unwanted overtones and sympathetic vibrations. Our resident master of the slide, [Andy Hall](https://artistworks.com/andy-hall), emphasizes that clean execution is the hallmark of a conservatory-level player. Understanding how to control the resonance of the instrument is the first step toward achieving a professional tone. ## Top 5 Easiest Lap Steel Songs to Learn When selecting songs for a novice, we prioritize melodies that utilize the **straight bar technique**. This means you won’t have to worry about “bar slants” (tilting the bar to reach different intervals) just yet. By focusing on these accessible pieces, you can master intonation—the art of stopping the bar exactly over the fret wire to be in tune. ### 1. “Amazing Grace” This is perhaps the quintessential starter song. Because the melody moves largely in stepwise motion and stays within a single major scale, you can play the entire piece using only one or two strings and a straight bar. It is a perfect study in **basic slides**. Start by finding the root note on the open strings and slowly slide into the melody notes, paying close attention to the “arrival” of the pitch. ### 2. “Sleep Walk” (Santo & Johnny) While the full arrangement has some complexity, the main theme is one of the most recognizable lap steel melodies in history. It teaches you the importance of “the swell”—using your volume knob or pedal to create that signature ethereal sound. You can see a masterful breakdown of these types of techniques in [Andy Hall’s performance and lesson highlights](https://www.youtube.com/watch?v=slyAMS7aZgk). This song encourages you to hold notes longer, allowing you to practice your vibrato control. ### 3. “Somewhere Over the Rainbow” Commonly played in C6 tuning, this song introduces the player to **single-string melodies**. It’s an excellent exercise for your ears, as you must learn to “target” the note precisely over the fret wire to stay in tune. The large interval jumps in the opening of the song provide a great challenge for bar movement accuracy. ### 4. “You Are My Sunshine” For the country enthusiast, this song is a staple. It utilizes a simple I-IV-V chord progression, allowing you to practice moving the bar quickly between the 0, 5th, and 7th frets in Open G tuning. It’s a rhythmic exercise as much as a melodic one, helping you coordinate your picking hand with your bar movements. ### 5. “Will the Circle Be Unbroken” This folk classic is ideal for practicing chordal accompaniment. Since the song relies on a standard three-chord structure, you can practice sliding into full chord positions. This helps you develop the strength and stability required to keep the bar level across all six strings simultaneously. ## Key Mechanics: Straight Bar and Vibrato To make these “easy” songs sound professional, you must master **vibrato technique**. On a lap steel, vibrato is achieved by rapidly moving the bar back and forth horizontally across the fret wire. It shouldn’t be a wide, frantic movement; rather, it should be a controlled, shimmering effect that mimics the human voice. Beginners often make the mistake of moving the bar too far, which pulls the note out of tune. Instead, think of it as a subtle “shaking” of the hand centered directly over the fret wire. The **straight bar technique** is your foundation. Before moving to advanced slants, ensure that your bar is perfectly parallel to the frets. Even a slight angle can lead to intonation issues across multiple strings. Practice sliding from fret 3 to fret 5, ensuring the bar lands perfectly flat and the notes ring out clearly on all strings. ## Tonal Control: Damping and Volume Swells As you progress through these songs, you’ll realize that what you *don’t* play is just as important as what you do. **Palm muting** and trailing-finger damping are essential for a clean sound. Use the side of your picking hand to “kill” strings you aren’t using, especially when playing high-gain or distorted lead lines. This prevents the “wall of noise” that often plagues beginner lap steel players. Volume swells are another “pro” secret. By picking a note with the volume turned down and then slowly rolling it up, you remove the “attack” of the pick. This gives the lap steel its violin-like quality. Experiment with this on long, sustained notes in “Sleep Walk” to hear how it changes the emotional impact of the melody. ## The Value of Personal Guidance in Lap Steel Self-teaching a slide instrument can be frustrating because intonation is invisible. Unlike a fretted guitar, there is no “safety net.” This is why having a world-class teacher review your progress is transformative. When you submit a video to ArtistWorks, **your instructor will review** your technique, like hand position, your bar pressure, and your damping technique, to provide a personalized video response that clears up any confusion. Our [Video Exchange Learning](https://blog.artistworks.com/andy-halls-resophonic-guitar-lap-steel-school-has-been-reimagined/) platform allows you to see your instructor’s feedback side-by-side with your own performance. This direct comparison is the fastest way to fix technical errors that might otherwise become permanent habits. Whether you are struggling with a specific slide in “Amazing Grace” or can’t quite get your vibrato to sound smooth, **personal guidance** ensures you never stay stuck for long. ## Actionable Exercises for Beginners - **The Target Drill:** Pick a fret (e.g., the 5th fret). Slide into it from two frets below, aiming to stop exactly over the fret wire. Check the pitch against a tuner for every single slide. - **The “Ghost” Damping Drill:** Practice moving the bar up and down the neck without making any sound. Your trailing fingers should “ghost” the strings, keeping the instrument silent until you are ready to pick. - **The Major Scale on One String:** Play a major scale up and down a single string. This builds **fretboard markers** recognition and helps your ear connect with the physical distance on the neck. - **Vibrato Pulse:** Set a metronome to 60 BPM. Practice 4 even “wiggles” of the bar per beat. This builds the rhythmic consistency needed for a musical vibrato. ## Common Beginner Pitfalls - **Pressing Too Hard:** The bar should glide on top of the strings, not press them down to the wood. Excessive pressure causes friction and makes it harder to stay in tune. - **Neglecting the Trailing Fingers:** If your notes sound “fuzzy” or “noisy,” check your damping behind the bar. Those fingers must be in constant contact with the strings. - **Poor Sitting Posture:** Since the lap steel sits on your lap, your back and shoulder health depend on good posture. Ensure your chair is the right height so you aren’t hunching over the instrument. ## Conclusion: Starting Your Slide Journey The **easiest lap steel songs to learn** serve as the gateway to a lifelong passion for slide guitar. By focusing on simple melodies, mastering your Open G tuning, and paying close attention to your vibrato, you will build a foundation that allows for limitless musical expression. Remember, the journey to **mastery** is a marathon, not a sprint. Take your time with each song, and don’t be afraid to sound “bad” while you’re learning the mechanics in the woodshed. Are you ready to receive the personal guidance you deserve? **Start a free trial at ArtistWorks and learn with personal guidance** from the masters of the craft. We look forward to seeing you in the classroom and helping you reach the next level of your playing! [JOIN THE LAP STEEL SCHOOL](https://artistworks.com/andy-hall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** Lap Steel, songs --- ### [How to Get Great Blues Guitar Tone: Gear & Technique Guide](https://blog.artistworks.com/how-to-get-great-blues-guitar-tone-gear-technique-guide/) **Published:** January 29, 2026 **Author:** ArtistWorks **Content:** # The Complete Guide to Achieving Killer Blues Guitar Tone There’s something unmistakable about great blues guitar tone: that warm, expressive sound that seems to speak directly to the soul. Whether you’re chasing the creamy sustain of B.B. King, the raw bite of Stevie Ray Vaughan, or the smooth sophistication of Robben Ford, achieving authentic blues guitar tone requires understanding the relationship between your hands, your instrument, and your gear. The good news? With the right guidance and a systematic approach, you can develop a tone that’s both rooted in tradition and uniquely your own. In this guide, we’ll break down everything you need to know about crafting your blues sound, from selecting the best amp for blues to dialing in the perfect settings and choosing the right pedals. More importantly, we’ll explore how technique and touch ultimately shape your tone more than any piece of equipment. ## Table of Contents - [Understanding What Makes Blues Guitar Tone Unique](#understanding-tone) - [Choosing the Best Amp for Blues](#amp-selection) - [Tube Amp Blues Settings: Finding Your Sweet Spot](#tube-amp-settings) - [Essential Blues Guitar Pedals](#pedals) - [Building Your Blues Guitar Gear Setup](#gear-setup) - [The Role of Technique in Tone](#technique) - [Common Mistakes to Avoid](#common-mistakes) - [Taking Your Blues Tone to the Next Level](#next-steps) ## Understanding What Makes Blues Guitar Tone Unique Before diving into gear specifics, it’s worth understanding what we’re actually chasing. Blues tone isn’t about pristine clarity or aggressive distortion. It lives in the space between clean and overdriven, where the guitar responds dynamically to your touch. This is why legendary blues instructor [Keith Wyatt](https://artistworks.com/blues-guitar-lessons-keith-wyatt) emphasizes that tone starts in your fingers before it ever reaches your amplifier. The hallmarks of classic blues tone include: - **Warmth:** A rich, full low-end without muddiness - **Expressiveness:** Dynamic response that cleans up when you play softly and bites when you dig in - **Sustain:** Notes that sing and bloom rather than cutting off abruptly - **Presence:** Enough midrange to cut through without harshness These qualities come from the interaction of several elements working together: your technique, your guitar, your amplifier, and occasionally, carefully chosen pedals. ## Choosing the Best Amp for Blues Your amplifier is arguably the most important piece of gear in your blues guitar setup. While there’s no single “right” choice, certain amp characteristics lend themselves particularly well to blues playing. ### Tube Amps: The Traditional Choice Tube amplifiers have been the foundation of blues tone since the genre’s electric evolution. The natural compression and harmonic richness of tubes create that organic, breathing quality that solid-state amps struggle to replicate. When pushed into slight breakup, tube amps produce the sweet spot where blues tone truly lives. Classic amp types favored by blues players include: #### Fender-Style Amps Clean headroom with a warm, scooped midrange. Think of the sparkle and chime that defined much of the Chicago and West Coast blues sound. Amps like the Twin Reverb, Deluxe Reverb, and Blues Junior remain popular choices. #### Marshall-Style Amps More midrange-focused with earlier breakup, these amps deliver the aggressive edge heard in blues-rock. The Bluesbreaker combo, famously used by Eric Clapton with John Mayall, essentially defined a generation of blues tone. #### Boutique and Modern Options Contemporary amp builders have created designs specifically optimized for blues, often combining the best characteristics of vintage circuits with modern reliability. These can offer exceptional touch sensitivity and a wide range of usable tones. ### Wattage Considerations Contrary to what many beginners assume, lower wattage amps (15-30 watts) are often ideal for blues. They allow you to push the amp into its sweet spot at reasonable volumes. A 100-watt amp needs to be painfully loud before it starts to naturally break up, while a 15-watt amp can deliver that singing sustain at club-appropriate levels. ## Tube Amp Blues Settings: Finding Your Sweet Spot Once you’ve selected your amp, dialing in the right settings becomes crucial. Here’s a practical starting point for most tube amps: ### Basic Blues Amp Settings - **Volume/Gain:** Start around 4-6. You want the amp just on the edge of breakup, where it cleans up when you roll back your guitar’s volume knob. - **Bass:** 4-5. Enough warmth without getting muddy. - **Mids:** 5-7. This is where your tone lives. Don’t be afraid of midrange—it’s what helps you cut through. - **Treble:** 4-6. Enough presence for clarity without ice-pick harshness. - **Reverb:** 2-3. A touch adds depth without washing out your note definition. ### The Volume Knob Technique One of the most powerful tone-shaping tools is your guitar’s volume knob. With your amp set at the edge of breakup, rolling your volume back to 6-7 should give you a cleaner, jazzier tone, while keeping it at 10 delivers more grit. This dynamic range is essential for expressive blues playing and something that master instructors consistently emphasize in their teaching. Understanding how [blues scales](https://blog.artistworks.com/the-essential-blues-scales-every-intermediate-player-must-master/) interact with your tone settings helps you make musical choices about when to push into overdrive and when to pull back for a cleaner sound. ## Essential Blues Guitar Pedals While many purists prefer a guitar-straight-into-amp approach, blues guitar pedals can expand your tonal palette without compromising authenticity. The key is choosing pedals that enhance rather than mask your fundamental tone. ### Blues Overdrive Pedal Options A good blues overdrive pedal can push your amp into sweet saturation without adding excessive gain. The best overdrive pedals for blues tend to be transparent, meaning they enhance your amp’s natural character rather than imposing their own voice. Popular choices include: - **Tube Screamer-style pedals:** The classic midrange hump that’s defined blues-rock tone for decades - **Klon-style overdrives:** Transparent boost with subtle compression - **Blues Driver-style pedals:** Versatile with a slightly more aggressive edge ### Other Useful Pedals #### Boost Pedals A clean boost can push your amp harder for solos without changing your fundamental tone. Many blues players use this instead of, or in addition to, an overdrive. #### Compression Subtle compression can add sustain and even out dynamics, though many players prefer the natural compression of a tube amp pushed into breakup. #### Reverb and Delay If your amp lacks spring reverb, a reverb pedal can add that essential sense of space. Delay, used sparingly (slapback or subtle repeats), can thicken your tone without cluttering it. ### What to Avoid High-gain distortion pedals, extreme modulation effects, and anything that removes dynamics from your playing will work against authentic blues tone. Remember: blues is about expression through dynamics, and effects that compress or homogenize your sound fight against that goal. ## Building Your Blues Guitar Gear Setup Your complete signal chain matters. Here’s how to think about assembling a cohesive blues guitar gear setup: ### The Guitar Both single-coil and humbucker-equipped guitars work beautifully for blues. Single-coils (Stratocaster-style) offer that crystalline clarity and snap, while humbuckers (Les Paul, ES-335 style) provide thicker, warmer tones with more sustain. Many serious blues players own both. ### Cables and Connections Quality cables preserve your high frequencies and reduce noise. This isn’t about expensive “tone” claims—it’s about reliability and signal integrity. ### Signal Chain Order If you’re using pedals, a typical blues setup might run: Guitar → Tuner → Overdrive/Boost → Modulation (if any) → Delay → Reverb → Amp. However, experiment with placement—some players prefer running drives into the effects loop for a different response. For a deeper exploration of [guitar-specific instruction](https://artistworks.com/schools/instruments/guitar), working with an experienced instructor can help you understand how your particular gear interacts and how to optimize your setup. ## The Role of Technique in Blues Guitar Tone Here’s the truth that gear advertisements won’t tell you: the most significant factor in your blues tone is your technique. Two players using identical equipment will sound completely different based on how they attack the strings, control their dynamics, and apply vibrato. ### Touch and Dynamics Blues guitar is fundamentally about dynamic expression and the ability to whisper and scream within the same phrase. Practice playing the same lick at different intensity levels, and notice how your tone changes. This is why [Seth Rosenbloom’s approach to blues instruction](https://artistworks.com/seth-rosenbloom) emphasizes touch and feel alongside technical development. ### Vibrato Your vibrato is your vocal signature. Wide and slow creates vocal, expressive sustain. Tight and fast adds intensity and urgency. Developing controlled, musical vibrato takes time but transforms your tone more than any pedal purchase. ### Pick Attack How you strike the string (angle, force, and location) dramatically affects your tone. Picking closer to the bridge produces a brighter, more aggressive sound; moving toward the neck yields warmth and roundness. ### Exercises to Develop Touch 1. **Dynamic scales:** Play a pentatonic scale, starting as quietly as possible and gradually increasing intensity, then reversing. 2. **Single-note focus:** Spend five minutes on one note, exploring every tonal variation through attack, vibrato, and volume knob manipulation. 3. **Call and response:** Record a simple phrase, then respond to it with a variation that explores different dynamic territory. ## Common Mistakes to Avoid As you develop your blues tone, watch out for these common pitfalls: ### Too Much Gain Excessive distortion masks dynamics and nuance. If your amp or pedal is providing so much saturation that soft and hard picking sound the same, back off the gain. ### Scooped Mids While that “smiley face” EQ (high bass, low mids, high treble) might sound impressive alone, it disappears in a band context. Embrace the midrange. ### Ignoring the Room Your tone at home won’t translate exactly to a club or jam session. Learn to adjust on the fly based on the acoustic environment. ### Gear Acquisition Syndrome Constantly buying new equipment in search of “the tone” often means neglecting the practice time that would actually improve your sound. Master what you have before upgrading. ## Taking Your Blues Guitar Tone to the Next Level Developing great blues guitar tone is a journey that combines gear knowledge with dedicated practice and personalized guidance. While this guide provides a foundation, working with an experienced instructor accelerates your progress dramatically. Through Video Exchange Learning, your instructor will review your playing and provide specific feedback on your tone, technique, and musical expression—something no gear purchase can replace. The beauty of blues is that it rewards authenticity over perfection. Your tone should ultimately reflect your musical personality, built on a foundation of solid technique and thoughtful gear choices. Start with the fundamentals outlined here, then refine based on your ears and the guidance of experienced teachers. Ready to develop your blues tone with personal guidance from master instructors? [Start with five free lessons at ArtistWorks](https://go.artistworks.com/five-free-music-lessons-artistworks) and experience how personalized feedback can transform your playing. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Shuffle Rhythm Guitar: Master the Essential Groove | ArtistWorks](https://blog.artistworks.com/blues-shuffle-rhythm-guitar-master-the-essential-groove-artistworks/) **Published:** January 23, 2026 **Author:** ArtistWorks **Content:** # `How to Play Blues Shuffle Rhythm Guitar: The Complete Guide` If you’ve ever wondered what gives classic blues its irresistible, head-nodding groove, the answer lies in the **blues shuffle rhythm guitar**. This foundational technique-heard in countless recordings from T-Bone Walker to Stevie Ray Vaughan-is the heartbeat of the blues. Whether you’re just starting your blues journey or looking to tighten up your rhythm playing, understanding the shuffle is absolutely essential. In this comprehensive guide, we’ll break down everything you need to know to play authentic blues rhythm with confidence and feel. ## Table of Contents - [What Is the Blues Shuffle Rhythm?](#what-is-shuffle) - [The Anatomy of a 12 Bar Blues Rhythm](#anatomy) - [Mastering Shuffle Picking Technique](#shuffle-technique) - [Essential Blues Comping Patterns](#comping-patterns) - [The Boogie Shuffle Guitar Pattern](#boogie-shuffle) - [Blues Rhythm Exercises to Build Your Groove](#exercises) - [Common Mistakes and How to Fix Them](#common-mistakes) - [Taking Your Blues Shuffle Rhythm Guitar to the Next Level](#next-steps) ## What Is the Blues Shuffle Rhythm? The shuffle rhythm is a specific rhythmic feel where each beat is divided into a “long-short” pattern rather than equal subdivisions. In musical terms, we call this a “triplet feel” or “swing feel.” Instead of playing straight eighth notes (da-da-da-da), you play with a bounce (da-dum, da-dum)-think of it as a musical limp that just feels right. This groove originated in African American musical traditions and became the backbone of Chicago blues, jump blues, and eventually rock and roll. When you hear B.B. King, Muddy Waters, or Albert Collins, you’re hearing the shuffle in action. ### The Shuffle Feel Explained Technically, a shuffle divides each beat into three parts (triplets) but only plays the first and third parts. Here’s how to count it: - **Straight eighths:** 1-and-2-and-3-and-4-and (equal spacing) - **Shuffle feel:** 1-a-2-a-3-a-4-a (long-short, long-short) The magic happens when the entire band locks into this feel together. Your job as a rhythm guitarist is to establish and maintain this groove so that soloists and vocalists have a solid foundation to work with. ## The Anatomy of a 12 Bar Blues Rhythm Before diving deeper into shuffle technique, you need to understand the chord progression you’ll be playing over. The **12 bar blues rhythm** is the most common form in blues music, and it follows a specific pattern using the I, IV, and V chords of a key. ### The Basic 12 Bar Blues Form In the key of A, the progression looks like this: - **Bars 1-4:** A7 (I chord) - **Bars 5-6:** D7 (IV chord) - **Bars 7-8:** A7 (I chord) - **Bar 9:** E7 (V chord) - **Bar 10:** D7 (IV chord) - **Bars 11-12:** A7 with turnaround (I chord) This form is your roadmap. Once you internalize it, you can focus on making each chord change feel musical and grooving. For more on how to handle those crucial last two bars, check out this guide on [12-bar blues turnarounds and endings](https://blog.artistworks.com/blues-guitar-lesson-blues-turnarounds/). ### Common 12 Bar Variations As you progress, you’ll encounter variations like the “Quick IV” (moving to the IV chord in bar 2), the “5-4-1-5 Turnaround,” and minor blues progressions. ## Mastering Shuffle Picking Technique Your **shuffle picking technique** is what separates a stiff, mechanical rhythm from one that makes people tap their feet. Here’s how to develop authentic shuffle feel in your right hand. ### The Basic Shuffle Motion Start with these fundamentals: 1. **Mute the strings lightly** with your fretting hand to create a percussive attack 2. **Use a consistent down-up pattern** with your pick, but emphasize the downstrokes 3. **Let your wrist stay loose**-tension is the enemy of groove 4. **Count in triplets** initially: “trip-let, trip-let” while accenting beats 1 and 3 of each triplet ### Actionable Exercise: The “Chunk-a” Drill Practice this on a muted low E string: 1. Set your metronome to 60 BPM 2. Play a downstroke on beat 1 3. Play a quick upstroke just before beat 2 4. Repeat, saying “chunk-a, chunk-a” to internalize the rhythm 5. Gradually increase tempo as the feel becomes natural This simple drill, practiced daily for just five minutes, will transform your shuffle feel within weeks. ## Essential Blues Comping Patterns Once you’ve got the basic shuffle feel, it’s time to learn specific **blues comping patterns** that you can use in real playing situations. These patterns are the vocabulary of blues rhythm guitar. ### Pattern 1: The Open Position Shuffle This pattern works beautifully in the key of E or A using open chords: - Play the root and 5th of your chord on beat 1 - Add the 6th on the “a” of beat 1 - Return to the 5th on beat 2 - Add the 6th again on the “a” of beat 2 - Repeat throughout each bar This creates the classic “boogie” sound you hear on countless blues recordings. ### Pattern 2: Moveable Ninth Chords For a more sophisticated sound, learn moveable 9th chord shapes. Use barred 9th chord voicings with the root on either the 6th or 5th string. Play short, staccato stabs on beats 2 and 4 for a “horn section” feel that works beautifully behind a soloist. ### Pattern 3: The “Jimmy Reed” Shuffle This iconic pattern uses a bass note alternating with chord stabs: 1. Play the root note on beat 1 2. Play a partial chord on the “a” of beat 1 3. Play the 5th of the chord on beat 2 4. Play the partial chord again on the “a” of beat 2 This pattern is perfect for accompanying yourself while singing or playing acoustic blues. ## The Boogie Shuffle Guitar Pattern The **boogie shuffle guitar** pattern is perhaps the most recognizable rhythm in blues music. If you’ve ever heard “Johnny B. Goode” or “Sweet Home Chicago,” you’ve heard this pattern in action. ### How to Play the Classic Boogie Pattern In the key of A (a great starting key for beginners): 1. **Fret the A power chord:** 5th fret on the low E string, 7th fret on the A string 2. **Add the 6th:** Keep your index finger on the 5th fret, add your pinky to the 9th fret on the A string 3. **Alternate:** Shuffle between the 5th (7th fret) and 6th (9th fret) with the triplet feel 4. **Keep the bass note droning:** Let the low E string ring throughout ### Making It Musical The boogie pattern is simple, but making it musical requires attention to dynamics and touch: - **Accent beats 1 and 3:** Give these beats a slightly harder attack - **Palm mute subtly:** A light palm mute on the low strings adds punch without killing sustain - **Vary your dynamics:** Get quieter during verses, louder during choruses - **Listen to the drums:** Lock in with the kick and snare for a tight groove ## Blues Rhythm Exercises to Build Your Groove Consistent practice with focused **blues rhythm exercises** will accelerate your progress dramatically. Here are three exercises that legendary players use to develop rock-solid rhythm. ### Exercise 1: The Metronome Challenge This exercise develops your internal clock: 1. Set your metronome to 80 BPM 2. Play a basic shuffle pattern for 4 bars 3. Turn the metronome off mentally (or use a “silent beats” app) 4. Continue playing for 4 more bars 5. Check if you’re still in time when the click returns This teaches you to maintain tempo without relying on external cues-an essential skill for live performance. ### Exercise 2: The Chord Change Drill Smooth chord changes are essential for professional-sounding rhythm playing: 1. Play a 12-bar blues at a slow tempo (60 BPM) 2. Focus on making chord changes happen exactly on beat 1 3. Gradually increase tempo as changes become seamless 4. Record yourself and listen back critically ## Common Mistakes and How to Fix Them Even dedicated students make these mistakes when learning shuffle rhythm. Here’s how to identify and correct them: ### Mistake 1: Playing Straight Instead of Swung **The Problem:** Your eighths sound equal rather than long-short. **The Fix:** Practice counting triplets out loud (“trip-let, trip-let”) while playing. Exaggerate the swing feel initially, then back off to a natural level. ### Mistake 2: Rushing the Upbeat **The Problem:** The “a” of the beat comes too quickly, pushing the tempo. **The Fix:** Use a metronome set to play on the triplet subdivisions. This trains your ear to place the upbeat correctly. ### Mistake 3: Tension in the Picking Hand **The Problem:** Your wrist is tight, making the rhythm sound stiff. **The Fix:** Shake out your hand every few minutes during practice. Focus on using minimal motion and letting gravity assist your downstrokes. ### Mistake 4: Ignoring the Rest of the Band **The Problem:** You’re playing in a vacuum rather than locking in with drums and bass. **The Fix:** Practice with backing tracks or drum loops. Focus on making the kick drum and your rhythm guitar sound like one instrument. ## Taking Your Blues Shuffle Rhythm Guitar to the Next Level Now that you understand the fundamentals of **blues shuffle rhythm guitar**, the question becomes: how do you continue to improve? The answer is structured learning with expert guidance. At ArtistWorks, we offer comprehensive blues guitar instruction through our innovative Video Exchange Learning® platform. This means you don’t just watch lessons-you submit videos of your playing and receive personalized feedback from master instructors who have dedicated their lives to the blues. ### Learn from Keith Wyatt Keith Wyatt brings over 50 years of blues experience to his [electric blues guitar lessons](https://artistworks.com/guitar-lessons-keith-wyatt). As the former Director of the Guitar Program at Musicians Institute and a member of The Blasters, Keith has both the playing chops and teaching expertise to guide your development from fundamental shuffle patterns through advanced techniques like walking bass lines, horn riffs, and uptown blues voicings. Keith’s course covers everything from basic boogie shuffle patterns to sophisticated comping approaches used by session professionals. And through Video Exchange, your instructor will review your technique and provide specific guidance tailored to your needs. ### Explore Modern Blues with Seth Rosenbloom For players interested in a more contemporary approach, [Seth Rosenbloom’s blues guitar course](https://artistworks.com/blues-guitar-lessons-seth-rosenbloom) offers fresh perspectives on classic techniques. Seth combines traditional blues vocabulary with modern influences, giving you the tools to develop your own voice within the genre. ### Dive Deeper During Blues Month This February, ArtistWorks is celebrating [Blues Month 2026](http://go.artistworks.com/blues-month-2026) with special content, tips from our master instructors, and exclusive resources for blues enthusiasts. It’s the perfect time to immerse yourself in the genre and take your shuffle rhythm to new heights. ### Explore All Blues Guitar Lessons Ready to start your blues journey? Browse our complete selection of [blues guitar lessons](https://artistworks.com/blues-guitar-lessons) to find the perfect course for your skill level and musical goals. ## Start Your Blues Journey Today The blues shuffle rhythm is more than just a technique-it’s a gateway to one of the most expressive and influential genres in music history. With dedicated practice and expert guidance, you can develop the groove, feel, and musicality that defines great blues rhythm playing. **Start a free trial at ArtistWorks and learn with personal guidance.** Submit your playing videos and receive direct feedback from world-class instructors who will help you develop authentic blues shuffle rhythm guitar technique. Your journey to blues mastery starts with a single shuffle. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Unlock Your Voice: The Secrets of Blues Guitar Phrasing](https://blog.artistworks.com/unlock-your-voice-the-secrets-of-blues-guitar-phrasing/) **Published:** January 28, 2026 **Author:** ArtistWorks **Content:** **Table of Contents** - [Why Phrasing Defines Your Sound](#why-phrasing-defines-your-sound) - [The Core Elements of Expressive Blues Phrasing](#the-core-elements-of-expressive-blues-phrasing) - [Conversational Playing: Call and Response](#conversational-playing-call-and-response) - [Transforming Scales into Music](#transforming-scales-into-music) - [Developing Your Voice with Master Instructors](#developing-your-voice-with-master-instructors) - [Conclusion: Mastering Blues Guitar Phrasing](#conclusion-mastering-blues-guitar-phrasing) --- Have you ever listened to a blues legend like B.B. King or Albert King and felt like they were speaking directly to you, even without singing a word? That ability to make the instrument “talk” is the defining characteristic of great blues music. It is the difference between simply typing out words and reciting a moving poem. This concept is known as **blues guitar phrasing**. For intermediate and advanced players, the plateau often isn’t a lack of speed or scale knowledge—it’s a lack of phrasing. You might know *what* notes to play, but **blues guitar phrasing** teaches you *how* to play them to evoke emotion, tension, and release. At [ArtistWorks](http://go.artistworks.com/blues), we believe that phrasing is the bridge between being a guitar owner and becoming a musician. Through our **Video Exchange Learning®** platform, we help students break out of “scale patterns” and start telling their own musical stories. ## Why Phrasing Defines Your Sound Phrasing is the rhythm, timing, and articulation of your notes. In the blues, it is essentially an imitation of the human voice. When a singer delivers a line, they don’t sing in a continuous stream of eighth notes; they pause to breathe, they shout, they whisper, and they let sentences trail off. Great **blues guitar phrasing** mimics this vocal quality. It requires you to leave space (rests) effectively, allowing the listener to process what you just played. ## The Core Elements of Expressive Blues Phrasing To master **blues guitar phrasing**, you must master the technical nuances that allow you to manipulate pitch and duration. These aren’t just tricks—they are the punctuation marks of your musical sentences. ### The Art of Bending Notes **Bending notes on blues guitar** is perhaps the most expressive tool at your disposal. A standard piano cannot play the “micro-tones” (the pitches that exist between the keys), but a guitar can. - **The “Blue Note” Bend:** Often, the most emotional note in a phrase is the minor 3rd bent slightly sharp (about a quarter-tone) toward the major 3rd. It creates a yearning, bittersweet sound that defines the genre. - **Pre-Bends:** Bending the string *before* you pick it, then releasing it down to pitch, creates a weeping or sighing effect. - **Accuracy is Key:** A bend that is out of tune doesn’t sound expressive; it just sounds wrong. Practice bending your target note (e.g., the 4th of the scale) up a whole step to match the pitch of the 5th perfectly. ### Vibrato: Your Sonic Fingerprint If bending is the emotion, vibrato is the personality. **Blues vibrato technique** varies wildly from player to player. B.B. King is known for a quick, “hummingbird” wrist vibrato, while Eric Clapton uses a wider, slower oscillation. - **Technique Tip:** In the blues, vibrato is usually generated from the wrist and forearm, not just the fingers. Anchor your hand against the neck for leverage and rotate your wrist to pull the string slightly sharp and back to pitch. - **Context:** Don’t apply vibrato to every note. Use it on sustained notes at the end of a phrase to let them “sing” and decay naturally. ### Dynamics and Timing Dynamics refer to the volume at which you play. Guitarists’ **blues licks technique** often suffer from being played at a single volume—usually “loud.” Try this exercise: Play a simple three-note phrase four times. 1. **Softly:** Whisper the phrase. 2. **Loudly:** Shout the phrase. 3. **Crescendo:** Start soft and get loud. 4. **Staccato:** Play the notes short and punchy. By varying your attack, you change the emotional meaning of the phrase entirely. ## Conversational Playing: Call and Response One of the oldest and most enduring traditions in African-American music is “call and response.” Historically rooted in work songs and spirituals, this structure is the heartbeat of the blues. You can read more about the rich history of this technique in this [article on Call and Response](https://www.masterclass.com/articles/what-is-call-and-response-in-music) from Masterclass, which details how the concept traveled from vocal traditions to instrumental mastery. In the context of **call and response guitar**, you are essentially having a conversation with yourself, or even your bandmates. ### How to Practice Call and Response 1. **The Call:** Play a simple melodic idea in the upper register (the “question”). End on a note that feels unresolved, like the 5th or the flat 7th. 2. **The Response:** Answer that phrase with a lower-register lick that resolves firmly to the root note (the “answer”). Imagine you are singing: - *Call:* “I woke up this morning…” - *Response:* “…feeling bad.” If you only play “calls,” your solo will sound meandering and anxious. If you only play “responses,” it will sound boring. Balancing the two is the secret to great **blues guitar phrasing**. ## Transforming Scales into Music A common trap for intermediate blues guitar players is letting their fingers do all the thinking. You memorize a pentatonic shape, and your fingers run up and down it automatically. This is typing, not speaking. To break this habit, you must reconnect your ear to your hands. As discussed in our article on [Essential Blues Scales Every Player Must Master](https://blog.artistworks.com/the-essential-blues-scales-every-intermediate-player-must-master/), scales are merely the alphabet. You cannot write a novel just by reciting the alphabet; you must form words. **Try the “One Breath” Rule:** Take a deep breath. Play a phrase only for as long as you can slowly exhale. When you run out of breath, stop playing. This physically forces you to leave space and creates natural, human-sounding phrasing breaks. ## Developing Your Voice with Master Instructors Learning **blues guitar phrasing** is difficult to do in isolation because you cannot always hear your own habits. This is where mentorship becomes invaluable. At ArtistWorks, our blues faculty includes some of the world’s most respected players who specialize in helping you find your unique voice. ### [Keith Wyatt](https://artistworks.com/keith-wyatt) [![](https://blog.artistworks.com/wp-content/uploads/2026/01/Sample-Lessons_1920x1080_Wyatt.jpg "Sample-Lessons_1920x1080_Wyatt - ArtistWorks Blog")](https://artistworks.com/keith-wyatt)A master of West Coast and Chicago blues, [Keith Wyatt](https://artistworks.com/keith-wyatt) has spent decades teaching players how to blend technical precision with soulful expression. His curriculum dives deep into the “why” behind the notes, focusing heavily on timing, feel, and the vocabulary of legends like T-Bone Walker. ### [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom) [![](https://blog.artistworks.com/wp-content/uploads/2026/01/Seth-Rosenbloom_by-Ali-Hasbach_0156.jpg "Seth Rosenbloom_by Ali Hasbach_0156 - ArtistWorks Blog")](https://artistworks.com/seth-rosenbloom)A rising star in the blues world, [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom) brings a modern energy to the genre. In an interview with [The Arts Fuse](https://artsfuse.org/266998/music-interview-blues-guitarist-seth-rosenbloom-on-as-the-crow-flies/), Rosenbloom discussed the importance of vulnerability in songwriting and playing, noting that authentic emotion is what connects the player to the audience. His lessons at ArtistWorks focus on tone, touch, and delivering powerful, emotive solos. ### [Guthrie Trapp](https://artistworks.com/guthrie-trapp) [![](https://blog.artistworks.com/wp-content/uploads/2026/01/Photo-Credit_-Sham-Hinchey-and-DAddario_Guthrie-Trapp-IMG_2332A.jpg "Photo Credit_ Sham Hinchey and D’Addario_Guthrie Trapp IMG_2332A - ArtistWorks Blog")](https://artistworks.com/guthrie-trapp)Credit Sam HincheyDAddarioFor those interested in the intersection of country and blues, [Guthrie Trapp](https://artistworks.com/guthrie-trapp) offers incredible insight into modern phrasing. His approach emphasizes triad visualization and navigating the fretboard without getting stuck in “boxes,” allowing for fluid, lyrical improvisation. ### The Video Exchange Learning**®** Difference With our **Video Exchange Learning®** platform, you can record yourself practicing a specific phrasing exercise—perhaps a call and response motif or a bending study—and submit it to your instructor. They will review your video and send back a personalized video response, correcting your intonation, suggesting rhythmic variations, and demonstrating exactly how to refine your phrasing. ## Conclusion: Mastering Blues Guitar Phrasing The journey to master **blues guitar phrasing** is the transition from being a guitar player to being a blues artist. It requires listening, patience, and a willingness to play fewer notes with greater intention. By focusing on your **blues vibrato technique**, mastering the accuracy of **bending notes on blues guitar**, and treating your solos as a **call and response** conversation, you will begin to hear a drastic change in your playing. You won’t just be playing the blues; you’ll be feeling it—and more importantly, your audience will feel it too. Are you ready to stop practicing scales and start playing music? [Start a free trial at ArtistWorks and learn with personal guidance.](http://go.artistworks.com/blues) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Essential Blues Scales Every Intermediate Player Must Master](https://blog.artistworks.com/the-essential-blues-scales-every-intermediate-player-must-master/) **Published:** January 27, 2026 **Author:** ArtistWorks **Content:** There is a specific moment in every guitarist’s journey when the notes stop feeling like a sequence and start feeling like a conversation. To reach that level of expression, you must move beyond simple memorization and dive deep into the DNA of the genre: **blues guitar scales**. Whether you are aiming for the stinging clarity of an icon like Albert King or the fluid sophistication of [Keith Wyatt](https://artistworks.com/keith-wyatt) or [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom), understanding the structural foundation of the blues is the key to unlocking your creative voice on the fretboard. ### Table of Contents - [The Foundations: Minor Pentatonic vs. The Blues Scale](#foundations) - [The 5 Essential Blues Scale Patterns](#patterns) - [How to Use Blues Scale Tones for Maximum Emotion](#how-to-use) - [Blues Scale Exercises to Build Fluidity](#exercises) - [Common Pitfalls and How to Avoid Them](#mistakes) - [The ArtistWorks Advantage: Personal Guidance for Your Growth](#instruction) ## The Foundations: Minor Pentatonic vs. The Blues Scale For many intermediate players, the **minor pentatonic blues** sound is the first “home base” learned. However, to truly capture the “blue note” feel, we must look at the specific intervals that differentiate a standard scale from a blues powerhouse. The standard minor pentatonic consists of five notes: the Root, minor 3rd, perfect 4th, perfect 5th, and minor 7th. The true “blues scale” adds a “blue note”—the tritone, or flattened 5th (♭5 ). This single addition creates the tension and grit that defines the genre. It’s important to emphasize that this note isn’t just a destination; it’s a passing tone that bridges the gap between the 4th and 5th, providing that signature “slurring” sound. Check out this lesson from ArtistWorks educator [Keith Wyatt ](https://artistworks.com/keith-wyatt)on exploring the minor blues: ## The 5 Essential Blues Guitar Scales and Patterns To navigate the neck with total freedom, you must internalize **blues scale patterns** across all five CAGED positions. This prevents you from getting “boxed in” at the 5th fret and allows you to follow the harmony wherever it leads. ### The “Box” Shape (Position 1) This is the most recognizable pattern, rooted on the 6th string. It is the powerhouse for classic Chicago-style licks. When practicing this, focus on the relationship between the root note and the B5 on the A and G strings. ### The Extension (Position 2) Often referred to as the “Albert King Box,” this position allows for massive over-extended bends. Learning **blues scale positions** beyond the first box is what separates the amateurs from the professionals. If you find yourself struggling to connect these shapes, [Seth Rosenbloom’s Blues Guitar School](https://artistworks.com/seth-rosenbloom) offer incredible insight into fluidly shifting between these zones without losing your melodic thread. ## How to Use Blues Scale Tones for Maximum Emotion Knowing the notes is only half the battle. Knowing **how to navigate a blues scale** tones effectively is where the artistry happens. In the blues, “right” notes can sound “wrong” if the phrasing is stiff. - **The Power of the ♭5 :** Never linger too long on the flat five unless you want a dissonant, jazzy effect. Use it as a chromatic connector. - **Microtonal Bending:** The minor 3rd in the blues scale is often played slightly sharp (a “quarter-step” bend) to pull the listener toward the major sound of the underlying dominant chord. - **Targeting Chord Tones:** During a [12-bar blues solo](https://blog.artistworks.com/blues-guitar-lesson-soloing-12-bar-blues/), try to land on the root of the IV chord when the progression shifts. This shows the listener you aren’t just playing a scale—you’re playing the song. ## Blues Scale Exercises to Build Fluidity To develop the muscle memory required for professional-level soloing, incorporate these **blues scale exercises** into your daily routine: 1. **The “Three-Note Sequence”:** Play the scale in groups of three (1-2-3, 2-3-4, 3-4-5). This breaks the “linear” habit and prepares your hands for more complex phrasing. 2. **String Skipping:** Practice jumping from the E string to the D string within the scale pattern. This forces your brain to visualize the intervals rather than just the shape. 3. **Rhythmic Variation:** Play the same 5-note pattern as eighth notes, then triplets, then sixteenth notes. When it comes to the blues *how* you play a note is **just as important** than *which* note you play. ## Common Pitfalls and How to Avoid Them Watch out for these common errors: - **Overusing the Blue Note:** It’s like salt–use too much, and it ruins the dish. - **Ignoring the Rhythm:** Even the best **blues guitar scales** need to be played in the same “straight, swing, or shuffle” feel as the band. - **Neglecting Vibrato:** A note without vibrato in the blues is a missed opportunity for expression. ## The ArtistWorks Advantage: Personal Guidance for Your Growth Self-teaching can only take you so far. To truly refine your technique, you need an expert eye. This is where the **ArtistWorks Video Exchange Learning®** platform changes the game. When you join our community, you aren’t just watching pre-recorded videos. You have the opportunity to record yourself performing these exercises and upload them for review. **Your instructor will review** your video and provide a personalized video response, correcting your hand position, phrasing, and tone. This level of **personal guidance** is the hallmark of a conservatory-level education, delivered right to your home. Whether you are working through [comprehensive blues curriculums](https://go.artistworks.com/blues) or focusing on specific stylistic nuances, the feedback loop provided by our world-class faculty—including blues trailblazers like [Keith Wyatt](https://artistworks.com/keith-wyatt) and [Seth Rosenbloom](https://artistworks.com/seth-rosenbloom)—ensures you never practice the wrong habits. ### Conclusion Mastering **blues guitar scales** is a lifelong pursuit, but with a structured approach and professional feedback, your progress can be exponential. By moving beyond the basic minor pentatonic and embracing the full spectrum of blues scale positions, you gain the vocabulary necessary to tell your own story. Ready to take the next step in your musical journey? [Start a free trial at ArtistWorks and learn with personal guidance.](https://go.artistworks.com/blues) Let’s turn those scales into real music, together. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** guitar --- ### [The Top 5 Easiest Fiddle Tunes for Beginners to Learn](https://blog.artistworks.com/the-top-5-easiest-fiddle-tunes-for-beginners-to-learn/) **Published:** January 22, 2026 **Author:** ArtistWorks **Content:** Picking up the fiddle is an exciting journey into a rich tradition of rhythm, melody, and community. However, for a novice, the sheer volume of repertoire can feel overwhelming. You might be asking yourself: Where do I actually start? Finding the right material is crucial because starting with songs that are too complex can lead to frustration and bad habits. That is why we have curated this guide to the **easiest fiddle tunes for beginners to learn**, designed to get you playing music right away. At [ArtistWorks](http://go.artistworks.com/fiddle), we believe in a warm, encouraging approach to music education. Whether you are aiming to play in a local jam circle or just want to enjoy music on your front porch, mastering these foundational tunes is your first step toward musical fluency. Let’s rosin up that bow and dive in. ### Table of Contents - [Why Start with Simple Tunes?](#why-start-simple) - [Old Joe Clark](#old-joe-clark) - [Boil ‘Em Cabbage Down](#boil-em-cabbage-down) - [Angeline the Baker](#angeline-the-baker) - [Cripple Creek](#cripple-creek) - [Whiskey Before Breakfast](#whiskey-before-breakfast) - [Technique Tips: Bowing and Intonation](#technique-tips) - [The Power of Video Exchange Learning®](#video-exchange) - [Conclusion](#conclusion) ## Why Start with Simple Tunes? When looking for **first fiddle tunes to learn**, it is tempting to jump straight into complex breakdowns or rapid-fire reels. However, the most effective way to build conservatory-level technique is to start with melodies that allow you to focus on your tone, intonation, and rhythm. Simple songs often feature repetitive melodic structures (AABB form) and stay within “first position,” meaning you don’t have to slide your hand up and down the neck. This allows you to focus on your bow arm—the engine of your fiddle playing. By mastering **simple fiddle songs**, you build a foundation that makes advanced techniques, like double stops and slides, much more accessible later on. Furthermore, these tunes are the common language of the bluegrass and old-time community. Learning them means you can walk into almost any jam session and participate, which is one of the greatest joys of playing the instrument. ## 1. Old Joe Clark “Old Joe Clark” is a high-energy tune in the Mixolydian mode (don’t let the theory scare you—it just means it has a flattened 7th note, giving it that “mountain” sound). This is one of those **simple fiddle songs** that sounds much harder than it actually is, which is great for building confidence. In this tune, you will likely encounter your first “accidental”—the C natural note on the A string (low second finger). This challenges your intonation and forces you to listen critically to your pitch. It is a fantastic tune to record yourself playing and review, or better yet, submit to an instructor for feedback. Check out this lesson with our own [Brittany Haas](http://artistworks.com/brittany-haas) from her Old Time & Bluegrass Fiddle curriculum on ArtistWorks: ## 2. Boil ‘Em Cabbage Down If you ask any instructor, what the quintessential starter song is, they will likely point you toward “Boil ‘Em Cabbage Down.” This is widely considered the absolute easiest of the **easy bluegrass fiddle tunes**. ### Why it works for beginners: - **Rhythmic Simplicity:** It is built almost entirely on the “shuffle” bowing pattern (Long-short-short), which is the heartbeat of bluegrass. - **Static Hand Position:** You can play the entire melody without moving your fingers much. It is primarily played on two strings, allowing you to get comfortable with string crossings. - **Drone Strings:** It sounds great with open strings ringing out, making you sound fuller and more professional even at a beginner stage. **Practice Tip:** Focus on the “Nashville Shuffle.” Don’t worry about speed. Focus on using a loose wrist to create that driving rhythm. ## 3. Angeline the Baker Once you have your shuffle down, “Angeline the Baker” is a beautiful, mournful, yet driving tune that introduces you to the key of D Major—the fiddler’s favorite key. ### Key Concepts to Master Here: - **String Crossings:** This tune moves fluidly between the D and A strings. - **Grace Notes:** Because the melody is simple, it is the perfect canvas for adding simple ornaments like slides or hammer-ons. - **Octaves:** You can play this tune in a lower octave or a higher octave, providing a great exercise for exploring the fretboard. When you’re ready to sign up for ArtistWorks, [Alex Hargreaves](https://artistworks.com/alex-hargreaves) has a great lesson on this song in his fiddle curriculum to take this song to the next level. ## 4. Cripple Creek No list of **easiest fiddle tunes for beginners to learn** is complete without “Cripple Creek.” It is an A-Major tune that introduces the concept of using your fourth finger (pinky) or an open E string. This song is often the bridge between simple shuffling and actual melody playing. It usually consists of an “A” part that is busy and rhythmic, and a “B” part that involves higher notes on the E string. This distinction helps beginners understand song structure. **Instructor Insight:** When learning “Cripple Creek,” pay close attention to your left-hand frame. Keep your fingers curved and hovering over the strings, ready to strike. This efficiency of motion is something [our fiddle curriculum](http://go.artistworks.com/fiddle) emphasizes from day one. ## 5. Whiskey Before Breakfast While slightly more challenging than “Boil ‘Em Cabbage Down,” “Whiskey Before Breakfast” is a rite of passage. It is a beautiful melody in D Major that moves stepwise (up and down the scale without big jumps). We include this as a stretch goal for beginners. Mastering this tune signifies you are moving from a “raw beginner” to an “advanced beginner.” When you’re ready to kick this song up a notch, check out [Darol Anger’s](https://artistworks.com/darol-anger) advanced lesson on this song in his Masterclass Fiddle school. ## Technique Tips: Bowing and Intonation Learning the notes is only half the battle. To make these **first fiddle tunes to learn** sound authentic, you need to focus on the “how,” not just the “what.” ### The Importance of the Bow As the saying goes, ” The left hand is the apprentice, but the right hand is the master.” Your tone comes from your bow arm. Beginners often stiffen their shoulder and elbow. Remember to keep your arm weight relaxed into the string. For a deeper dive into how to create that driving bluegrass sound, check out our guide on [mastering bluegrass fiddle bowing techniques](https://blog.artistworks.com/mastering-bluegrass-fiddle-bowing-techniques/). It covers the difference between the Nashville Shuffle and the Georgia Shuffle, both of which you can apply to the tunes listed above. ### Intonation and the “Ringing” Tones Violins do not have frets, so your ears are your guide. When you play a D on the A string (3rd finger), it should resonate sympathetically with your open D string. If it doesn’t ring, adjust your finger slightly until the instrument vibrates more freely. This is a secret that conservatory-trained musicians use constantly. ## The Power of Video Exchange Learning® You can find tablature for these tunes anywhere on the internet. However, paper cannot listen to you. It cannot tell you that your bow is crooked or that your wrist is too tight. This is where ArtistWorks stands apart. Through our unique **Video Exchange Learning®** platform, you don’t just watch videos; you interact with them. You can record yourself playing “Angeline the Baker,” submit it to the site, and **your instructor will review** your video. They will then record a personalized video response giving you specific guidance on how to improve. Imagine having [Darol Anger](https://artistworks.com/darol-anger) or [Brittany Haas](https://artistworks.com/brittany-haas) look at your bow hold and say, “Try relaxing your index finger slightly.” That level of personal guidance accelerates learning significantly compared to guessing your way through YouTube tutorials. ## Start Your Fiddle Journey Today The **easiest fiddle tunes for beginners to learn** are more than just simple melodies. They are the keys to unlocking a lifetime of musical enjoyment. By working your way though these easy fiddle tunes, you are building a technical foundation that will serve you in Bluegrass, Old-Time, Jazz, and beyond. Remember, every expert fiddler was once a beginner who couldn’t keep their bow straight. The difference is they kept playing, and many of them had great mentors. Are you ready to stop guessing and start improving? [Start a free trial at ArtistWorks today](http://go.artistworks.com/fiddle) and learn with personal guidance from the world’s best fiddle instructors. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Tags:** bluegrass, fiddle, songs --- ### [How to Practice Bass Effectively in 20 Minutes](https://blog.artistworks.com/how-to-practice-bass-effectively-in-20-minutes/) **Published:** January 21, 2026 **Author:** ArtistWorks **Content:** **How to practice bass effectively in 20 minutes** is one of the most common questions serious bass players ask, especially those balancing busy schedules with high musical goals. Whether you play electric bass or upright bass, focused, intentional practice can move the needle far more than long, unfocused sessions. At ArtistWorks, we work with bass students at every stage, from beginners establishing fundamentals to intermediate players refining groove, tone, and timing. The most successful learners share one thing in common: they practice with structure, purpose, and feedback. This guide breaks down a 20-minute bass practice routine that maximizes efficiency, reinforces technique, and builds musical confidence. You will also see how structured online lessons, world-class faculty, and *Video Exchange Learning* help bass players make faster, more reliable progress. --- ## Table of Contents - [Why 20 Minutes of Bass Practice Can Be Enough](#why-20-minutes) - [A 20-Minute Framework for Practicing Bass Effectively](#practice-framework) - [Bass Warmups That Actually Work](#warmups) - [Time, Groove, and Musical Context](#time-and-groove) - [Special Considerations for Upright Bass and Bluegrass](#upright-bass) - [Common Bass Practice Mistakes](#common-mistakes) - [Why Feedback Accelerates Bass Progress](#feedback) - [Practicing Bass with Purpose](#conclusion) --- ## Why 20 Minutes of Bass Practice Can Be Enough Many bass players assume improvement requires hours of daily practice. In reality, consistent, well-designed sessions matter far more than raw time. A focused 20-minute routine allows you to: - Reinforce muscle memory without fatigue - Improve time feel and groove - Strengthen left-hand efficiency and right-hand consistency - Stay mentally engaged throughout the session This is especially effective when paired with structured [online bass lessons](https://artistworks.com/schools/instruments/bass) that guide what to practice and why. ## How to Practice Bass Effectively in 20 Minutes: A Proven Framework This routine works for electric bass and upright bass and can be adjusted for bluegrass, jazz, rock, or contemporary styles. ### Minute 0–5: Physical and Mental Warm-Up Great bass playing starts with relaxed, efficient motion. Use this time to prepare your hands and ears. - Open-string plucking with a metronome - Slow finger alternation (index–middle) - Gentle left-hand finger placement without tension These bass warmups prevent strain and set the tone for focused practice. ### Minute 5–10: Technique and Control This is where you build the mechanics that support everything else. #### Recommended Exercises - One-octave major and minor scales - String-crossing exercises - Position shifts with clean articulation Electric bass players should focus on even tone across strings. Upright bass players should prioritize intonation and left-hand shape. ### Minute 10–15: Time Feel and Groove Bass lives at the intersection of rhythm and harmony. Developing a strong sense of time and groove is essential for locking in with other musicians. - Play simple bass lines with a metronome on beats 2 and 4 to strengthen your internal sense of time. - Loop a two-bar pattern and focus on rhythmic subdivision, feeling how each note relates to the underlying pulse. - Practice ghost notes and articulation control to improve clarity, dynamics, and rhythmic precision. This entire practice segment is designed to strengthen your groove, timing, and ensemble awareness, making it especially important for players performing with others, particularly in bluegrass and roots music. ### Minute 15–20: Musical Application End every session by making music. - Apply exercises to a song or progression - Play along with a recording or backing track - Improvise within a simple harmonic framework Recording this portion is ideal for a *Video Exchange*, where your instructor will review your playing and provide personal guidance. ## Bass Warmups That Actually Build Skill Warmups should prepare you for music, not exhaust you. ### Effective Bass Warmups - Chromatic finger patterns at slow tempos - Open-string rhythm exercises - Left-hand pressure control drills These warmups are commonly emphasized by professional educators like [Stu Hamm](https://artistworks.com/stu-hamm), whose teaching includes fingerstyle techniques and the complexities of time signatures when playing the bass. ## Time, Groove, and Musical Context Rehearsing on the bass correctly means seriously working on your timing and groove. Set your metronome creatively: - One click per measure - Off-beat placement - Slow tempos that expose inconsistencies These music practice tips strengthen internal pulse and ensemble awareness. ## Special Considerations for Upright Bass and Bluegrass Upright bass players, particularly those in bluegrass, face unique technical demands. In bluegrass, the upright bass provides both rhythmic foundation and harmonic clarity. As explored in [this guide to the role of upright bass in a bluegrass ensemble](https://blog.artistworks.com/role-upright-bass-bluegrass-ensemble/), consistency and time feel are paramount. Students studying with artists like [Missy Raines](https://artistworks.com/missy-raines) often focus on: - Clean quarter-note articulation - Efficient left-hand shifting - Playing behind or ahead of the beat intentionally ## Common Bass Practice Mistakes ### Practicing Without a Plan Random playing rarely leads to progress. ### Ignoring Tone and Time Notes without groove do not serve the music. ### Never Recording Yourself Video and audio reveal habits you cannot feel while playing. ### Skipping Feedback Without expert input, mistakes become ingrained. ## Why Feedback Accelerates Bass Progress Practicing alone has limits. The fastest-improving bass players seek guidance. With ArtistWorks, your instructor will review your submitted video and offer personalized feedback on: - Hand position - Timing and groove - Tone production - Musical phrasing This feedback loop transforms a short practice session into a powerful learning tool. ## Practicing Bass with Purpose **How to practice bass effectively in 20 minutes** is not about shortcuts. It is about intention, structure, and expert guidance. When your practice includes warmups, technique, groove, and musical application, even a short session can deliver meaningful results. If you want your practice time to work harder for you, ArtistWorks provides the structure, instructors, and personal guidance to help you grow. **Start a free trial at ArtistWorks and learn with personal guidance.** [Start a free trial](https://artistworks.com/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Tips **Tags:** bass, bluegrass, electric, missy raines, practice, upright --- ### [Master Fiddle Tunes on Guitar: "Forked Deer"](https://blog.artistworks.com/master-fiddle-tunes-on-guitar-forked-deer/) **Published:** January 21, 2026 **Author:** ArtistWorks **Content:** Many guitarists spend years mastering complex techniques, only to discover that some of the most beautiful music comes from simple melodies rooted in tradition. **Fiddle song arrangements on guitar** offer an accessible entry point into the rich world of folk music, where centuries-old melodies meet modern fingerpicking techniques. “Forked Deer” represents your first step into this tradition. This tune carries the DNA of countless musicians who passed it down through generations, evolving from British parlors to Appalachian front porches. What makes it perfect for beginners? The melody sits comfortably under your fingers. No complex stretches. No advanced techniques required. Enjoy this lesson? Check out [Tyler Grant’s Flatpicking Guitar school](https://artistworks.com/tyler-grant) for more like this. ## Essential Setup and **Capo Techniques** for Fiddle Tunes on Guitar Setting up your guitar correctly transforms a challenging tune into an enjoyable learning experience. Place your capo on the second fret and strum a C chord. That sound you hear? It’s actually a D chord, pitched up by the capo. Why use **capo guitar techniques** instead of playing in open D position? Several reasons make this approach superior for beginners: - Familiar chord shapes reduce learning time - **C position guitar playing** keeps your hand in a comfortable position - Open strings ring more clearly with the capo - Future fiddle tunes become easier to learn The core progression follows a simple pattern: C – F – G7. This sequence appears in countless folk songs, making it valuable beyond just “Forked Deer.” **Guitar chord progressions fiddle** music often relies on these fundamental movements between tonic, subdominant, and dominant chords. ## Mastering the **F Chord Guitar Fingering** for Folk Music The F chord stops many guitarists in their tracks. Don’t let it stop you. Your **F chord guitar fingering** technique requires patience and daily practice. Position your first finger across the first fret of both the B and high E strings. This partial bar differs from a full barre chord, making it more manageable for developing hands. Keep these tips in mind: - Flatten your first finger while arching the others - Apply firm pressure without squeezing too hard - Check each string individually for clean notes - Practice the C-to-F transition repeatedly Common mistakes include insufficient pressure on the first finger or letting other fingers collapse onto adjacent strings. Some students get three notes ringing clearly but struggle with the high E string. This is normal. Daily practice eliminates this issue within weeks. ## “Forked Deer” Melody and **Guitar Downstrokes Upstrokes** Technique The melody begins with pickup notes—those introductory sounds that lead into the main beat. Count “one and two and three and four and” to feel the rhythm before you start playing. Your **guitar downstrokes upstrokes** pattern follows a logical system. Single notes get downstrokes. When the melody subdivides the beat—playing two notes where one normally sits—alternating down-up strokes create the proper rhythmic feel. ### Breaking Down the A Section The A section breaks down into recognizable patterns: - Opening figure: all downstrokes - Second measure: starts with downstrokes, then down-up-down-up - Repetition of the opening figure - Turnaround figure: downstrokes followed by alternating strokes ### Understanding the B Section The B section introduces open string work on the D, G, and B strings. This creates a bright, ringing sound characteristic of **Appalachian fiddle guitar** style. The same down-up picking patterns apply, maintaining consistency throughout the tune. ## Beginner Practice Tips for **Fiddle Tunes on Guitar** Effective practice starts with understanding the tune’s structure. “Forked Deer” follows the standard AABA format common in fiddle music. Learn one section completely before moving to the next. Your daily routine should include: - Chord transitions without the melody - Melody practice at slow tempo - Combining chords and melody gradually - Playing along with recordings when ready Beginners learning tunes like “Forked Deer” benefit from consistent, focused practice sessions rather than marathon attempts. Fifteen minutes daily produces better results than hour-long sessions once per week. Trust me on this one. The turnaround figure appears in both sections, demonstrating how fiddle tunes use repetition to create familiarity. This common thread makes learning faster and performance more confident. ## Building Your **Traditional Folk Guitar Lessons** Foundation “Forked Deer” opens the door to hundreds of similar tunes. The techniques you’re learning—capo usage, partial barre chords, alternating bass patterns, and pick strokes—apply across the entire fiddle tune repertoire. **British Isles folk guitar** traditions emphasize melody over complex chord progressions. This approach develops your ear while building technical skills gradually. Each new tune adds vocabulary while reinforcing familiar patterns. Consider “Forked Deer” your foundation tune. Master it completely before moving forward. The confidence you build here carries into more challenging material later. As you progress, you’ll recognize similar patterns in other fiddle tunes. The pickup notes, turnaround figures, and chord progressions become familiar friends rather than obstacles. This recognition accelerates learning and builds musical intuition. ### Connecting to Musical Heritage Your journey into fiddle tunes connects you with centuries of musical tradition. Every time you play “Forked Deer”, you’re participating in a living art form that continues to evolve while honoring its roots. That’s the beauty of folk music—it belongs to everyone who plays it. ## FAQ (Frequently Asked Questions) ### Do I need a capo to play fiddle tunes on guitar? While not absolutely necessary, a capo simplifies many fiddle tunes by allowing you to use familiar chord shapes. “Forked Deer” can be played in open D position, but using a capo on the second fret and playing in C position is much easier for beginners. ### How long does it take to learn the F chord properly? Most students achieve a clean F chord within 2-4 weeks of daily practice. The key is consistency—practice the chord transition for a few minutes each day rather than struggling with it for hours once per week. ### What other fiddle tunes should I learn after “Forked Deer?” Popular beginner-friendly fiddle tunes include Soldier’s Joy, Old Joe Clark, and Cripple Creek. These tunes use similar chord progressions and picking patterns, making them logical next steps. ### Can I play fiddle tunes on electric guitar? Absolutely! Fiddle tunes sound great on electric guitar, especially with clean or slightly overdriven tones. Many country and bluegrass guitarists play fiddle tunes on electric instruments regularly. ### Why do some fiddle tunes have different names in different regions? Fiddle tunes traveled through oral tradition, with musicians learning them by ear and passing them along. Regional variations in names and melodies developed naturally as tunes spread across different communities and geographic areas. Enjoy this lesson? Check out [Tyler Grant’s Flatpicking Guitar school](https://artistworks.com/tyler-grant) for more like this. [![](http://blog.artistworks.com/wp-content/uploads/2023/01/Modified-Crosspicking-Patterns-with-Tyler-Grant_Blog.jpg "Modified-Crosspicking-Patterns-with-Tyler-Grant_Blog - ArtistWorks Blog")](https://blog.artistworks.com/flatpick-guitar-lesson-modified-crosspicking/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Complete Beginner's Guide to Bluegrass Instruments](https://blog.artistworks.com/the-complete-beginners-guide-to-bluegrass-instruments/) **Published:** January 16, 2026 **Author:** ArtistWorks **Content:** There is a unique magic in the sound of a bluegrass ensemble – a conversation between strings that is as much about community as it is about technical prowess. If you have ever found yourself tapping your foot to a lightning-fast breakdown and wondered how to join in, you’ve come to the right place. This **complete beginner guide to bluegrass instruments** is designed to help you navigate the rich landscape of this beloved genre, whether you are trying flatpicking for the first time or transitioning from another musical world. At [ArtistWorks](http://go.artistworks.com/bluegrass), we believe that every journey begins with a solid foundation and the right mentorship to ensure your progress is both steady and musically fulfilling. ### Table of Contents - [The Bluegrass Guitar: The Rhythmic Anchor](#guitar) - [The Five-String Banjo: The Engine of Bluegrass](#banjo) - [The Mandolin: Percussion and Melody](#mandolin) - [The Bluegrass Fiddle: The Soulful Lead](#fiddle) - [The Upright Bass: The Heartbeat](#bass) - [Used Bluegrass Instrument Price Guide](#pricing) - [The ArtistWorks Advantage: Video Exchange Learning](#learning) ## The Bluegrass Guitar: The Rhythmic Anchor In a bluegrass band, the guitar serves as the glue that holds the group together. A key technique to focus on as a bluegrass beginner is learning the essential “boom-chuck” rhythm – the alternating bass note and strum that defines the genre’s drive. Take notes from our very own [Bryan Sutton](https://artistworks.com/bryan-sutton): ### Other Essential Techniques - **Flatpicking:** Unlike fingerstyle or classical guitar, bluegrass utilizes a heavy plectrum (flatpick) to achieve a bright, projecting tone. - **The G-Run:** This iconic melodic fill signals the end of a phrase and keeps the band in time. 🚨 **Common Mistake:** Many beginners play too loudly during others’ solos. Remember, bluegrass is a conversation; learn to “back off” your volume when the mandolin or fiddle takes the lead. ### Learn From These ArtistWorks Bluegrass Guitar Instructors: [Bluegrass Guitar With Bryan Sutton](https://artistworks.com/bryan-sutton) [Bluegrass Guitar With Chris ](https://artistworks.com/chris-eldridge)[Eldridge](https://artistworks.com/chris-eldridge) [Flatpicking Guitar Academy With Tyler Grant](https://artistworks.com/tyler-grant) [Resophonic Guitar & Lap Steel With Andy Hall](https://artistworks.com/andy-hall) ## The Five-String Banjo: The Engine of Bluegrass If the guitar is the anchor, the banjo is the engine. For beginner bluegrass banjo players, we recommend learning about the “Scruggs Style”: a three-finger picking technique using metal fingerpicks and a plastic thumbpick. This style creates the driving, syncopated rolls that are the hallmark of the genre. Learn more about this style in this video from [Tony Trischka](https://artistworks.com/tony-trischka): Learning with an [ArtistWorks instructor ](http://go.artistworks.com/bluegrass)ensures you don’t develop bad habits in your hand positioning. To get started, we recommend exploring the [easiest bluegrass banjo songs to learn first](https://blog.artistworks.com/easiest-bluegrass-banjo-songs-to-learn-first-a-beginners-roadmap/) to build your confidence and muscle memory. ### Learn From These ArtistWorks Bluegrass Banjo Instructors: [Banjo With Tony Trischka](https://artistworks.com/tony-trischka) [On Banjo With Alison Brown](https://artistworks.com/alison-brown) [Banjo With Noam Pikelny](https://artistworks.com/noam-pikelny) ## The Mandolin: Percussion and Melody The mandolin is unique because it serves a dual purpose. High and piercing, it can cut through a loud band for a solo, but its most important job is the “chop.” This beginner bluegrass mandolin guide introduces you to the percussive backbeat that acts as the “snare drum” of the bluegrass world. Start by mastering [essential mandolin chords](https://blog.artistworks.com/how-to-learn-mandolin-chords-beginner/) to participate in your first local jam session. Get some extra guidance from [Mike Marshall](https://artistworks.com/mike-marshall) on bluegrass chop chords this video: ### Learn From These ArtistWorks Bluegrass Mandolin Instructors: [Bluegrass Mandolin With Sierra Hull](https://artistworks.com/sierra-hull) [Mandolin With Mike Marshall](https://artistworks.com/mike-marshall) ## The Bluegrass Fiddle: The Soulful Lead Unlike classical violin, fiddle focuses heavily on “double stops” (playing two strings at once) and rhythmic bowing patterns like the “shuffle.” Our faculty also emphasize the importance of intonation and “the lean”–the subtle way a fiddler slides into notes to create that authentic Appalachian sound. Here’s a preview on what you can learn from one of our esteemed fiddle instructors, [Brittany Haas](https://artistworks.com/brittany-haas): ### Learn From These ArtistWorks Bluegrass Fiddle Instructors: [Old Time & Bluegrass Fiddle with Brittany Haas](https://artistworks.com/brittany-haas) [Fiddle With Darol Anger](https://artistworks.com/darol-anger) [Fiddle With Alex Hargreaves](https://artistworks.com/alex-hargreaves) ## The Upright Bass: The Heartbeat The upright bass is essential to the bluegrass sound. It provides the deep, resonant pulse that dictates the tempo. For beginner bluegrass bassists, we focus on the “1 and 5” pattern–playing the root and fifth of the chord to support the melody. To dive deeper, check out our [beginner’s guide to bluegrass bass](https://blog.artistworks.com/how-to-play-upright-bass-for-bluegrass-a-beginners-guide/). Want some more practice? Check out this lesson on walking bluegrass lines from our resident Bluegrass Bass instructor, [Missy Raines](https://artistworks.com/missy-raines): ## Used Bluegrass Instrument Price Guide Entering the world of bluegrass doesn’t have to break the bank, but quality matters for playability. Here is a general **used bluegrass instrument price guide** for entry-level, “jam-ready” instruments: InstrumentFair Used Price (USD)Key Feature to Look ForAcoustic Guitar$400 – $800Solid Spruce Top5-String Banjo$350 – $700Geared 5th String TunerMandolin$300 – $600Adjustable BridgeFiddle$250 – $500Quality Ebony Fingerboard## Why This Complete Bluegrass Instrument Beginner Guide Leads to ArtistWorks Reading about instruments is the first step, but music is an auditory and physical art. This is where [Video Exchange Learning®](http://go.artistworks.com/bluegrass "Video Exchange Learning®") changes everything. Unlike confusing and unorganized YouTube tutorials, ArtistWorks provides a structured path where you can record a video of your practice and send it to your teacher. Whether you are working on your banjo rolls or mandolin chops, **your instructor will review** your video and provide a personalized video response, offering the **personal guidance** necessary to refine your technique. ## Conclusion Choosing your first instrument is the beginning of a lifelong musical conversation. We hope this **complete beginner guide to bluegrass instruments** has helped you identify which voice resonates most with you. Whether it’s the drive of the banjo or the soul of the fiddle, the most important step is to start with the right support. Ready to take the next step in your musical journey? [Start a free trial at ArtistWorks](http://go.artistworks.com/bluegrass) today and experience the difference that world-class, personal guidance can make in your playing. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Bass, Bluegrass, Fiddle, Guitar, Mandolin **Tags:** banjo, bass, beginner, bluegrass, bluegrass jam, fiddle, flatpicking, guitar, mandolin --- ### [Mandolin Warm-Up Exercises for Beginners](https://blog.artistworks.com/mandolin-warm-up-exercises-for-beginners/) **Published:** January 15, 2026 **Author:** ArtistWorks **Content:** **Mandolin warm-up exercises** are not just about getting your fingers moving. They are about building healthy technique, training your ear, and preparing your mind to practice with intention. Whether you are brand new to the instrument or working to make your playing more consistent, a thoughtful warm-up routine can dramatically improve your progress and prevent frustration. At ArtistWorks, we see it every day. Students who warm up correctly develop a cleaner tone, better timing, and stronger musical confidence. With structured lessons, Video Exchanges, and personal guidance from world-class faculty, beginners can build habits that support long-term growth. ## Table of Contents - [Why Mandolin Warm-Ups Matter for Beginners](#why-warm-ups-matter) - [How Long Should a Daily Mandolin Warm-Up Routine Be?](#how-long) - [Mandolin Finger Warm-Up Exercises](#finger-warm-ups) - [Right-Hand Picking Warm-Ups](#right-hand) - [Coordination Exercises for Both Hands](#coordination) - [Common Warm-Up Mistakes to Avoid](#common-mistakes) - [A Complete Daily Mandolin Warm-Up Routine](#sample-routine) - [Learning with Personal Guidance at ArtistWorks](#guided-learning) - [Conclusion](#conclusion) ## Why Mandolin Warm-Ups Matter for Beginners The mandolin is a physically demanding instrument. Its short scale length, paired strings, and reliance on precise picking can overwhelm beginners who jump straight into songs. Warm-ups help you: - Increase finger flexibility and strength - Improve accuracy and pick control - Develop clean fretting and consistent tone - Reduce tension that leads to fatigue or injury Professional mandolinists treat warm-ups as essential maintenance, not optional extras. By starting your practice session with focused exercises, you train your hands and ears to work together efficiently. ## How Long Should a Daily Mandolin Warm-Up Routine Be? A daily mandolin warm-up routine does not need to be long. In fact, shorter and more focused sessions are often more effective. - **5 minutes**: Minimum for busy days - **10–15 minutes**: Ideal for consistent progress - **20 minutes**: When working on technical breakthroughs The key is consistency. Warming up every day, even briefly, builds muscle memory and reinforces healthy technique. ## Mandolin Finger Warm-Up Exercises Mandolin finger warm-up exercises focus on independence, strength, and accuracy in your fretting hand. Start slowly and use a metronome. ### Exercise 1: One-Finger-Per-Fret Chromatic Pattern This classic exercise builds finger independence and spacing awareness. 1. Start on the G string at the first fret 2. Play frets 1–2–3–4 using index, middle, ring, and pinky 3. Move across all strings, then shift up one fret Keep your fingers close to the fretboard and focus on relaxed motion. ### Exercise 2: Finger Lifts Finger lifts train control and reduce unnecessary movement. 1. Place all four fingers on frets 1–2–3–4 2. Lift and replace one finger at a time while others stay down This exercise reveals tension quickly and helps beginners develop efficient technique. ### Exercise 3: Scale Fragments Use small sections of major scales to warm up musically. Even a two-note fragment can improve coordination and intonation. For more structured ideas, you can explore this guide to [essential mandolin exercises](https://blog.artistworks.com/10-mandolin-exercises/) designed for developing technique step by step. ## Right-Hand Picking Warm-Ups The right hand drives the mandolin tone. Beginners often overlook the importance of warm-ups, but they are essential. ### Exercise 4: Open-String Alternate Picking Focus entirely on the pick. - Use strict down-up strokes - Play quarter notes, then eighth notes - Maintain even volume between strings This exercise builds consistency and reduces tension. ### Exercise 5: String Crossing Patterns String crossings are a common challenge for beginners. 1. Alternate between two adjacent strings 2. Keep the pick motion small and controlled Listen carefully for unwanted string noise and adjust your pick angle. ## Coordination Exercises for Both Hands Coordination is where many beginners struggle. These mandolin exercises for beginners connect the hands smoothly. ### Exercise 6: Simple Arpeggios Play slow arpeggios using open-position chords. Focus on clarity and timing rather than speed. ### Exercise 7: Tremolo Control Tremolo is a signature mandolin technique. - Start slowly with relaxed wrist motion - Focus on even pick strokes Developing tremolo early builds confidence and tone control. ## Common Warm-Up Mistakes to Avoid - Rushing through exercises without focus - Ignoring tension in the shoulders or wrists - Skipping the right hand entirely - Practicing without feedback One of the biggest advantages of guided learning is having your instructor review your technique and help you correct these issues early. ## A Complete Daily Mandolin Warm-Up Routine Here is a balanced daily mandolin warm-up routine for beginners: 1. 2 minutes: Open-string alternate picking 2. 4 minutes: Chromatic finger patterns 3. 3 minutes: Scale fragments or arpeggios 4. 3 minutes: Tremolo practice Adjust the timing based on your schedule and goals. ## Learning with Personal Guidance at ArtistWorks Warm-ups are most effective when paired with expert feedback. At [ArtistWorks Mandolin School](https://go.artistworks.com/mandolin), beginners learn through Video Exchange Learning, where your instructor reviews your playing and provides personalized feedback. World-renowned mandolinist Mike Marshall leads the program, combining conservatory-level instruction with practical exercises designed for real progress. His approach emphasizes relaxation, tone, and musical understanding from day one. Learn more about his background and teaching philosophy on [Mike Marshall’s instructor page](https://artistworks.com/mike-marshall). With structured lessons, guided warm-ups, and personal guidance, beginners build confidence faster and avoid common technical pitfalls. ## Conclusion **Mandolin warm-up exercises** are the foundation of healthy technique, confident tone, and long-term musical growth. By committing to a daily mandolin warm-up routine that addresses both hands and emphasizes relaxation, beginners set themselves up for success. If you want structured learning, expert instruction, and feedback tailored to your style, [**start a free trial at ArtistWorks**](https://go.artistworks.com/learn-to-play-music) and learn with personal guidance. Your instructor will review your progress and help you build a warm-up routine that supports your goals. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** acoustic mandolin, beginner mandolin, daily mandolin warm-up, mandolin exercises for beginners, mandolin finger exercises, mandolin practice routine, mandolin technique, mandolin warm-up exercises, music practice tips --- ### [Mandolin Chord Progressions: 5 Common Bluegrass Changes](https://blog.artistworks.com/mandolin-chord-progressions-5-common-bluegrass-changes/) **Published:** January 12, 2026 **Author:** ArtistWorks **Content:** You've been playing mandolin for a few months now, but every time you sit down to jam with other bluegrass musicians, you feel lost. The chord changes seem to fly by faster than you can think. Sound familiar? Learning **mandolin chord progressions** doesn't have to feel like decoding ancient hieroglyphics. Most bluegrass music relies on just a handful of common chord changes that repeat across hundreds of songs. Master these five progressions, and you'll suddenly find yourself keeping up with even the fastest picking sessions. ## Understanding Bluegrass Chord Progressions for Mandolin Players Bluegrass chord progressions follow predictable patterns rooted in traditional folk music. Unlike jazz or rock, bluegrass typically uses simple major and minor chords arranged in logical sequences that create musical tension and resolution. The mandolin plays a unique role in bluegrass ensembles. You're not just strumming chords like a rhythm guitar. Instead, you're weaving between melody lines, chord stabs, and rhythmic accompaniment. This means you need to know your **mandolin chords for beginners** inside and out. Before jumping into complex changes, master these fundamental chord shapes: - G major (open position) - C major - D major - E minor - A minor These five chords appear in nearly every bluegrass song you'll encounter. Practice transitioning between them until your fingers move automatically. ## The 5 Most Common Bluegrass Changes Every Mandolin Player Should Know ### Progression #1: I-V-vi-IV (The Pop Progression in Bluegrass) In the key of G, this progression moves: G-D-Em-C. You'll hear this sequence in countless **bluegrass songs chord changes**, from "Wagon Wheel" to "Sweet Caroline" when played in bluegrass style. This progression works because it creates a perfect circle of emotional movement. The I chord (G) feels like home, the V (D) builds tension, the vi (Em) adds melancholy, and the IV (C) provides a gentle pull back to resolve on G again. ### Progression #2: I-IV-V (The Classic Three-Chord Progression) The backbone of **bluegrass mandolin playing** relies heavily on this simple but powerful change. In G major: G-C-D. Songs like "Will the Circle Be Unbroken" and "Old Joe Clark" use variations of this progression throughout. Master this change with different **mandolin strumming patterns**. Try the classic "chop" on beats 2 and 4, or experiment with steady eighth-note strums during faster sections. ### Progression #3: vi-IV-I-V (The Relative Minor Approach) Starting on the relative minor creates emotional depth that defines many bluegrass ballads. In G major, this becomes: Em-C-G-D. "Man of Constant Sorrow" uses a variation of this progression to create its haunting quality. This change challenges your fretting hand because you're starting on a minor chord. Practice clean transitions between Em and C – this movement appears frequently in bluegrass. ### Progression #4: I-vi-ii-V (The Jazz-Influenced Bluegrass Change) More advanced players incorporate this sophisticated progression: G-Em-Am-D. You'll find it in songs like "Summertime" when played in bluegrass style, or in original compositions by modern [bluegrass artists](https://thebluegrasssituation.com/read/the-glittering-golden-grass-of-the-brothers-comatose/). The ii chord (Am in the key of G) adds harmonic complexity that distinguishes professional-level playing. **Mandolin music theory** students should understand how this Am chord functions as a predominant harmony leading to the dominant D. ### Progression #5: I-V-I (The Turnaround Progression) Perfect for song endings and transitions between verses, this simple G-D-G movement provides resolution. Most bluegrass songs end with some variation of this turnaround. Practice different rhythmic variations of this progression. Sometimes you'll play it slowly for dramatic endings, other times you'll zip through it quickly during instrumental breaks. ## Mastering Mandolin Chords and Techniques for Bluegrass Playing Memorizing chord shapes is just the beginning. **Common bluegrass changes** require smooth transitions and proper timing to sound musical rather than mechanical. Focus on these technical elements: **Finger Positioning:** Keep your fretting hand relaxed but firm. Your thumb should stay behind the neck, never wrapped around it. This positioning allows faster chord changes and reduces fatigue during long jam sessions. **Clean Transitions:** Practice chord changes without strumming first. Can you move from G to D without any buzzing or muted strings? Work on this slowly before adding rhythm. **Strumming Patterns:** The classic bluegrass chop involves muting the strings immediately after striking them. This percussive effect drives the rhythm section and leaves space for lead instruments. Download **mandolin chord charts** for quick reference, but don't rely on them forever. Memorize the fingerings until they become second nature. ## Applying These **Chord Progressions in Bluegrass** Songs Theory means nothing without practical application. Start by learning these beginner-friendly bluegrass standards: - "Wildwood Flower" – Uses I-IV-V progression - "Long Journey Home" – Features I-V-vi-IV changes - "Nine Pound Hammer" – Built on I-IV-V with turnarounds Play along with recordings to develop your internal clock. Bluegrass moves fast, and you need to anticipate chord changes before they happen. When jamming with others, listen more than you play initially. Follow the guitar player's chord changes until you're confident with the progressions. Then add your own rhythmic variations and melodic fills. Practice in different keys too. While G major works great for mandolin, you'll encounter songs in C, D, A, and other keys. The chord relationships remain the same – only the fingerings change. ## FAQ (Frequently Asked Questions) ### What's the easiest bluegrass chord progression for mandolin beginners? The I-IV-V progression (G-C-D in the key of G) is the most beginner-friendly. It uses three simple chord shapes and appears in dozens of classic bluegrass songs. Start here before moving to more complex progressions. ### How do I practice chord changes without a band? Use backing tracks, metronomes, or play-along recordings. YouTube has thousands of bluegrass backing tracks in common keys. Start slowly and gradually increase tempo as your chord changes become smoother. ### Should I learn mandolin chords with a pick or fingers? Always use a pick for bluegrass mandolin. The pick provides the sharp attack and volume needed to cut through a bluegrass ensemble. Finger picking works for other styles but not traditional bluegrass. ### How long does it take to master these chord progressions? With consistent practice, most players can play these progressions cleanly within 2-3 months. However, developing the speed and musical sensitivity for advanced bluegrass jamming takes 6-12 months of regular practice. ### What's the best way to memorize chord fingerings? Practice chord changes in slow motion without strumming. Focus on finger placement and smooth transitions. Use muscle memory exercises like playing chord progressions while watching TV or listening to music. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** bluegrass, mandolin --- ### [“On Banjo with Alison Brown” is Now Open!](https://blog.artistworks.com/on-banjo-alison-brown-now-open/) **Published:** August 1, 2023 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “On Banjo with Alison Brown,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[On Banjo with Alison Brown](https://artistworks.com/banjo-lessons-alison-brown),” is officially here! As of 9 am PT, the course is officially live and open to all students. As one of the most multi-faceted minds on today’s roots music scene, every one of Alison’s endeavors is marked by innovation, intelligence, and grace. As a banjo player, she has thrown out the textbook when it comes to how the banjo is played, and the result is a sound that blends the rugged drive of bluegrass with the harmonic sensibilities of jazz, earning vast acclaim and a GRAMMY award in the process. Alison took an unusual path to becoming an internationally recognized banjoist. After completing her undergraduate studies at Harvard University and receiving an MBA from UCLA, she pursued a career in investment banking. But, she missed the bluegrass music she’d grown up playing in Southern California so much that when Alison Krauss called looking for a banjo player, she made the decision to give up her Wall Street career to pursue music. She toured with Alison Krauss and Union Station, and Michelle Shocked before forming her own group, The Alison Brown Quartet, in 1993. Since that time, Alison and her band have been winning over traditionalists and mainstream music fans alike with her unique style. They have toured extensively throughout the US and abroad with stops at some of music’s most prestigious venues including The Kennedy Center, Newport Folk Festival, Telluride Bluegrass Festival, MerleFest, New Orleans Jazz and Heritage Festival, Philadelphia Folk Festival, FreshGrass, The Cambridge Folk Festival (England), Celtic Connections (Scotland), Dublin National Concert Hall (Ireland), Galway Arts Festival (Ireland), and Verbier Music Festival (Switzerland). The band has also traveled to Central and South America at the invitation of the US Information Agency and to Japan as Friendship Ambassadors on behalf of the Nashville Mayor’s office to celebrate a new sister city relationship between Kamakura, Japan and Music City. Alison has recorded 12 critically-acclaimed solo albums and has received a GRAMMY and multiple GRAMMY nominations. She has also received the USA Artists Fellowship in Music and a Distinguished Achievement Award from the International Bluegrass Music Association. Alison has been featured on CBS Sunday Morning, NPR’s All Things Considered, and in the pages of the Wall Street Journal and the New York Times, among many other publications. Alison is also the co-founder of the internationally recognized roots music label Compass Records Group, which Billboard Magazine has called “one of the greatest independent labels of the last decade.” Compass Records Group oversees a catalog of nearly 1,000 releases across multiple label imprints, including Red House Records, Green Linnet, and Mulligan Records. Alison currently serves on the Board of the Nashville Chapter of the Recording Academy, on the adjunct faculty of Vanderbilt’s Blair School of Music, and as co-chair of the Steve Martin Banjo Prize. Through her [online banjo lessons](https://go.artistworks.com/banjo-lessons-alison-brown) here at ArtistWorks, you’ll learn the ins and outs of Alison’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Alison has drawn from her extensive knowledge as both a professional banjoist and educator to create a comprehensive course of [banjo lessons online](https://go.artistworks.com/banjo-lessons-alison-brown) designed to teach players of all levels how to play. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Alison and get an intimate look into her unique approach and style. Grow as a banjo player while simultaneously furthering yourself as a musician, and get direct guidance from Alison at every step of your musical journey. [SIGN UP NOW](https://go.artistworks.com/banjo-lessons-alison-brown) to gain access to Alison’s library of [online banjo lessons](https://go.artistworks.com/banjo-lessons-alison-brown), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Alison reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Ukulele Lesson: An Introduction to Basic Strumming](https://blog.artistworks.com/ukulele-lesson-basic-strumming/) **Published:** August 11, 2023 **Author:** ArtistWorks **Excerpt:**

One of the beauties of stringed instruments, including the ukulele, is that there are a myriad of different ways that they can be played to create a wide variety of tonal textures and stylistic aesthetics. From fingerpicking to strumming, from single-note lines to chord-melody, there are so many ways to utilize the ukulele in different musical contexts.

**Content:** ![]() One of the beauties of stringed instruments, including the ukulele, is that there are a myriad of different ways that they can be played to create a wide variety of tonal textures and stylistic aesthetics. From fingerpicking to strumming, from single-note lines to chord-melody, there are so many ways to utilize the ukulele in different musical contexts. When first learning how to play the ukulele, strumming is typically one of the best techniques with which to start. Learning to finger a few basic open position and strum in musical time creates an important foundation from which one’s skills will naturally grow and expand. In this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor, [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah), introduces us to the basics of strumming on the ukulele and teaches a few critical exercises to get you comfortable strumming in musical time. LEARN MORE: [Want to learn how to play the ukulele from a master musician like Craig Chee? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) “Rather than focusing on a bunch of rhythmic or strumming patterns, I want all of my students to begin by learning to make the most of each motion that they’re making while strumming,” Craig explains. “That is the most important first step to developing a proper strumming technique.” Learning how to properly strum in musical time can feel tedious and frustrating when you’re first beginning to play. Practicing to a metronome slowly and incrementally raising the tempo as you become increasingly comfortable is a great way to improve your strumming technique quickly. To learn more about the basic strumming techniques and how to apply them in your own playing, dive into this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah) from [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah): An Introduction to Basic Strumming with Craig Chee: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Sample some [free sample lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Ukulele Lesson: An Introduction to Chord Melody with Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-chord-melody) [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee) [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Bowing Patterns & Rhythms for Backup](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup/) **Published:** August 15, 2023 **Author:** ArtistWorks **Excerpt:**

When we think about the role of the fiddle within the context of a bluegrass band, the first musical responsibility typically associated with the instrument is the melody. The fiddle is often a prominent instrument at the forefront of most bluegrass string bands, performing both the primary melodies of each tune and also improvised solo features. That being said, it is critical for fiddle players to understand how to pivot to a supporting role and back up other instruments and soloists in the band.

**Content:** ![]() When we think about the role of the fiddle within the context of a bluegrass band, the first musical responsibility typically associated with the instrument is the melody. The fiddle is often a prominent instrument at the forefront of most bluegrass string bands, performing both the primary melodies of each tune and also improvised solo features. That being said, it is critical for fiddle players to understand how to pivot to a supporting role and back up other instruments and soloists in the band. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons), master fiddler, ArtistWorks bluegrass instructor, and founding member of the popular string outfit Hawktail, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), teaches how to support other melodic instruments or soloists within the context of a bluegrass string band and add rhythmic variety to your backup playing. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Brittany Haas? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-brittany-haas) “It’s important to be able to play long-tones,” Brittany explains. “However, it is just as important to be able to vary your right hand and add rhythm to your chords. It keeps the music interesting for the listeners, and for the other musicians you’re supporting.” When incorporating new rhythmic patterns into your playing, it’s always important to start slow and practice with a metronome. Starting slow will allow you to focus on executing the rhythms with technical perfection. The metronome will allow you to focus on rhythmic accuracy. As you get increasingly comfortable with the rhythmic patterns you are working on, begin speeding up the tempo. Before you know it, you’ll be adding rhythmic variations within your backup playing at your next jam session! “Trying out and experimenting with a wide variety of rhythmic options is a great way to develop new tools that you can pull from your toolbox when playing backup,” explains Brittany. To learn techniques for playing backup on the fiddle and different rhythms that you can integrate into your repertoire, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons) from [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas): Bowing Patterns & Rhythms for Backup with Brittany Haas: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), and get personal feedback on your playing. Brittany’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation methods, classic old time and bluegrass tunes, and Brittany’s unique and critically acclaimed approach to the instrument. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddle players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Violin Lesson: How to Play Chords with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-to-play-chords) [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges) [Fiddle Lesson: Learn to Play “Whiskey Before Breakfast” with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-whiskey-before-breakfast) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Saxophone Lesson: Finding the Right Reed](https://blog.artistworks.com/saxophone-lesson-finding-reed-eric-marienthal/) **Published:** August 23, 2023 **Author:** ArtistWorks **Excerpt:**

Having an instrument that is comfortable, easy to play, and produces a pleasing tonal quality is important when you’re first learning to play the saxophone. It makes learning the instrument more enjoyable and exciting and keeps you inspired to pick up your horn to practice and play. However, one of the most critical factors that is often overlooked and contributes heavily to a horn’s playability and the quality of tone that it produces is the reed. There are a wide variety of reed types and brands that each produce a unique tone quality and have a distinct feel and response.

**Content:** ![]() Having an instrument that is comfortable, easy to play, and produces a pleasing tonal quality is important when you’re first learning to play the saxophone. It makes learning the instrument more enjoyable and exciting and keeps you inspired to pick up your horn to practice and play. However, one of the most critical factors that is often overlooked and contributes heavily to a horn’s playability and the quality of tone that it produces is the reed. There are a wide variety of reed types and brands that each produce a unique tone quality and have a distinct feel and response. In this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), Grammy Award-winning saxophonist, lead alto chair of Gordon Goodwin’s Big Phat Band, and former member of the Chick Corea Elektric Band, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), outlines the importance of selecting the right reed for you, your playing style, your mouthpiece, and your tonal goals. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) “When you’re choosing a reed, you want to make sure you select a reed that is comfortable to play, first and foremost,” Eric explains. “Reeds are expensive and they don’t last forever. So, you want to make the most of our of each reed that you choose.” One essential element that will impact the brand and size of the reed that you select is your mouthpiece. Depending on the size of your mouthpiece, the size and thickness of the reed you’ll want to select will vary. “The reed strength is all dependent on the size of your mouthpiece,” explains Eric. “If you have a softer reed, but a very wide, open mouthpiece, then the reed is going to feel a lot harder. Conversely, if your mouthpiece is much smaller, a softer reed is going to feel lighter.” To learn more about what to look for in a reed and how the reed impacts the tone and playability of your saxophone, dive into this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) from [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal): Finding the Right Reed with Eric Marienthal: LEARN MORE: Have you always wanted to learn how to play the jazz saxophone? Through our comprehensive [saxophone lessons online](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and get personal feedback on your playing. Eric’s course starts with the basics and teaches everything from beginner saxophone to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as saxophonists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Saxophone Lesson: Producing a Great Tone with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-tone-eric-marienthal) [Jazz Piano Lesson: The ii-V-I Progression with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression) [Saxophone Lesson: An Introduction to Modes with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-modes-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Guitar Lesson: Basic Jazz Scales](https://blog.artistworks.com/jazz-guitar-lesson-basic-jazz-scales/) **Published:** August 31, 2023 **Author:** ArtistWorks **Excerpt:**

For most aspiring jazz musicians, one of the more intimidating elements of the genre to learn is the art of improvisation. When first learning to improvise, it can feel daunting, and understanding where to begin can often feel like a mystery.

**Content:** ![]() For most aspiring jazz musicians, one of the more intimidating elements of the genre to learn is the art of improvisation. When first learning to improvise, it can feel daunting, and understanding where to begin can often feel like a mystery. Scales and arpeggios are the best fundamentals to work on in order to begin improvising. Understanding scales and how they relate to chords and chord progressions will allow you to craft improvised solos, and, as you build your musical vocabulary, perform the melodic lines that you envision in your head. In this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker), award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) teaches a handful of the essential scales commonly used in jazz. He begins by outlining the seven scales, or modes, that make up the building blocks of most Western music, including jazz. He then explains how these modes relate to specific chords or harmonies, and showcases how they can be used in an improvisational context. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) “When you’re learning to solo over your favorite tunes, it’s important to know what scales and tonal qualities are at your disposal so that you can achieve your desired sound,” Dave explains. “My goal is to provide a lot of that information in this lesson.” In addition to teaching the seven modes and a handful of the chords and harmonies over which you can use them, Dave teaches the pentatonic scale, blues scale, and a variety of different variations on the bebop scale. “We have a variety of different bebop scales at our disposal that we can use in our solos,” explains Dave. “These bebop scales simply add one note to our common modes and they completely change the texture and feel.” To learn more about the many essential scales used in jazz and how to incorporate them into your improvisations and playing, dive into this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker) from [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker): Basic Jazz Scales with Dave Stryker: LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Dave Stryker Trio Releases New Album, “Prime”](https://blog.artistworks.com/dave-stryker-trio-new-album-prime) [Jazz Piano Lesson: The ii-V-I Progression with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression) [Jazz Guitar Lesson: Soloing Ideas for Miles Davis’ “So What” with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-miles-davis-so-what) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [How to Play Upright Bass for Bluegrass: A Beginner's Guide](https://blog.artistworks.com/how-to-play-upright-bass-for-bluegrass-a-beginners-guide/) **Published:** January 7, 2026 **Author:** ArtistWorks **Content:** There is nothing quite like the feeling of standing behind an upright bass (also known as double bass) and feeling the floor vibrate as you drive a song forward. If you’ve ever watched a jam session and thought, “I want to be the one keeping that beat,” you’re in the right place. Learning **how to play upright bass for bluegrass** might seem intimidating because of the size of the instrument, but it is actually one of the most accessible and rewarding ways to start playing music with others. At ArtistWorks, we specialize in taking that “where do I even start?” feeling and turning it into “I can’t wait to play.” Whether you are a total musical novice or a guitar player looking to switch to the low end, our **bluegrass bass lessons** are designed to be warm, encouraging, and structured. You don’t have to figure it out alone – our world-class faculty is here to provide **personal guidance** every step of the way. --- ## Table of Contents - [Why Bluegrass Bass?](#welcome) - [Your First Step: The Upright Bass Stance for Bluegrass](#stance) - [Making Your First Sound: The “Big Note”](#sound) - [The “1-5” Secret: Playing Your First Song](#theory) - [3 Common Beginner Mistakes (and How to Fix Them)](#mistakes) - [How Video Exchange Learning® Makes It Simple](#learning) --- ## Why Bluegrass Bass? In a bluegrass band, the bass is the glue. While the fiddle and banjo play fast, complex melodies, the bassist has a very specific, vital job: stay steady and keep the rhythm. This makes it a fantastic instrument for beginners. You don’t need to play a hundred notes a minute to sound great; you just need to play the *right* notes at the *right* time. Through our [online bluegrass bass course](https://artistworks.com/missy-raines), we focus on helping you find that steady pulse. You’ll find that the community is incredibly welcoming, and once you learn a few basic patterns, you’ll be ready to join your very first local jam. ## Your First Step: The Upright Bass Stance for Bluegrass The biggest hurdle for most beginners is simply figuring out how to stand with such a large instrument. A proper **upright bass stance for bluegrass** ensures you don’t get tired or sore while playing. Think of the bass as your dance partner: it should lean against you, not be gripped by you. ### The “Lean-In” Method 1. Adjust your endpin so the “nut” (the top of the fingerboard) is about level with your forehead. 2. Stand with your feet slightly apart, balanced comfortably. 3. Let the upper “bout” (the shoulder) of the bass rest against your left hip/pelvis area. 4. Tilt the bass slightly to the right so your right arm can reach the strings comfortably without reaching around the body. If you’re feeling a bit clumsy at first, don’t worry! You can watch this simple breakdown on proper posture to see exactly how to balance the upright bass effortlessly: ## Making Your First Sound: The “Big Note” In bluegrass, we want a sound that is “thumpy” and warm. To achieve this, instead of using the tips of your fingers like you might on a guitar, you’ll use the fleshy side of your index finger. **Pro Tip:** Imagine you are trying to pull the string through the fingerboard, not just flicking it. This “pull” creates a much deeper vibration that can be heard across a noisy room. ## Building Left-Hand Strength For many beginners, the biggest challenge isn’t just finding the right notes, it’s having the physical strength to hold them down. In bluegrass, the “Root-Five” (1-5) pattern is your bread and butter. It provides that iconic “thump-plunk” sound. However, because the upright bass has a long scale length and thick strings, your left hand needs to develop specific muscle memory and stamina to keep the notes clear and buzz-free. ### The “Interval Slide” Exercise In this essential exercise, multi-award winner [Missy Raines ](https://artistworks.com/missy-raines)demonstrates how to navigate the fingerboard while building hand strength. Instead of just pressing down with your fingers, Missy teaches you to use the weight of your arm to “pull” the string toward the neck. ## 3 Common Beginner Mistakes (and How to Fix Them) Even with the best guidance, everyone hits a few bumps. Here are the most common ones we see at ArtistWorks: What’s Happening?Why It’s ToughThe Simple Fix**The “Squeezing” Left Hand**Your hand gets tired in minutes.Use your arm’s weight to pull the string down, don’t just squeeze with your thumb.**Looking at Your Hands**You lose track of the band and the beat.Practice in front of a mirror or close your eyes to “feel” the distance between notes.**Playing Too Quietly**The band can’t find the beat.Commit to the “pull.” It’s better to play a wrong note with confidence than a right note that no one can hear!## How to Play Upright Bass for Bluegrass with Personal Guidance The most important thing to remember is that every master was once a beginner. Our faculty, including the legendary [Missy Raines](https://artistworks.com/missy-raines), loves working with students who are just starting out. With our **Video Exchange Learning®** system, you are never alone. If you’re struggling with your **upright bass stance for bluegrass** or can’t quite get a transition right, you can record a quick video of yourself. **Your instructor will review** your video and send back a personalized video response with tips, encouragement, and specific exercises just for you. It’s like having a world-class mentor right in your living room. ## Conclusion: Take Your First Note Today Learning **how to play upright bass for bluegrass** is about more than just music—it’s about joining a community and finding your rhythm. By starting with the right posture, mastering the “1-5” pulse, and getting **personal guidance** from experts who care, you’ll be amazed at how quickly you progress. Are you ready to become the heartbeat of the band? [Start a free trial](http://go.artistworks.com/bluegrass) at ArtistWorks and learn with personal guidance today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [10 New Year's Resolutions Every Bluegrass Musician Should Make in 2026](https://blog.artistworks.com/10-new-years-resolutions-every-bluegrass-musician-should-make-in-2026/) **Published:** January 5, 2026 **Author:** ArtistWorks **Content:** The holidays are behind us, and a fresh year stretches out ahead—full of possibility for your playing. Whether you’re picking banjo, sawing fiddle, chopping mandolin, or holding down the rhythm on bass or guitar, the New Year offers a chance to set intentions and grow as a musician. Setting resolutions helps you stay focused on specific goals and gives you a sense of purpose. The challenge? Actually sticking to them. Studies show only about 8% of people maintain their resolutions past the first couple weeks. The good news: with the right approach and effective methods, you can build new habits and achieve long-term goals. This year is rich with opportunities to become a more skilled player and a more well-rounded musician. Here are ten resolutions worth considering for 2026: ## 1. Set Meaningful, Achievable Goals If you know where you want to go, it’s much easier to figure out how to get there. Think about what you genuinely want to achieve as a musician this year. Do you want to nail your backup playing? Get comfortable taking breaks? Learn to sing harmony while you play? Get specific. Set concrete goals rather than vague aspirations. Instead of “get better at my instrument,” try “learn to play backup confidently through a standard jam set” or “master three new fiddle tunes in different keys.” When your goal is something you actually want—not just something you think you *should* want—you’re far more likely to stick with it. ### Lay Down a Clear Path Once you have your goal, determine what steps will get you there. For many players, structured lessons can accelerate progress significantly. Quality instruction helps you stay consistent through accountability, gives you a customized approach based on your current abilities, helps eliminate bad habits before they become ingrained, and introduces you to techniques and concepts you might never discover on your own. [ArtistWorks](https://artistworks.com/) offers comprehensive curricula across all the core bluegrass instruments—[banjo with Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [mandolin with Mike Marshall](https://artistworks.com/mike-marshall), [flatpick guitar with Bryan Sutton](https://artistworks.com/bryan-sutton), [upright bass with Missy Raines](https://artistworks.com/missy-raines), [fiddle with Darol Anger](https://artistworks.com/darol-anger), [dobro with Andy Hall](https://artistworks.com/andy-hall), and [bluegrass vocals with Michael Daves](https://artistworks.com/michael-daves). Each course is taught by Grammy-winning or IBMA-recognized master musicians who have poured their entire knowledge into comprehensive video libraries. ### Measure Your Progress How will you know you’ve improved? Set benchmarks. After a month of focused practice, you might measure progress by sitting in at a local jam, performing a tune you couldn’t play before, or recording yourself and hearing the difference. Some goals might feel intimidating at first, but breaking them into smaller steps makes them achievable. Want to take confident solos at a jam? Start by learning the melody to a standard tune. Then work on simple variations. Practice over backing tracks until it feels natural. Eventually, bring it to a slow jam and give it a try. ### Track Your Time Time management trips up most people. You wake up planning to practice, then realize at bedtime that it never happened. A practice schedule solves this. Be realistic about duration and timing—on busy days, even fifteen minutes counts. Set calendar reminders on your phone to help you commit. ## 2. Practice with a Metronome A metronome is one of the most valuable tools any musician can own, and it’s especially critical in bluegrass where solid time is everything. Free metronome apps work perfectly fine if you’re on a budget. Learning to play with a metronome can feel frustrating at first, but it will quickly make you a better player. The device functions like a mirror: if you notice timing issues while playing with it, those issues were always there—you just hadn’t noticed. That’s useful information. Start slow and gradually increase tempo as the pattern becomes comfortable. If you can play a tune cleanly at 100 BPM this week, aim for 110 BPM next week. For backup playing, practice locking in your chop or your bass notes right on the beat until it becomes second nature. ### Record Yourself Recording your playing helps you hear yourself objectively and creates a catalog of your progress over time. Even a simple voice memo on your phone works. Listen back critically—you’ll catch things you never noticed while playing. ArtistWorks takes this a step further with their [Video Exchange](https://artistworks.com/) platform. You can submit videos of your playing and receive personalized video feedback directly from your instructor. It’s like having a world-class teacher review your practice sessions and offer specific guidance on how to improve. ## 3. Keep a Practice Journal A practice journal helps you track progress and spot patterns in your learning. You can see how long different skills take to develop, which helps you plan realistic schedules going forward. Your journal doesn’t have to be a physical notebook—a notes app on your phone works fine. Daily entries might include the date and time, specific areas you practiced (and for how long), challenges you encountered and potential solutions, and new insights about your playing. Bring your journal to every practice session. Having a place to capture ideas encourages active thinking about your progress rather than mindless repetition. Note which tunes are giving you trouble, what tempos you’re working at, and what breakthroughs you’ve had. ## 4. Create a Dedicated Practice Space A dedicated practice space visualizes your commitment and encourages more frequent, productive sessions with fewer distractions. The space doesn’t need to be large—just enough room for the essentials. Useful gear for your practice space includes a comfortable chair or stool at the right height for your instrument, a sturdy music stand, a way to play backing tracks or recordings, and your instrument on a stand where you can see it and grab it easily. For acoustic instruments, pay attention to humidity—especially during winter. Dry air causes wood to shrink, warp, and crack. If you notice intonation problems or buzzing, consider adding a humidifier to your case or practice room. ## 5. Perform Something This Year Stage fright is one of the most common obstacles for musicians. The only way through it is exposure—playing in front of people helps you gain confidence, even when you make mistakes. The more you perform, the more comfortable you’ll become. ### Places to Start Bluegrass jams are the traditional training ground. Find a slow jam or beginner-friendly session where you can ease in without pressure. Many communities have regular jams at music stores, churches, or community centers—search local bluegrass associations or Facebook groups to find them. Open mic nights at coffee shops or bars offer another low-pressure environment. The atmosphere is relaxed, and people are typically eating or socializing rather than focusing intensely on your performance. If you’re feeling ambitious, look into local festivals that have open stage times, or organize a living room picking session with friends. The key is to get your music in front of other ears—any ears—on a regular basis. ## 6. Learn Your Instrument’s Role in the Band Bluegrass is ensemble music. Understanding your role in the band context—when to drive, when to lay back, when to fill, when to stay out of the way—is just as important as technical chops. Spend time listening critically to classic recordings. Pay attention to what each instrument is doing during verses, choruses, and solos. Notice how the best players support the singer and the lead instrument without stepping on them. If you play a lead instrument like banjo, mandolin, or fiddle, make sure you’re also solid on backup. If you play guitar or bass, focus on being rock-steady—the band depends on you. Courses like [Bryan Sutton’s flatpick guitar lessons](https://artistworks.com/bryan-sutton) and [Missy Raines’ bass lessons](https://artistworks.com/missy-raines) emphasize these ensemble skills alongside technique. ## 7. Learn to Play by Ear Bluegrass has always been an aural tradition. The ability to hear a tune and figure it out on your instrument is invaluable—at jams, in sessions, and in your own musical development. Start simple. Pick a tune you know well and try to find the melody on your instrument without looking at tab. Slow recordings down (apps like Amazing Slow Downer make this easy) and work through phrases one at a time. It’s painstaking at first, but your ear gets stronger with practice. Work on identifying chord progressions too. Most bluegrass tunes use predictable patterns—once you can hear where the I, IV, and V chords fall, you can follow along with almost any standard tune. ArtistWorks instructors like [Michael Daves](https://artistworks.com/michael-daves) emphasize ear training as a core skill. His bluegrass vocals course includes extensive work on hearing harmony parts and developing the musical ear that lets you blend with other singers and players. ## 8. Learn a Tune in a New Style or from a Different Era Becoming a well-rounded player means expanding beyond your comfort zone. This year, commit to exploring music you haven’t spent much time with. If you mostly play driving Scruggs-style banjo, explore melodic or single-string techniques. If you’re a flatpicker who sticks to contest-style playing, dig into some Carter-style rhythm work. If you’ve focused on contemporary progressive bluegrass, go back and learn some Stanley Brothers or early Flatt & Scruggs arrangements note for note. Cross-pollination makes you a more versatile and interesting player. [Tony Trischka’s banjo curriculum](https://artistworks.com/banjo-lessons-tony-trischka) covers everything from Earl Scruggs fundamentals to avant-garde techniques—because understanding the full range of what’s possible on your instrument opens up your own playing. ## 9. Take Care of Your Body Playing music is a physical activity, and repetitive strain injuries are more common among musicians than many people realize. Taking care of your body now prevents problems later. Pay attention to tension while you play. Are your shoulders creeping up? Is your fretting hand cramping? These are signs to stop, stretch, and reassess your posture and technique. Warm up before playing—some gentle stretches for your hands, wrists, and shoulders make a difference. Take breaks during long practice sessions. If something hurts, don’t push through it. Good technique isn’t just about sound—it’s about sustainability. Learning proper form from experienced teachers helps you avoid the bad habits that lead to injury down the road. ## 10. Find Your People Music is social. Finding a community of like-minded players motivates you to improve, exposes you to new ideas, and makes the whole journey more enjoyable. ### Join or Start a Band Playing in a band is one of the fastest ways to improve. You learn to listen, to lock in with other players, to arrange tunes, and to perform under pressure. Even a casual picking group that meets weekly will push your playing forward. If you can’t find an existing band, put one together. Post on local bluegrass forums, put up a flyer at the music store, or ask around at jams. You don’t need to be great—you just need to be committed to showing up and getting better together. ### Get an Accountability Partner An accountability partner provides support and helps you structure your time. Find a friend who’s also working on their playing. Share your goals, check in regularly, and encourage each other through the inevitable plateaus and frustrations. The ArtistWorks community offers this kind of support too. Beyond the instructor feedback, you can browse the [Video Exchange archives](https://artistworks.com/) to see how other students are progressing, what challenges they’re facing, and how the instructors are helping them break through. ## Strategies for Sticking to Your Resolutions Setting goals is easy. Maintaining new activities long enough to form positive habits is the real challenge. Here’s what works: **Identify your goals and the activities that will get you there.** The ultimate goal is to become a better musician. Determine the most realistic path based on your schedule and resources. **Be clear about how new activities fit into your life.** If you want to sit in confidently at jams by summer, plan backward from there. What do you need to work on each month to get there? **Be specific about your goals and habits.** “Practice more” isn’t a plan. “Practice backup playing for 20 minutes every Tuesday and Thursday evening” is a plan. **Eliminate habits that don’t serve your goals.** When practice gets frustrating, scrolling through your phone is easier than pushing through. Leave distractions in another room. Replace unproductive habits with activities that move you forward. **Create commitment structures.** Sign up for lessons in advance. Tell your jam buddies you’re working on a particular tune and you’ll have it ready by next month. Schedule practice sessions on your calendar like appointments. **Prepare for setbacks.** Life happens. If you miss a day, don’t let it become a week. Have a backup plan—maybe a shorter practice routine for busy days, or a list of things you can work on with just ten minutes. ## Make 2026 Your Year The resolutions that stick are the ones connected to genuine desire. Choose goals that excite you, break them into achievable steps, and build systems that keep you accountable. Bluegrass is a lifelong pursuit. There’s always another tune to learn, another technique to explore, another level to reach. That’s what makes it so rewarding. If you can dream it, you can achieve it. Here’s to a year of growth, music, and becoming the player you want to be. Ready to get started? [Explore ArtistWorks](https://artistworks.com/) and learn from Grammy-winning masters who are ready to guide your journey—with personalized video feedback on your playing, comprehensive lesson libraries, and a worldwide community of fellow bluegrass enthusiasts. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [How to Practice Flatpicking Guitar](https://blog.artistworks.com/how-to-practice-flatpicking-guitar/) **Published:** December 23, 2025 **Author:** ArtistWorks **Content:** You’ve learned the basic chords. You can strum through a few bluegrass standards. But somewhere between “competent” and “confident,” you’ve hit a wall—and no amount of YouTube tutorials seems to break it down. If this sounds familiar, you’re not alone. Learning **how to practice flatpicking guitar** effectively is the single most important skill separating players who plateau from those who continue to grow year after year. The good news? With the right approach, structured exercises, and personal guidance, you can transform your practice sessions from aimless noodling into focused skill-building. This guide draws on techniques taught by Grammy-winning instructors and National Flatpicking Champions to help you develop a practice routine that actually works. ## Table of Contents - [Building Your Practice Foundation](#foundation) - [Mastering Bluegrass Alternate Picking Exercises](#alternate-picking) - [The Bluegrass G Run: Your Essential Building Block](#g-run) - [Crosspicking Patterns for Acoustic Guitar](#crosspicking) - [Learning Fiddle Tune Melodies for Flatpicking](#fiddle-tunes) - [Bluegrass Rhythm Guitar Bass Runs](#bass-runs) - [Common Practice Mistakes to Avoid](#common-mistakes) - [Creating Your Structured Practice Routine](#structured-routine) ## Building Your Practice Foundation Before diving into specific techniques, let’s address what makes practice effective. According to Tyler Grant, National Flatpicking Champion and instructor at ArtistWorks, the key lies in what he calls “calibration exercises”—short, focused drills that align your picking and fretting hands before tackling more complex material. ### The Three Pillars of Effective Practice 1. **Intentionality:** Every minute should have a purpose. Know what you’re working on before you pick up the guitar. 2. **Slow, deliberate repetition:** Speed is a byproduct of accuracy. If you can’t play it cleanly at 60 BPM, you certainly can’t play it at 120. 3. **Feedback loops:** Recording yourself, using a metronome, or receiving personalized guidance from an instructor reveals blind spots you can’t hear in real-time. If you’re new to structured flatpicking study, start with [the fundamentals of flatpicking guitar](https://blog.artistworks.com/fundamentals-flatpicking/) to ensure your technique foundation is solid before adding speed. ## Mastering Bluegrass Alternate Picking Exercises Alternate picking—the continuous down-up motion of the pick across strings—is the engine that drives flatpicking speed and fluidity. Yet many self-taught players develop inconsistent picking patterns that limit their progress. ### Exercise 1: Single-String Scale Runs Begin with the C major scale on a single string. This isolates your picking hand and reveals any timing inconsistencies. - Set your metronome to 60 BPM - Play quarter notes, one note per beat, using strict down-up alternation - Focus on consistent pick attack and volume across all notes - Gradually increase tempo only when the motion feels effortless ### Exercise 2: Cross-String Alternate Picking Once single-string picking feels natural, introduce string crossings: - Play a G major scale in open position - Maintain your down-up pattern even when crossing strings - Pay attention to the moment your pick crosses from one string to another—this is where most players lose their timing 🎸 #### Bryan Sutton Ten-time IBMA Guitarist of the Year, Grammy winner. Bryan emphasizes “flow”—the uninterrupted stream of eighth notes that gives bluegrass its driving momentum. [Explore Bryan’s course →](https://artistworks.com/bryan-sutton) ## The Bluegrass G Run: Your Essential Building Block No discussion of flatpicking practice is complete without addressing the G run—that iconic ascending phrase that connects chord changes and signals the end of musical sections. Mastering the bluegrass G run opens doors to countless variations and improvisational possibilities. ### The Basic G Run Pattern The standard G run moves from the fifth fret of the low E string up to an open G chord: ``` e|------------------------3--| B|------------------------0--| G|------------------------0--| D|--------------------0-2-0--| A|------------0-2-0-2--------| E|--3-0-2-3------------------| ``` ### Practice Tips for the G Run 1. **Isolate the left hand first:** Fret the pattern without picking to build muscle memory 2. **Add the pick slowly:** Use strict alternate picking throughout 3. **Practice the timing:** The run should land precisely on beat one of the new measure 4. **Vary your dynamics:** Experiment with accenting different notes to find your personal voice ## Crosspicking Patterns for Acoustic Guitar Crosspicking—the flatpicker’s answer to fingerstyle rolling—creates beautiful arpeggiated textures while maintaining the driving sound of a flatpick. These crosspicking patterns for acoustic guitar add dimension to your rhythm playing and open new melodic possibilities. ### The Forward Roll Pattern This three-note pattern moves from low to high strings: - Pick the bass note (down stroke) - Pick the middle string (up stroke) - Pick the high string (down stroke) - Repeat, maintaining the down-up-down pattern ### The Backward Roll Pattern Reverse the direction for a different melodic contour: - Pick the high string (down stroke) - Pick the middle string (up stroke) - Pick the bass note (down stroke) 🎵 #### Chris Eldridge Grammy-winning guitarist, founding member of Punch Brothers. Chris dedicates significant attention to crosspicking, showing how these patterns integrate into both traditional and progressive bluegrass. [Explore Chris’s course →](https://artistworks.com/chris-eldridge) ## Learning Fiddle Tune Melodies for Flatpicking Fiddle tunes are the gymnasium of flatpicking—challenging, rewarding, and essential for developing the technical vocabulary of bluegrass guitar. Learning fiddle tune melodies for flatpicking builds your speed, accuracy, and musical intuition simultaneously. ### Essential Fiddle Tunes for Practice Start with these progressively challenging tunes: 1. **Beginner:** “Cripple Creek,” “Old Joe Clark” 2. **Intermediate:** “Billy in the Lowground,” “Blackberry Blossom” 3. **Advanced:** “Wheel Hoss,” “Big Mon” ### How to Practice a New Fiddle Tune 1. **Learn the melody by ear first:** Listen to multiple versions before looking at tablature 2. **Break it into phrases:** Master four-measure sections before connecting them 3. **Use a metronome religiously:** Start at half speed and increase by 5 BPM increments 4. **Record yourself:** Compare your playing to the original recordings Tyler Grant’s approach in [the Flatpicking Academy](https://artistworks.com/tyler-grant) emphasizes learning melodies by ear before consulting notation—a method that builds stronger musical instincts and retention. ## Bluegrass Rhythm Guitar Bass Runs Solid rhythm guitar is the backbone of any bluegrass ensemble, and bluegrass rhythm guitar bass runs add movement and interest between chord changes. These connecting phrases transform static strumming into dynamic accompaniment. ### The Basic Boom-Chuck Pattern Before adding bass runs, ensure your foundation is solid: - **Boom:** Strike the bass note of the chord on beats 1 and 3 - **Chuck:** Strum the higher strings on beats 2 and 4 - Keep your strumming hand moving in a constant down-up motion ### Adding Bass Runs Connect your G chord to your C chord with this ascending run: ``` Beat: 1 2 3 4 | 1 G chuck B chuck | C ``` The walk-up from G to C uses the notes G-A-B, leading smoothly into the C chord. For comprehensive coverage of rhythm techniques, check out our guide to [mastering fast-paced rhythm techniques for bluegrass guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar/). ## Common Practice Mistakes to Avoid Even dedicated players can undermine their progress with ineffective practice habits. Watch out for these common pitfalls: ### Mistake 1: Practicing at Full Speed Too Soon Your brain learns what you repeat. If you practice sloppy, you’ll perform sloppy. Always prioritize clean execution over tempo. ### Mistake 2: Neglecting the Metronome Without external timing reference, we naturally speed up easy passages and slow down difficult ones. The metronome reveals these inconsistencies and builds rock-solid time. ### Mistake 3: Ignoring Your Weaknesses It’s tempting to play what you’re already good at. Real improvement comes from identifying and deliberately targeting your weak points. ### Mistake 4: Practicing Without Feedback We often can’t hear our own mistakes. Recording yourself or, better yet, receiving personalized guidance from an experienced instructor, accelerates progress dramatically. ## How to Practice Flatpicking Guitar: Creating Your Structured Routine Now let’s put it all together into a practical daily routine. Here’s a sample 45-minute practice session: ### Sample 45-Minute Practice Session 10 min **Warm-Up** 5 min: Single-string scale exercises with metronome 5 min: Alternate picking across strings 15 min **Technique Focus** Choose one area: G runs, crosspicking, or bass runs Work slowly and deliberately on specific patterns Increase tempo gradually only when accuracy is consistent 15 min **Repertoire Building** Work on a fiddle tune or song Focus on trouble spots rather than playing through from start to finish 5 min **Musical Application** Play through a tune or jam along with a recording Focus on enjoyment and musical expression ## Take Your Practice to the Next Level Understanding **how to practice flatpicking guitar** is essential, but having a master musician guide your journey makes all the difference. At ArtistWorks, our Video Exchange Learning platform connects you directly with world-class instructors like Bryan Sutton, Chris Eldridge, and Tyler Grant. Submit practice videos and receive personalized video feedback addressing your specific challenges—it’s like having a private lesson with a Grammy winner, on your schedule. Whether you’re working on bluegrass alternate picking exercises, perfecting your G runs, developing crosspicking patterns, learning fiddle tune melodies, or refining your rhythm guitar bass runs, personal guidance accelerates your progress and helps you break through plateaus that self-directed learning simply can’t address. [Start Your Free Trial Today](https://artistworks.com) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** flatpicking, guitar --- ### [Easy Piano Songs for Adult Beginners](https://blog.artistworks.com/easy-piano-songs-for-adult-beginners/) **Published:** December 22, 2025 **Author:** ArtistWorks **Content:** **The easiest piano songs for adult beginners** are more than simple melodies. They are confidence builders, coordination trainers, and the foundation of a lifelong relationship with music. If you are starting piano as an adult, you found the right resource to get you started. At ArtistWorks, we work with thousands of adult beginners who are learning piano for the first time or returning after years away. With the right songs, structured lessons, and personal guidance, beginners can start making real music quickly and sustainably. This guide will introduce approachable, rewarding piano songs for beginners while showing you how to practice them effectively using *Video Exchange Learning*, structured lessons, and feedback from world-class instructors. --- ## Table of Contents - [Why Easy Piano Songs Matter for Adult Beginners](#why-easy-songs) - [What Makes a Piano Song “Easy”?](#what-makes-easy) - [The Easiest Piano Songs for Adult Beginners](#easiest-songs) - [How to Practice Beginner Piano Songs Effectively](#how-to-practice) - [Common Beginner Piano Mistakes to Avoid](#common-mistakes) - [Why Structured Online Piano Lessons Matter](#structured-learning) - [Your Next Steps at the Piano](#next-steps) --- ## Why Easy Piano Songs Matter for Adult Beginners Adult beginners approach learning piano differently than children. You bring patience, focus, and musical taste, but you may also bring fear of mistakes or frustration with slow progress. Choosing easy piano songs early on helps you: - Develop hand coordination without tension - Learn basic rhythm and timing - Build finger independence - Stay motivated by actually playing music In well-designed [online piano lessons](https://artistworks.com/schools/instruments/piano), beginner repertoire is not about limitation. It is about sequencing skills so your technique and musicality grow together. ## What Makes a Piano Song “Easy”? Not all beginner piano songs are created equal. A truly easy piano piece for adult beginners usually includes: ### 1. Simple Hand Positions Many beginner piano songs stay in a five-finger position, allowing you to focus on accuracy and tone rather than constant hand shifts. ### 2. Predictable Rhythms Songs with steady quarter notes, half notes, and simple eighth-note patterns help you internalize rhythm without overload. ### 3. Limited Chord Shapes Early beginner piano lessons often use single-note melodies with basic intervals or simple triads. ### 4. Musical Payoff The best easy piano songs still sound musical. Adult beginners deserve music that feels expressive, not childish. ## Easiest Piano Songs for Adult Beginners Below are classic, approachable piano songs for beginners that develop core skills while sounding satisfying at the keyboard. ### 1. “Ode to Joy” (Beethoven) This melody is a favorite in beginner piano because it reinforces stepwise motion and phrasing. It is excellent for learning piano dynamics and legato touch. #### Practice Tip Play the melody slowly with your right hand first. Focus on smooth transitions and even tone before adding second-hand accompaniment. ### 2. “Let It Be” (The Beatles – Simplified) “Let It Be” is one of the most popular choices for adult beginner piano because it feels immediately musical while remaining technically accessible. Simplified arrangements focus on basic chord shapes, steady rhythm, and expressive phrasing. This song is especially effective for beginners who are learning piano later in life because it reinforces left-hand accompaniment patterns while allowing the right hand to focus on melody. ### 3. “Amazing Grace” This timeless melody introduces expressive phrasing and gentle dynamic shaping, key skills in beginner piano lessons. ### 4. “Lean on Me” (Simplified) Many adult beginners enjoy starting with simplified pop songs. These versions often use repetitive chord patterns that are ideal for playing keyboard confidently. ### 5. “Minuet in G” (Simplified Bach) A simplified arrangement allows beginners to experience classical piano structure without overwhelming technique. These easy piano songs are often included or adapted within [beginner piano lessons](https://artistworks.com/beginner-piano) that focus on musical fundamentals and healthy technique. ## How to Practice Beginner Piano Songs Effectively Learning piano is not about how long you practice, but how intentionally you practice. ### Step-by-Step Practice Framework 1. **Hands Separate First:** Learn each hand independently before combining. 2. **Slow Tempo:** Use a tempo where potential mistakes can be worked out first. 3. **Small Sections:** Practice two to four measures at a time. 4. **Record Yourself:** Being able to listen to your progress inspires continuous improvement. With ArtistWorks, you can submit your recordings as Video Exchanges. These are recorded questions and clips of your playing that you send to your instructor for feedback. Your instructor will review your submitted video and provide personal guidance on posture, fingering, rhythm, and musical expression. This kind of feedback is especially valuable for adult beginners who want reassurance that they are building correct habits. ## Common Beginner Piano Mistakes to Avoid ### Playing Too Fast Too Soon Speed hides mistakes. Slow practice builds accuracy and confidence. ### Ignoring Hand Position Collapsed fingers and tense wrists slow progress. Structured piano lessons help prevent these issues early. ### Skipping Musicality Even easy piano songs should include dynamics and phrasing. Music is not just notes. ### Practicing Without Feedback Without feedback, small issues can become long-term obstacles. This is where online piano lessons with personal guidance truly shine. ## Why Structured Online Piano Lessons Matter Many adults try to learn piano by jumping between random videos. This often leads to gaps in technique and frustration. ArtistWorks offers a structured path supported by world-class instructors and *Video Exchange Learning*, where: - Your teacher will review your playing - You receive personalized feedback - Lessons build logically from beginner to advanced You can also explore how piano complements other musical skills in [this guide on the benefits of learning piano as a second instrument](https://blog.artistworks.com/top-5-benefits-learning-piano-second-instrument/), or hear a real student experience in [this perspective on learning piano online](https://blog.artistworks.com/learning-piano-online-christie-peery-student-perspective/). ## Your Next Steps at the Piano The easiest piano songs for adult beginners are stepping stones, not shortcuts. With the right guidance, each simple piece builds technique, musical understanding, and confidence. If you are ready to move beyond guessing and start learning piano with structure, encouragement, and expert feedback, ArtistWorks is here to support you. **[Start a free trial at ArtistWorks and learn with personal guidance.](http://www.artistworks.com "Start a free trial at ArtistWorks and learn with personal guidance.")** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano, Tips **Tags:** beginner, keyboard, piano, songs --- ### [How to Jam at a Bluegrass Jam](https://blog.artistworks.com/how-to-jam-at-a-bluegrass-jam/) **Published:** December 19, 2025 **Author:** ArtistWorks **Content:** **How to jam at a bluegrass jam** is one of the most common—and most intimidating—questions serious guitar players ask when they’re ready to step out of the practice room and into the circle. You might know your chords, play a few solid breaks at home, and even work through solos note-for-note… but a real bluegrass jam is a living, breathing thing. It moves fast. It has rules. And it rewards preparation rooted in tradition. This guide is here to bridge that gap. Not with hype or shortcuts, but with the kind of grounded, lineage-based wisdom that bluegrass has always passed down: one player to another, one song at a time. Whether your goal is to sit in quietly and learn, take your first break without panic, or become the kind of musician others trust in the circle, this article will show you *how to jam at a bluegrass jam* with confidence, humility, and joy. --- ## Table of Contents - [What Is a Bluegrass Jam?](#what-is-a-bluegrass-jam) - [Bluegrass Jam Etiquette: The Unspoken Rules](#bluegrass-jam-etiquette) - [What to Practice Before You Ever Go](#before-you-go) - [How to Jam at a Bluegrass Jam (Step-by-Step)](#how-to-jam-at-a-bluegrass-jam) - [Taking Your First Break Without Fear](#taking-your-first-break) - [Common Mistakes (and How to Avoid Them)](#common-mistakes) - [Why ArtistWorks Is Built for Bluegrass Jamming](#artistworks-advantage) - [Conclusion: Step Into the Circle](#conclusion) --- ## What Is a Bluegrass Jam? A bluegrass jam is a communal music-making tradition rooted in listening, respect, and shared repertoire. Unlike open jams in other genres, bluegrass jams usually follow a predictable—but demanding—structure: - Songs are played in standard keys (G, A, C, D) - Tempos are often brisk - Players take turns soloing (“taking a break”) - Everyone is expected to know the form It’s less about showing off and more about **serving the song**. When done right, it feels like conversation—each instrument speaking clearly, then listening just as carefully. --- ## Bluegrass Jam Etiquette: Respect Earns You a Seat Understanding **bluegrass jam etiquette** is just as important as knowing your chords. These are traditions that protect the flow of the music and create a welcoming space for everyone. ### 1. Listen First, Play Second When you arrive, resist the urge to jump in immediately. Watch how the circle works. Who calls tunes? How are breaks passed? This observation period is a sign of respect—and a powerful learning opportunity. ### 2. Keep Rhythm Rock-Solid In bluegrass, rhythm is king. If you’re unsure about a song, play quietly or sit out. A steady boom-chuck on guitar is infinitely more valuable than a flashy but shaky run. ### 3. Don’t Overplay Bluegrass is about clarity. When it’s not your break, support the soloist. Lay back. Lock in. Let the music breathe. ### 4. Know When to Pass If a break comes your way and you’re not ready, a simple nod or shake of the head is perfectly acceptable. Knowing when *not* to play is a mark of maturity. --- ## What to Practice Before You Ever Go The best jams are won before you walk through the door. Focus your practice on skills that translate directly to the circle. ### Essential Repertoire Learn common jam standards like: - “Salt Creek” - “Old Joe Clark” - “Cripple Creek” - “I’ll Fly Away” Don’t just memorize solos—understand the chord progressions and song forms. ### Key Technique: Playing in Time Practice with a metronome on beats 2 and 4. Bluegrass time lives in the spaces between notes. This is a cornerstone of instruction taught by ArtistWorks bluegrass masters. ### Backup Matters Strong rhythm guitar, tasteful bass runs, and clean transitions are what make other musicians trust you. If you want focused guidance here, our [ArtistWorks Guitar Schools](https://artistworks.com/schools/instruments/guitar) are built around exactly these jam-ready skills. --- ## How to Jam at a Bluegrass Jam: Step-by-Step ### Step 1: Join the Circle Respectfully Stand where you can see the hands of other players. Make eye contact. Stay relaxed. ### Step 2: Follow the Chord Leader In most jams, one player’s rhythm hand tells the story. Watch closely. Bluegrass is visual as much as it is musical. ### Step 3: Take Short, Clear Breaks Your first few breaks should be simple and melodic. A clean, confident phrase beats a rushed flurry of notes every time. ### Step 4: Support Other Instruments Understanding how guitar interacts with banjo, mandolin, and fiddle is essential. Spend time listening to how these roles intertwine. - Explore banjo timing in our [ArtistWorks Banjo Schools](https://artistworks.com/schools/instruments/banjo) - Learn chop rhythm concepts in our [ArtistWorks Mandolin Schools](https://artistworks.com/schools/instruments/mandolin) - Absorb melodic phrasing in our [ArtistWorks Fiddle Schools](https://artistworks.com/schools/instruments/fiddle) --- ## Taking Your First Break Without Fear A great bluegrass break tells a simple story: - Start with the melody - Outline the chord changes - End cleanly Exercise: Take a familiar tune and limit yourself to just five notes. Practice creating a musical sentence within that boundary. This builds confidence and restraint—two jam essentials. --- ## Common Mistakes (and How to Avoid Them) - **Playing too loud:** Bluegrass dynamics matter. - **Ignoring the melody:** Scales aren’t enough. - **Rushing the tempo:** Lock in before you step out. - **Taking breaks too long:** Leave them wanting more. --- ## Why ArtistWorks Is Built for Bluegrass Jamming Bluegrass has always been taught person-to-person. ArtistWorks brings that lineage online through the **Video Exchange® feedback system**, where you submit your playing and receive direct, personalized guidance from world-class instructors. This means you’re not guessing whether your timing, tone, or phrasing will hold up in a jam—you’re preparing with intent. It’s the closest thing to having a master teacher in your pocket, guiding you step-by-step toward real musical connection. --- ## Conclusion: How to Jam at a Bluegrass Jam Is About Belonging Learning **how to jam at a bluegrass jam** isn’t about perfection. It’s about respect, preparation, and the willingness to listen deeply. Every great player in the circle once stood where you are now—nervous, excited, and hopeful. Show up prepared. Play with intention. And remember: bluegrass is a shared language. When you speak it clearly, the circle opens. **Ready to take the next step?** [Try an ArtistWorks bluegrass school for FREE](https://artistworks.com) and start preparing for your next jam with confidence. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Fiddle, Guitar, Mandolin **Tags:** bluegrass jam --- ### [Don't Be Intimidated: How to Learn Mandolin Chords as a Beginner](https://blog.artistworks.com/how-to-learn-mandolin-chords-beginner/) **Published:** December 18, 2025 **Author:** ArtistWorks **Content:** Picking up the mandolin for the first time is an invitation into a world of vibrant tones and percussive energy. Whether you are drawn to the lonesome sound of bluegrass or the intricate beauty of classical music, understanding **mandolin chords** as a beginner is your first step toward true musicality. At ArtistWorks, we believe that learning an instrument isn’t just about memorizing shapes, it’s about developing a relationship with the fretboard under the guidance of world-class masters. In this guide, we will break down the **essential foundations** of mandolin harmony and provide you with a structured path to success. ### Table of Contents - [Understanding the Mandolin Fretboard](#anatomy) - [Essential Mandolin Chords for Beginners](#essential-chords) - [The Secret to Clean Chords: Form and Pressure](#technique) - [How to Learn Mandolin Chords as a Beginner Effectively](#how-to-learn) - [Mandolin Chord Practice Routine for New Players](#practice-routine) - [Taking the Next Step: Beginner Mandolin Lessons Online](#online-lessons) ## Understanding the Mandolin Fretboard ![](https://blog.artistworks.com/wp-content/uploads/2025/12/iStock-952087840.jpg "iStock-952087840 - ArtistWorks Blog")Before we dive into chord shapes, it is vital to understand what makes the mandolin unique. Unlike a guitar, the mandolin is tuned in fifths: **G, D, A, E** – the same as a violin. This symmetrical tuning is a gift to the student; once you learn a chord shape or a scale pattern, it can often be moved across the strings with predictable results. ## Essential Mandolin Chords for Beginners ![](https://blog.artistworks.com/wp-content/uploads/2025/12/two-finger-chords-3.jpg "two-finger-chords - ArtistWorks Blog")In the beginning, you don’t need dozens of complex voicings. You need the “Big Three”: **G Major, C Major, and D Major**. These three chords form the backbone of thousands of folk, bluegrass, and pop songs. Mastery of these shapes is the primary goal for any **beginner mandolin lessons online**. ### The Two-Finger G Major The G Major chord is often the first shape a student learns. It’s resonant and utilizes the mandolin’s open strings to create a full, rich sound. To play it, place your middle finger on the 3rd fret of the E string and your index finger on the 2nd fret of the A string. Let the G and D strings sound open. ### The C Major and D Major Open Shapes Transitioning to C and D allows you to start playing I-IV-V progressions. These shapes require a bit more finger independence, but they are the building blocks of your repertoire. If you find your fingers feel “crowded,” remember that the mandolin’s neck is narrow; precision is more important than strength. Dive deeper into basic two-finger chords with GRAMMY-nominated educator [Sierra Hull](https://artistworks.com/sierra-hull): ## The Secret to Clean Chords: Form and Pressure One of the most common frustrations for new players is “muted” strings or buzzing. This usually stems from two factors: finger placement and thumb position. To achieve a conservatory-level tone, you must ensure your fingers are arched and pressing down just behind the fret wire, not directly on top of it. Your **personal guidance** from an instructor can be the difference between a habit that causes strain and a technique that lasts a lifetime. In our [comprehensive mandolin schools](http://go.artistworks.com/mandolin), your instructor will review your hand positioning through Video Exchange Learning to ensure you aren’t developing tension that could lead to injury. ## How to Learn Mandolin Chords as a Beginner Effectively If you want to learn mandolin chords as a beginner without getting overwhelmed, the answer lies in “chunking” information. Don’t try to learn ten chords in one day. Instead, focus on two chords and the transition between them. - **Visualization:** Before you even touch the strings, visualize the chord shape in your mind. Where does each finger go? - **The “Grab” Method:** Take your hand off the neck, then try to “grab” the chord shape all at once, landing all fingers simultaneously rather than one by one. - **The Strum-Pick-Strum:** Strum the chord, then pick each individual string to ensure every note sounds clear, then strum again. ### Common Mistakes to Avoid - **Leaning the Mandolin Back:** Avoid tilting the instrument toward your face to see the strings; this creates a bad wrist angle. - **Flying Fingers:** Keep your fingers close to the fretboard when not in use. - **Ignoring the Metronome:** Chords only sound good if they are played in time. As you gain confidence with chords, you may want to explore how these shapes integrate into faster playing styles. Check out our [ultimate guide to building speed for bluegrass players](https://blog.artistworks.com/ultimate-guide-building-speed-mandolin-bluegrass-players/) to see how foundational chords support high-velocity soloing. ## Mandolin Chord Practice Routine for New Players Consistency is the key to muscle memory. A dedicated **practice routine** as a new player should be short, focused, and frequent. **Fifteen minutes** of focused chord work is better than a two-hour session once a week. TimeExerciseFocus Area3 MinsWarm-up ScalesFinger dexterity and blood flow.5 MinsChord Transitions (e.g., G to D)Minimize “dead air” between changes.5 MinsRhythmic StrummingMaintaining a steady “chop” or beat.2 MinsReview/Cool DownPlay a simple song you enjoy.## Taking the Next Step: Beginner Mandolin Lessons Online While self-study is a great start, there is no substitute for the mentorship of a master. The ArtistWorks platform is built on the philosophy of [Video Exchange Learning](https://artistworks.com/how-it-works). This means you aren’t just watching a static video; you’re participating in a conversation. When you submit a video of your progress, your instructor will review your performance and provide a personalized video response with specific tips to improve your chord clarity and rhythm. We understand that every player’s journey is unique. That’s why we’ve partnered with some of the most respected names in the industry to offer specialized tracks tailored to your musical interests. Whether you lean more bluegrass or classical, our educators provide the **personal guidance** you need to excel: #### [Mandolin with Mike Marshall](https://artistworks.com/mike-marshall) A true legend of the instrument, [Mike Marshall](https://artistworks.com/mike-marshall) offers a comprehensive curriculum that covers everything from fundamental technique to complex improvisation. His school is perfect for the student who wants a deep dive into the “why” of the fretboard while mastering the mandolin’s most iconic styles. #### [Bluegrass Mandolin with Sierra Hull](https://artistworks.com/sierra-hull) For those inspired by the sounds of bluegrass, [Sierra Hull’s mandolin lessons](https://artistworks.com/sierra-hull) are a perfect fit. Sierra brings her virtuosic approach to the beginner level and beyond, focusing on clean execution, modern rhythms, and the precision required to play at the highest professional standard. #### [Classical Mandolin with Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg) If you are drawn to the elegance of the Baroque or Romantic eras, [Caterina Lichtenberg](https://artistworks.com/caterina-lichtenberg) offers a world-class education. Her school focuses on traditional tremolo, proper plectrum technique, and the refined ergonomics necessary for classical repertoire. No matter which path you choose, the core of the ArtistWorks experience remains the same: your instructor will review your work. Through **Video Exchange Learning**, you receive the same level of feedback you would expect from a private conservatory, all from the comfort of your home. ## Conclusion: Your Musical Journey Starts Here Learning basic mandolin chords is a rewarding challenge that opens the door to a lifetime of musical expression. By focusing on essential shapes, maintaining proper form, and following a structured practice routine, you will quickly find yourself playing along with your favorite tunes. Remember, progress is a marathon, not a sprint. Be patient with yourself, celebrate the small victories, and seek the guidance that will help you flourish. Ready to elevate your playing? Start a [free trial with ArtistWorks](http://go.artistworks.com/mandolin) and learn with personal guidance from the world’s best mandolinists today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** beginner, bluegrass, mandolin, sierra hull --- ### [The Virtual Fiddle Roundtable with Darol Anger, Brittany Haas, Deanie Richardson, & Alex Hargreaves](https://blog.artistworks.com/virtual-fiddle-roundtable-2023/) **Published:** September 7, 2023 **Author:** ArtistWorks **Excerpt:**

On Wednesday, September 13, 2023, at 4:00 pm PT / 6:00 pm CT, ArtistWorks will be hosting a free virtual live-streamed event featuring both of our world-renowned fiddle instructors: Darol Anger and Brittany Haas. We are also excited to announce that Darol and Brittany will be joined on the live-stream by special guests Deanie Richardson (IBMA award-winning fiddler and co-founder of the Grammy-nominated bluegrass quintet, Sister Sadie) and Alex Hargreaves (nationally renowned fiddle virtuoso and the current fiddle player for Billy Strings). Other guests will probably appear! We found an actual Round Table!

**Content:** ![]() On Wednesday, September 13, 2023, at 4:00 pm PT / 6:00 pm CT, ArtistWorks will be hosting a free virtual live-streamed event featuring both of our world-renowned fiddle instructors: [Darol Anger](https://www.artistworks.com/fiddle-lessons-darol-anger) and [Brittany Haas](https://www.artistworks.com/fiddle-lessons-brittany-haas). We are also excited to announce that Darol and Brittany will be joined on the live-stream by special guests Deanie Richardson (IBMA award-winning fiddler and co-founder of the Grammy-nominated bluegrass quintet, Sister Sadie) and Alex Hargreaves (nationally renowned fiddle virtuoso and the current fiddle player for Billy Strings). Other guests will probably appear! We found an actual Round Table! Together, these four master musicians will be discussing all things music, sharing exclusive performances, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing fiddle players, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2023-virtual-fiddle-roundtable) to RSVP for the event, receive FREE sample fiddle lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! We will be awarding the free subscription to three lucky winners! ABOUT THE LIVE-STREAM EVENT: [The Virtual Fiddle Roundtable](https://go.artistworks.com/2023-virtual-fiddle-roundtable) promises an exciting and engaging experience for fiddle players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2023-virtual-fiddle-roundtable): Witness breathtaking fiddle mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2023-virtual-fiddle-roundtable): Learn from the pros as they delve into the secrets of their fiddle techniques, share stories from their careers, and discuss the future of fiddle playing. [Q&A sessions](https://go.artistworks.com/2023-virtual-fiddle-roundtable): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2023-virtual-fiddle-roundtable): Sign up to RSVP for the event, receive FREE sample fiddle lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! Now, let’s get acquainted with our star-studded lineup: [Darol Anger](https://www.artistworks.com/fiddle-lessons-darol-anger) Freestyle Fiddler, composer, producer, and educator, Darol Anger is at home in a number of musical genres, some of which he helped to invent. Exceptional among modern fiddlers for his versatility and depth, Anger has helped drive the evolution of the contemporary string band through his involvement with numerous pathbreaking ensembles such as his Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, The Montreux Band, his Duo with Mike Marshall, his current touring group Mr Sun, and others. He has performed and taught all over the world with musicians such as Dr. Billy Taylor, Béla Fleck, Bill Evans, Edgar Meyer, Bill Frisell, Tony Rice, Tim O’Brien, The Anonymous 4, Marin Alsop and the Cabrillo Orchestra, the Detroit Symphony, Bruce Molsky, Mark O’Connor, and Stephane Grappelli. Today Darol can still be heard on NPR’s “Car Talk” theme, along with Earl Scruggs, David Grisman, and Tony Rice. Alumni of his touring band The Republic Of Strings include Brittany Haas, Rushad Eggleston, Jeremy Kittel, Sara Watkins, Tristan Clarridge, Mike Block, Scott Law, Gabriel Witcher, Joy Adams, Maeve Gilchrist, Scott Nygaard, Scott Law, and Joe K Walsh. In addition to performing all over the world, he has recorded and produced many important recordings for Windham Hill, Compass Records, Six Degrees Records, and his own label since 1977. He is a MacDowell and UCross Fellow and has received numerous composers’ residencies and grants. He has been a featured soloist on dozens of recordings and motion picture soundtracks. He recently received a Distinguished Achievement Award from the International Bluegrass Music Association. A Professor Emeritus at the prestigious Berklee School of Music, he now runs an ambitious online fiddle school at ArtistWorks.com. He is interested in 5-string violin technology and has built 2. [Brittany Haas](https://www.artistworks.com/fiddle-lessons-brittany-haas) Brittany Haas is widely considered to be one of the most influential fiddlers of her generation. Her unique style and approach to the instrument have garnered her international acclaim and established her as a pioneer of traditional old time and bluegrass music. Known most for her fresh take on a wide variety of classic fiddling traditions, Brittany draws influence from not only old time and bluegrass styles but an array of Celtic and Scandinavian genres as well. She began her career as a professional musician at age fourteen, touring nationally as a member of Darol Anger’s Republic of Strings, and released her debut, self-titled record at seventeen. Since then, Brittany has shared the stage with countless musical greats including Béla Fleck, Abigail Washburn, Yonder Mountain String Band, The Waybacks, Chris Thile, and fellow ArtistWorks masters Tony Trischka and Darol Anger. In addition to collaborating on a wide variety of projects with some of the biggest names in bluegrass, Brittany also leads her own quartet alongside bassist Paul Kowert of Punch Brothers, guitarist Jordan Tice, and mandolinist Dominick Leslie called Hawktail. Brittany’s technical abilities combined with her deep knowledge of a vast array of fiddling traditions truly elevate her as a fiddler and musician. Like many bluegrass greats, Brittany calls Nashville, TN her home and has been teaching at ArtistWorks since December 2022. [Deanie Richardson](https://www.deanierichardson.com/) Making her debut appearance on the Grand Ole Opry at the tender age of 13, Deanie Richardson took the stage and never looked back. Raised just outside of Nashville in the small town of Kingston Springs, Deanie grew up in a musical family. With both of her grandfathers and her daddy playing music, it was just natural for Deanie to want to play along. Deanie has several titles under her belt, having entered and won numerous fiddle contests before she started playing bluegrass or bluegrass festivals. She has been nominated for the Academy of Country Music Awards Top Fiddle Player of the Year for 2010 putting her up against Stuart Duncan, a fellow fiddler she admires greatly. Her band Sister Sadie has released two very successful albums, the first of which was nominated for a Grammy. Deanie then released a solo project entitled ” Love Hard Work Hard Play Hard” in 2019. For the year 2020, Deanie was awarded the International Bluegrass Music Association’s Fiddle Player of the Year. The band that she helped to cofound, Sister Sadie, also won Vocal Group of the Year and was the first all-female band to win Entertainer of the Year, in the IBMA’s history. She was the most awarded artist at the 2020 IBMA awards, winning four awards. She also took home an award for a collaborative event with Becky Buller, “The Barber’s Fiddle”. [Alex Hargreaves](http://www.alexhargreaves.net/welcome) Described as “one of the greatest improvising violinists in America today” by virtuoso mandolinist/composer Mike Marshall, Alex Hargreaves is a fiddler who draws inspiration from a wide variety of genres and traditions. He is currently touring full-time with Grammy award-winning guitarist and singer Billy Strings. Based in Brooklyn, NY, Alex has toured with Jerry Douglas, David Grisman, Béla Fleck, Danilo Perez, and Sarah Jarosz, and has performed with many others including Punch Brothers, Sierra Hull, Steve Martin, and Kacey Musgraves, appearing on her Saturday Night Live debut. He was a member of the Grammy award-winning Turtle Island Quartet from 2016–2019, appearing on their 2018 release, Bird’s Eye View, and can often be heard playing in the house band on the public radio variety show, Live From Here with Chris Thile. Currently on faculty at The New School, Alex is an experienced music educator, having taught at a variety of music camps and workshops including the Mark O’Connor Fiddle Camp, Swannanoa Gathering, Augusta Heritage, Christian Howes’ Creative Strings Workshop, and the Mike Block String Camp. He also teaches privately in Brooklyn and online. With a strong emphasis on ear training, Alex helps his students find their own way of learning and staying inspired, while still respecting the traditions and contributions of those who set the groundwork for the music we play today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Bowing Patterns & Rhythms for Backup with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps/) **Published:** September 8, 2023 **Author:** ArtistWorks **Excerpt:**

As guitar players, oftentimes when we think of “sweep picking” techniques, the first stylistic associations that come to mind are heavy metal and shred guitar playing. However, sweep picking methods are used in a variety of different guitar styles, including, but not limited to, flatpick and bluegrass guitar playing.

**Content:** ![]() As guitar players, oftentimes when we think of “sweep picking” techniques, the first stylistic associations that come to mind are heavy metal and shred guitar playing. However, sweep picking methods are used in a variety of different guitar styles, including, but not limited to, flatpick and bluegrass guitar playing. While alternate picking is certainly the predominant method of choice in the flatpicking tradition, there are critical instances where sweep picking can and should be used, and, believe it or not, one of these instances in particular was pioneered by bluegrass guitar icon, Tony Rice. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Punch Brothers co-founder, Grammy Award-winning guitarist, and ArtistWorks bluegrass acoustic guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), teaches Tony Rice’s unique sweep picking technique that he frequently employed in the context of rhythm guitar playing. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) “Tony would do these slow, sweeping downstrokes and upstrokes when playing rhythm guitar that created this really cool texture,” Chris explains. “These are great for dropping in between vocal phrases.” Tony’s sweep picking techniques were not only designed to improve playing efficiency from a mechanical standpoint, but they also create a unique tone and alter the way the acoustic guitar sounds and responds sonically. “When you compare the sonic characteristics of the same run played using alternate picking versus Tony’s sweep picking technique, you’ll hear that the sweep picking method produces a fuller and richer tone,” explains Chris. “This simple adjustment has a huge impact on the sound you produce.” To learn more about Tony Rice’s sweep picking technique in the context of bluegrass rhythm guitar and how to incorporate it into your playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Tony Rice Rhythm Fill Sweeps with Chris Eldridge: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) [Bluegrass Guitar Lesson: The 3 Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mike Marshall Releases "Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010"](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-4/) **Published:** September 13, 2023 **Author:** ArtistWorks **Excerpt:**

Earlier this week, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, Mike Marshall, released his latest album, Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010.

**Content:** ![]() Earlier this week, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), released his latest album, [Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-solo-j-s-bach-cello-suite-4-in-eb). [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) is not only a virtuosic mandolinist but is well-known as a master of a variety of stringed instruments including the guitar, fiddle, and mandocello. Additionally, he is not only prolific in the bluegrass style, but is also well-versed in Brazilian choro music, jazz, and classical repertoire. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) On September 12, 2023, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 4 in Eb Major, BWV 1010 unaccompanied on the mandocello. A follow-up to his 2021 release, [Mike Marshall Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-j-s-bach-cello-suite-1-bwv-1007), and 2022 releases, [Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-solo-j-s-bach-cello-suite-2-bwv-1008) and [Mike Marshall Mandocello J.S. Bach Cello Suite No. 3, BWV 1009](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-solo-bach-cello-suite-3-bwv-1009), this new six-track album is the fourth cello suite of six from J.S. Bach that Mike has mastered and recorded for the world on mandocello. Mike’s masterful mandocello performance of Johann Sebastian Bach’s Cello Suite No. 4 in Eb Major, BWV 1010 can be downloaded and purchased directly from Mike’s [Bandcamp page](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-solo-j-s-bach-cello-suite-4-in-eb). LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall & Darol Anger Release New Live Album, Ook’n’m](https://blog.artistworks.com/mike-marshall-darol-anger-live-album-2023) [Mandolin Lesson: Improvising Over the “Janice” Chord Changes with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-improvising-janice) [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Rock Guitar Lesson: Phrasing](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing/) **Published:** September 15, 2023 **Author:** ArtistWorks **Excerpt:**

When first learning to play the guitar, oftentimes our primary focus is on hitting the “correct notes,” whether they be in the context of a song or riff, or within an improvisation or solo. However, crafting a truly musical and emotive performance requires much more than simply playing the “right notes.”

**Content:** ![]() When first learning to play the guitar, oftentimes our primary focus is on hitting the “correct notes,” whether they be in the context of a song or riff, or within an improvisation or solo. However, crafting a truly musical and emotive performance requires much more than simply playing the “right notes.” In order to provide a moving musical experience for the listeners, a performance requires dynamic variation and thoughtful, intentional phrasing. These two additional elements, when combined with performing the “correct notes,” can transform the simplest of melodies from something sterile to a profoundly stirring musical encounter. In this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), world-renowned guitarist, “Blues Power” titan, and ArtistWorks blues rock guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), provides his thoughtful and unique perspective on the art of phrasing and details the manner in which he applies the concept of phrasing in his musical improvisations and songwriting on the guitar. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “Whether it’s in the context of music or language, phrasing is so important,” Jared explains. “Oftentimes, an idea will either connect with others or it won’t solely based on how it is phrased.” As you begin focusing on and practicing your musical phrasing, one of the best things to keep in mind is your linguistic phrasing. Practice crafting musical phrases that follow a similar cadence or pattern to that of your speech. This is not only a great technique for creating emotive musical phrases, but it’s also a method that will naturally facilitate the development of your own unique musical voice on the guitar. “One thing that is consistent about all of my favorite guitar players and musicians that I enjoy listening to is that they all have a sense of phrasing that is completely unique to them,” explains Jared. “When I hear them play, so much of their personality shines through. It almost feels like they’re talking to me through their instrument.” To learn more about phrasing and how to develop your own musical voice, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols) from [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols): Phrasing with Jared James Nichols: LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, music theory, and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jared James Nichols Releases New Self-Titled Album](https://blog.artistworks.com/jared-james-nichols-new-self-titled-album) [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) [Blues Rock Guitar Lesson: Playing with Attitude](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Acoustic Fingerstyle Guitar Lesson: An Introduction to Polyrhythms](https://blog.artistworks.com/acoustic-guitar-lesson-polyrhythms-andy-mckee/) **Published:** September 21, 2023 **Author:** ArtistWorks **Excerpt:**

Andy McKee is widely considered to be one of the most prolific artists in the world of modern acoustic guitar playing. Alongside guitarists like Michael Hedges, Preston Reed, and Billy McLaughlin, Andy has pioneered countless techniques on the acoustic guitar that have taken the instrument to new heights and completely reshaped the way in which the world perceives the role and capabilities of the acoustic guitar.

**Content:** ![]() [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee) is widely considered to be one of the most prolific artists in the world of modern acoustic guitar playing. Alongside guitarists like Michael Hedges, Preston Reed, and Billy McLaughlin, Andy has pioneered countless techniques on the acoustic guitar that have taken the instrument to new heights and completely reshaped the way in which the world perceives the role and capabilities of the acoustic guitar. In 2006, Andy’s unique use of groundbreaking techniques like two-handing tapping, slap harmonics, and percussion on the guitar body to create various polyrhythms and the impression of an entire orchestra emanating from a mere six strings caught the world’s attention. Since then, Andy has continued to transform the landscape of modern acoustic music, and through his masterful artistry and passion for education, has influenced acoustic guitarists on a global level. In this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee), Andy teaches one of the fundamental concepts that defines his approach to playing—the use of polyrhythms. He begins by explaining what polyrhythms are and provides a few percussive exercises that you can practice without a guitar in order to begin digesting the concept and developing independence between hands. LEARN MORE: [Want to learn how to play acoustic fingerstyle guitar from a master musician like Andy McKee? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-andy-mckee) “In modern fingerstyle acoustic guitar playing, maybe more so than most other guitar styles, you’ll often find yourself doing two different very different things with each hand,” Andy explains. “As such, it’s very important to develop independence between your two hands, and to be able to perform polyrhythms.” What are polyrhythms? At this point, many of you may be wondering what polyrhythms are. Polyrhythm is the simultaneous use of two or more rhythms that are not necessarily immediately perceived as deriving from one another or presented as a simple manifestation of the same meter. For example, performing a set of two eighth notes against a set of three triplets is a very common polyrhythm. “Usually with the guitar, we fret the notes we want to play in the left hand and strum or pick the notes with our right hand,” explains Andy. “However, with modern fingerstyle guitar playing, sometimes we’ll do completely different things with each hand, and it’s important to get to a place where that feels comfortable.” To learn more about polyrhythms, how their utilized in modern fingerstyle acoustic guitar techniques, and how to integrate them into your playing, dive into this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee) from [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee): An Introduction to Polyrhythms with Andy McKee: LEARN MORE: Have you always wanted to learn how to play acoustic fingerstyle guitar? Through our comprehensive [acoustic guitar lessons online](https://artistworks.com/guitar-lessons-andy-mckee) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, including two-hand tapping, slap harmonics, and percussion on the guitar body. Plus, you’ll learn many of Andy’s unique original compositions and imaginative covers. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Acoustic Fingerstyle Guitar Lesson: Alternating Bass Using The Thumb with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-alternating-bass) [Acoustic Fingerstyle Guitar Lesson: Linear Tapping with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-linear-tapping) [Guitar Lesson: Opening Up the Neck Using Triads with Guthrie Trapp](https://blog.artistworks.com/guitar-lesson-triads-guthrie-trapp) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Darol & Mr Sun Premiere Duke Ellington's Nutcracker at Freshgrass](https://blog.artistworks.com/darol-mr-sun-premiere-duke-ellingtons-nutcracker-freshgrass/) **Published:** September 25, 2023 **Author:** ArtistWorks **Excerpt:**

We did it! “Mr Sun Plays Duke Ellington’s Nutcracker Suite” debuted to a packed house at the FreshGrass Festival on Friday.

Much Thanks to the FreshGrass Foundation for commissioning the work, and special thanks to Leo Austin-Muehleck, Dan Bui, Ella Bebe Jordan, Kathleen Parks, Clara Rose and Caleb Swan, aka the Hollywood Honk, for rounding out the “big band.”

We couldn’t have done it in such style without them! AND special huge thanks to Dave Sinko for being there to engineer.
The album comes out December 1 on Adhyâropa Records, but you can preorder vinyl, downloads and CDs at mrsun.bandcamp.com

**Content:** We did it! “**Mr Sun Plays Duke Ellington’s Nutcracker Suite**” debuted to a packed house at the **FreshGrass Festival** on Friday. Much Thanks to the **FreshGrass Foundation** for commissioning the work, and special thanks to Leo Austin-Muehleck, Dan Bui, Ella Bebe Jordan, Kathleen Parks, Clara Rose and Caleb Swan, aka the Hollywood Honk, for rounding out the “big band.” We couldn’t have done it in such style without them! AND special huge thanks to Dave Sinko for being there to engineer. The album comes out December 1 on Adhyâropa Records, but you can [**preorder** ](https://mrsun.bandcamp.com/album/mr-sun-plays-duke-ellingtons-nutcracker-suite)vinyl, downloads and CDs at [**mrsun.bandcamp.com**](https://mrsun.bandcamp.com/album/mr-sun-plays-duke-ellingtons-nutcracker-suite) In March of 2023, Darol Anger, Joe K. Walsh, Grant Gordy, & Aidan O’Donnell went into the recording studio to transmogrify the legendary Ellington/Strayhorn Nutcracker Suite into the Acoustic String Band, as Mr Sun. Their studio of choice was Mass/MOCA Recording studio #9 in North Adams, Massachusetts, a state-of-the art recording facility built by the Mass/MOCA Art Museum. The recording engineer was the equally legendary David Sinko, who has recorded many of the most important and innovative acoustic string bands of the last 40 years. Mr Sun premiered the work at the Freshgrass Festival in fall of 2023, concurrent with the release of the recording. The Project has been generously underwritten by the Freshgrass Foundation. Tchaikovsky’s extraordinary Nutcracker Suite contains some of the most beloved and familiar melodies in the Western world. Mr Sun has seized upon the inspiration of Duke Ellington’s brilliant, sly, & urbane re-interpretation of Tchaikovsky’s Suite as an opportunity to salute and re-invent this wildly multi-faceted work anew, through the lens of the American String Band, a musical form which now contains many styles and is presently engaged in a marathon upheaval of innovation and expansion. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol's Big Book of Fiddle Tunes is now available](https://blog.artistworks.com/darols-big-book-fiddle-tunes-now-available/) **Published:** September 27, 2023 **Author:** ArtistWorks **Excerpt:**

Well... we over here at the Fiddle Castle somehow have aquired a large box of these brand-new books of tunes written by Darol. we need to send them out into the world!

In this first of 3 volumes, renowned fiddle player Darol Anger presents his Bluegrass and fiddle-oriented compositions as melody and chord charts, with short informative explanations for each tune.

Subscribers to Darol's Artistworks School Of Fiddle already have access to charts and lessons to many of these tunes, but not all. If you'd like them all collected in a nice-looking, easy-to-open and-close book, this is your jam.

**Content:** Well… we over here at the Fiddle Castle somehow have aquired a large box of these brand-new [**books of tunes**](https://darolanger1.bandcamp.com/merch/darol-angers-big-book-of-tunes-vol-1-bluegrass-fiddle-tunes) written by Darol. we need to send them out into the world! [**In this first of 3 volumes**](https://darolanger1.bandcamp.com/merch/darol-angers-big-book-of-tunes-vol-1-bluegrass-fiddle-tunes), renowned fiddle player **Darol Anger** presents his Bluegrass and fiddle-oriented compositions as melody and chord charts, with short informative explanations for each tune. Subscribers to Darol’s **Artistworks School Of Fiddle** already have access to charts and lessons to many of these tunes, but not all. If you’d like them all collected in a nice-looking, easy-to-open and-close [**book**](https://darolanger1.bandcamp.com/merch/darol-angers-big-book-of-tunes-vol-1-bluegrass-fiddle-tunes), this is your jam. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Country Guitar Lesson: Two-Note Harmonizing](https://blog.artistworks.com/country-guitar-lesson-double-stops/) **Published:** September 28, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most important musical elements that contributes to the aesthetic of traditional country guitar playing is the use of two-note harmonizations. These two-note harmonizations, often called double-stops, can be heard in almost every classic country recording ever produced.

**Content:** ![]() One of the most important musical elements that contributes to the aesthetic of traditional country guitar playing is the use of two-note harmonizations. These two-note harmonizations, often called double-stops, can be heard in almost every classic country recording ever produced. In this [online guitar lesson](https://artistworks.com/guitar-lessons), ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), teaches how to begin appropriately incorporating two-note harmonies and double-stops into your playing in the context of a country shuffle in C major. He illustrates how double-stops not only complement and enrich melodies but also assist in outlining the song’s chord changes and can create beautiful voice-leading lines. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) “Incorporating double-stops into your soloing might feel a little bit intimidating at first,” Guthrie explains. “But, these double-stops all come directly from our fundamental chord shapes. As we work through the solo on this shuffle, we’ll see how these chords are all mapped out on the fretboard.” What is a double-stop? In simplest terms, a double-stop is the act of playing two notes simultaneously on a stringed instrument. In fact, this technique can be used on instruments ranging from guitar to bass, mandolin, banjo, violin, viola, cello, and beyond. In country music and country guitar playing, double-stops are omnipresent. However, the intervals of the two-note pairings that are most commonly heard are major and minor thirds and major and minor sixths. When crafting your own solos and melodies in the country style, focus on incorporating double-stops that feature those intervals in particular. “Focusing on your chord shapes as you improvise will really change everything for you,” explains Guthrie. “Because I learned my chord shapes and mapped them out on the fretboard early on, I’m able to outline the chord changes of the song and bring in double-stops, arpeggios, and more seamlessly into my solos.” To learn more about double-stops and how to incorporate them into your licks and improvisations, dive into this [online guitar lesson](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) from [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Two-Note Harmonizing with Guthrie Trapp: [GUTHRIE’S ARTISTWORKS COURSE](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! [GUTHRIE’S TRUEFIRE COURSES](https://truefire.com/educators/guthrie-trapp/e4680): Guthrie also has two guitar courses that are now available at our sister company, [TrueFire](https://truefire.com/): [“Roots Recharge: A Genre-Bending Masterclass in Artistic Soloing”](https://truefire.com/guthrie-trapp-guitar-lessons/roots-recharge/c1965) [“In The Jam with Guthrie Trapp”](https://truefire.com/in-the-jam/guthrie-trapp/j165) These courses are both great supplements to his curriculum at ArtistWorks. Click the links above to learn more! READ MORE: [Guitar Lesson: Opening Up the Neck Using Triads with Guthrie Trapp](https://blog.artistworks.com/guitar-lesson-triads-guthrie-trapp) [Bluegrass Guitar Lesson: The 3 Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [The Top 4 Techniques for Country Guitar Soloing](https://blog.artistworks.com/top-4-techniques-country-guitar-soloing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons and New Department Just Added!](https://blog.artistworks.com/new-lessons-and-new-department-just-added/) **Published:** October 3, 2023 **Author:** ArtistWorks **Excerpt:**

New Lessons have just been added to the Jazz & Blues, Beginner, and Advanced Fiddle departments! We are also excited to announce a brand new department: Waltzes! Check it out HERE, or find it in the Lesson list! Happy Fiddling!

**Content:** New Lessons have just been added to the Jazz & Blues, Beginner, and Advanced Fiddle departments! We are also excited to announce a brand new department: Waltzes! Check it out [HERE](https://my.artistworks.com/darol-anger/learning/212749), or find it in the Lesson list! Happy Fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Virtual Ukulele Roundtable with Craig Chee, Sarah Maisel, Brittni Paiva, & Neal Chin](https://blog.artistworks.com/virtual-ukulele-roundtable-2023/) **Published:** October 5, 2023 **Author:** ArtistWorks **Excerpt:**

On Tuesday, October 17, 2023, at 3:00 pm PT / 5:00 pm CT, ArtistWorks will host a free virtual live-streamed event featuring our world-renowned ukulele instructors: Craig Chee and Sarah Maisel. We are also excited to announce that Craig and Sarah will be joined on the live-stream by special guests Brittni Paiva and Neal Chin.

**Content:** ![]() On Tuesday, October 17, 2023, at 3:00 pm PT / 5:00 pm CT, ArtistWorks will host a free virtual live-streamed event featuring our world-renowned ukulele instructors: [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah). We are also excited to announce that Craig and Sarah will be joined on the live-stream by special guests Brittni Paiva and Neal Chin. Together, these four master musicians will be discussing all things music, sharing exclusive performances, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing ukulele players, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2023-virtual-ukulele-roundtable) to RSVP for the event, receive FREE sample ukulele lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! We will be awarding the free subscription to three lucky winners! ABOUT THE LIVE-STREAM EVENT: [The Virtual Ukulele Roundtable](https://go.artistworks.com/2023-virtual-ukulele-roundtable) promises an exciting and engaging experience for ukulele players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2023-virtual-ukulele-roundtable): Witness breathtaking ukulele mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2023-virtual-ukulele-roundtable): Learn from the pros as they delve into the secrets of their ukulele techniques, share stories from their careers, and discuss the future of ukulele playing. [Q&A sessions](https://go.artistworks.com/2023-virtual-ukulele-roundtable): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2023-virtual-ukulele-roundtable): Sign up to RSVP for the event, receive FREE sample ukulele lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! Now, let’s get acquainted with our star-studded lineup: [Craig Chee & Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) Even though Craig Chee was born and raised on Oahu, he matured as an ‘ukulele player and musician on the mainland. While attending and graduating from the University of Oregon, Craig focused on teaching many different styles with the tiny instrument. Craig started his learning journey, like many other Hawai’i residents, with friends and the Roy Sakuma ‘Ukulele Studio. He has had the honor of working under Jake Shimabukuro and Troy Fernandez and has become a world-renowned teacher and performer. Craig infuses his energetic and just plain “fun” style into many genres of music and is known for his collaborations at different music events. Sarah Maisel was born and raised in Alabama and found herself working in San Diego, CA as the Lead Female Draper for the La Jolla Playhouse and the University of California San Diego. After walking into a local ‘ukulele jam, Sarah was both fascinated by the instrument and the joy that surrounded it. Studying under Frank Leong, Sarah dove into the jazz stylings of golden age Hawai’i songs and arrangements inspired by ‘ukulele legends like Lyle Ritz, Benny Chong, and Byron Yasui. Sarah found a passion for teaching and performing with the ‘ukulele and was quickly featured at many ‘ukulele festivals around the world. Craig and Sarah discovered a similar passion and work ethic and in 2015, married. They have made an incredible splash in the ‘ukulele scene with their complementing styles and vocal harmonies. Craig and Sarah have been featured at ‘Ukulele Festivals and events all over the world including Cairns and the Sunshine Coast (Australia), Cheltenham and Huddersfield (United Kingdom), Vancouver (Canada), Tokyo (Japan), Berlin (Germany), Brussels (Belgium), Honolulu (HI), and all over the continental US. Both feel very fortunate to have been featured on the cover of ‘Ukulele Magazine. [Brittni Paiva](https://brittnipaiva.com/) Renowned for her exceptional ukulele skills, Brittni Paiva is a multi-award-winning instrumentalist with millions of hits on YouTube and global recognition in world music circles. Her stunning articulation of the instrument has earned her a place in the trend of the ukulele’s resurgence in popularity. She has shared the stage with legendary musicians such as Carlos Santana and Tommy Emmanuel and has won numerous awards and nominations throughout her career, including three Na Hoku Hanohano Awards. Grammy winner Tom Scott was so impressed with Brittni’s unique ability to adapt tunes to the ukulele while maintaining her identity that he requested to perform with her at a concert. Brittni’s fifth album, produced in collaboration with Tom Scott, was a huge success, receiving two nominations and winning both categories – Ukulele Album of the Year and Instrumental Composition of the Year – at the Hawaii Academy of Recording Arts (Na Hoku Hanohano Awards). With her music, she infuses a refreshing and lively spirit, emanating an infectious new energy that captures her listeners. [Neal Chin](http://www.nealchin.com/) Award-winning artist and Maui, HI native Neal Chin, has been both an ‘ukulele educator and performer over the course of his musical career of 19 years. His clear and direct enthusiasm for music has come to life in countless workshops, concerts, and private instruction. While his heart is in jazz, Neal has played with many musicians of different genres including Hawaiian, folk, rock, and hip-hop. His contribution to the collective The Akira Project won his first Na? Ho?ku? Hanohano Award in 2014 before moving up to the Pacific Northwest. Since then he has been nominated for the Na? Ho?ku? Hanohano Award for ‘Ukulele Album of the Year two years consecutively for ‘Ukulele Paintings and The Spotless Mind in 2017 & 2018, started his own ‘ukulele practice in the Pacific Northwest, and has toured from Vancouver BC to New York to his home state, Hawai’i. Neal currently lives, teaches, and performs in Seattle, WA. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Ukulele Lesson: An Introduction to Basic Strumming with Craig Chee & Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-basic-strumming) [Ukulele Lesson: An Introduction to Chord Melody with Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-chord-melody) [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Music & Meals for Maui Produced by Craig Chee & Sarah Maisel](https://blog.artistworks.com/music-and-meals-for-maui/) **Published:** October 6, 2023 **Author:** ArtistWorks **Excerpt:**

On Saturday, September 16, 2023, ArtistWorks instructors and internationally renowned ukulele masters, Craig Chee and Sarah Maisel, hosted a livestream musical event called Music & Meals for Maui. The event was a fundraiser to help support those impacted by the devastating fires in Lahaina and the surrounding area, and all of the proceeds were donated to the Maui Food Bank.

**Content:** ![]() On Saturday, September 16, 2023, ArtistWorks instructors and internationally renowned ukulele masters, [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), hosted a livestream musical event called Music & Meals for Maui. The event was a fundraiser to help support those impacted by the devastating fires in Lahaina and the surrounding area, and all of the proceeds were donated to the Maui Food Bank. Overall, the concert generated more than double the funds that it set out to, bringing in more than $40,000 in donations to help support the Food Bank. Featuring performances from more than 75 musicians, including some of the biggest names in the ukulele scene, Music & Meals for Maui has generated more than 12,000 streams to date, and, in addition to financial aid, helped bring attention to the fires on Maui and provided positive emotional support for many who were impacted. “There are so many heart-felt songs and stories shared by people from around the world \[in the livestream\],” Craig and Sarah express. “It is inspiring seeing everyone come together in solidarity for such an amazing cause.” In tandem with the livestream event, a silent auction was hosted and ukuleles crafted by some of the instruments’ most prolific luthiers were auctioned off to support the Food Bank. The auction alone brought in over $65,000. Sarah and Craig also recently founded their own non-profit organization dedicated to bringing music education and ukulele to a broader spectrum called [Four Strings at a Time](https://fourstringsatatime.org/). They have made it their life’s mission to create more opportunities for people of all ages to express themselves through music. Through Four Strings at a Time, Sarah and Craig were able to generate another $6,000 for the Maui Food Bank. In total, their efforts, and the efforts of all the other musicians and volunteers who were involved in Music & Meals for Maui, brought in over $110,000 for the Maui Food Bank to assist those impacted by the fires. “We have no words for the immense Aloha we feel from our community,” express Craig and Sarah. “It’s truly amazing, especially in a day in age when things can feel so hopeless. It takes a village and we are grateful to have you be a part of it.” Craig and Sarah, thank you both for all that you do. And, thank you to everyone who tuned in for Music & Meals for Maui, helped donate, and supported this beautiful cause. Watch the Full “Music & Meals for Maui” Livestream Recap Here: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Sample some [free sample lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Virtual Ukulele Roundtable with Craig Chee, Sarah Maisel, Brittni Paiva, & Neal Chin](https://blog.artistworks.com/virtual-ukulele-roundtable-2023) [Ukulele Lesson: An Introduction to Basic Strumming with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-strumming) [Ukulele Lesson: An Introduction to Chord Melody with Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-chord-melody) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023/) **Published:** October 10, 2023 **Author:** ArtistWorks **Excerpt:**

Late last week, we debuted over a dozen brand new online fiddle lessons from world-renowned fiddle master and one of the longest-standing members of our premier ArtistWorks faculty, Darol Anger.

**Content:** ![]() Late last week, we debuted over a dozen brand new [online fiddle lessons](https://artistworks.com/fiddle-lessons) from world-renowned fiddle master and one of the longest-standing members of our premier ArtistWorks faculty, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger). Darol’s new lessons cover material that spans the entire range of his fiddle curriculum—outlining fresh concepts for beginner, intermediate, and advanced players alike. With these new lessons, Darol’s course now features a total of over 82 hours of video content. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) Alongside Darol’s video instruction, these lessons include brand-new learning materials to supplement Darol’s teaching, including PDF notation, play-along backing tracks, and more. Furthermore, in addition to lessons on new techniques and concepts, Darol also teaches how to play eight new tunes, including “The Crooked Road to Buffalo,” “Little Maggie,” “Wayfaring Stranger,” and “Ook Pik Waltz.” If you’re a current student of Darol’s, dive in now and enjoy learning these fresh technical ideas and tunes. If you’re just joining Darol’s amazing online community of fiddlers, welcome! There’s never been a better time to roll up your sleeves and start playing… New Beginner Lessons: [“Little Maggie” – Key of G](https://my.artistworks.com/darol-anger/learning/212737) [“Little Maggie” – Key of B](https://my.artistworks.com/darol-anger/learning/212740) [“Wayfaring Stranger” – Key of G Minor](https://my.artistworks.com/darol-anger/learning/212741) New Jazz & Blues Lessons: [“The Old Jumpin’ Fish” – Using the Jazz Melodic Minor Scale](https://my.artistworks.com/darol-anger/learning/212742) New Advanced Lessons: [“Farewell Trion” – Key of C](https://my.artistworks.com/darol-anger/learning/212736) [“The Crooked Road to Buffalo” – Key of A](https://my.artistworks.com/darol-anger/learning/212735) Brand New Department Added to Lessons: Waltzes In this new lesson section, Darol teaches three different Waltz tunes and provides an introductory lesson on Waltzes and the Waltz feel. [Introduction to Waltzes](https://my.artistworks.com/darol-anger/learning/212749) [“Cry Cry Darlin’” – Key of E](https://my.artistworks.com/darol-anger/learning/212747) [“Midnight on the Water” – Key of D](https://my.artistworks.com/darol-anger/learning/212748) [“Ook Pik Waltz” – Key of G](https://my.artistworks.com/darol-anger/learning/212748) LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, Jazz and Blues improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses the Blue Chip of [online music lessons](https://artistworks.com/)! READ MORE: [Mike Marshall & Darol Anger Release New Live Album, Ook’n’m](https://blog.artistworks.com/mike-marshall-darol-anger-live-album-2023) [Fiddle Lesson: Bowing Patterns & Rhythms for Backup with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Jazz Drum Lesson: Rudiment Warm Ups](https://blog.artistworks.com/jazz-drum-lesson-rudiment-warm-ups/) **Published:** October 12, 2023 **Author:** ArtistWorks **Excerpt:**

Before any performance, or even practice session for that matter, one of the most important tasks that every musician should undertake is the act of warming up. Warm-ups are critical. Not only do they get blood flowing to the fingers and limbs to improve dexterity and stimulate muscle memory, but they also assist in preventing physical injury. Considering the high level of physical movement required to play the drums, drummers should likely focus on properly warming up more than players of nearly any other instrument.

**Content:** ![]() Before any performance, or even practice session for that matter, one of the most important tasks that every musician should undertake is the act of warming up. Warm-ups are critical. Not only do they get blood flowing to the fingers and limbs to improve dexterity and stimulate muscle memory, but they also assist in preventing physical injury. Considering the high level of physical movement required to play the drums, drummers should likely focus on properly warming up more than players of nearly any other instrument. In this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine), two-time Grammy Award-winning drummer, member of iconic jazz-fusion groups Weather Report and Steps Ahead, and ArtistWorks master instructor, [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), teaches a few of his favorite rudiment patterns with which to warm up on his practice pad. These patterns are not only great tools to utilize as part of a warm-up routine, but they’re also important musical techniques that should be adopted into your playing and performances. LEARN MORE: [Want to learn how to play jazz drums from a master musician like Peter Erskine? Try some free online drum lessons now!](https://go.artistworks.com/free-music-lessons-peter-erskine) “One of my favorite warm-up rudiments is the flam accent,” Peter explains. “This warm-up will help improve your time and technique, and will also help make your flams more consistent as you alternate between the right and left hands.” Practicing rudiments and getting them to a level where you can consistently and effectively implement them into your warm-up routine can feel tedious at first. Remember, don’t be afraid to use a metronome, and try to be patient with yourself. Like most things, these rudiments will feel like second nature in time, and will not only elevate your practice routine but will also expand your ability to be free and more fluent behind the kit. “With enough practice on these rudiment patterns, you’ll be able to play anything,” explains Peter. To learn more about these critical rudiment patterns and how to begin implementing them into your warm-up routine and playing, dive into this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine) from [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine): Rudiment Warm-Ups with Peter Erskine: LEARN MORE: Have you always wanted to learn how to play jazz drums? Through our comprehensive [drum lessons online](https://artistworks.com/jazz-drum-lessons-peter-erskine) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned drum master [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), and get personal feedback on your playing. Peter’s course starts with the basics and teaches everything from beginner drums to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as drummers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Jazz Drum Lesson: Learning ‘Elvin Triplets’ with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-learning-elvin-triplets-peter-erskine) [Jazz Piano Lesson: The ii-V-I Progression with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons/) **Published:** October 18, 2023 **Author:** ArtistWorks **Excerpt:**

Since beginning his professional music career at 18, Mike Marshall has become a pillar in the world of acoustic music. Not only is Mike an icon of the mandolin, but he’s also a master of the mandocello, violin, and guitar, a mentor to countless bluegrass, jazz, classical, and even Brazilian Choro artists, and an inspiration to innumerable musicians around the globe.

**Content:** ![]() Since beginning his professional music career at 18, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) has become a pillar in the world of acoustic music. Not only is Mike an icon of the mandolin, but he’s also a master of the mandocello, violin, and guitar, a mentor to countless bluegrass, jazz, classical, and even Brazilian Choro artists, and an inspiration to innumerable musicians around the globe. Since joining the ArtistWorks roster as our instructor of [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) in 2011, Mike has played an integral role in helping us achieve our mission—to “Teach the World Music”—and continues to bring his passion, dedication, and musical mastery to his online instruction. We’re excited and proud to announce that, last week, Mike completed his 9,000th Video Exchange. Congratulations Mike! What a fantastic milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge and skills. Thank you for all that you do! We’d also like to thank all of Mike’s wonderful bluegrass mandolin pupils for consistently submitting videos and for being a part of this amazing online musical community! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) To celebrate this amazing milestone, we have added over a dozen brand-new [online mandolin lessons](https://artistworks.com/mandolin-lessons) to Mike’s course, which debuted on the website today! Mike’s new lessons cover material that spans the entire range of his mandolin curriculum—outlining fresh concepts for beginner, intermediate, and advanced players alike. With these new lessons, Mike’s course now features a total of over 103 hours of video content. Alongside Mike’s video instruction, these lessons include brand-new learning materials to supplement his teaching, including tab and notation, play-along backing tracks, and more. Furthermore, in addition to lessons on new techniques and concepts, Mike also teaches how to play six brand new tunes, including “Shady Grove,” “Hot Corn, Cold Corn,” and “I’m Going Back to Old Kentucky.” If you’re a current student of Mike’s, dive in now and enjoy learning these brand-new techniques and tunes. If you’re just joining Mike’s amazing online community of pickers, welcome! There’s never been a better time to roll up your sleeves and start playing… New Beginner Lessons: [Simple 2 Chord Tunes: “Shady Grove” – Key of C](https://my.artistworks.com/mike-marshall/learning/213093) [Simple 2 Chord Tunes: “Hot Corn, Cold Corn” – Key of G](https://my.artistworks.com/mike-marshall/learning/213088) [Simple 2 Chord Tunes: “Bringing in the Georgia Mail” – Key of A](https://my.artistworks.com/mike-marshall/learning/213089) [Simple 2 Chord Tunes: “Jimmy Brown the Newsboy” – Key of D](https://my.artistworks.com/mike-marshall/learning/213090) [Simple 2 Chord Tunes: “Katy Daley” – Key of C](https://my.artistworks.com/mike-marshall/learning/213091) [Simple 2 Chord Tunes: “I’m Going Back to Old Kentucky” – Key of Bb](https://my.artistworks.com/mike-marshall/learning/213095) New Intermediate Lessons: [Ending Tags – Key of A](https://my.artistworks.com/mike-marshall/learning/213081) [Ending Tags – Key of E](https://my.artistworks.com/mike-marshall/learning/213082) [Ending Tags – Key of G](https://my.artistworks.com/mike-marshall/learning/213083) [Transposing Ending Tags](https://my.artistworks.com/mike-marshall/learning/213086) [Playing in B and Bb – “Long Journey Home”](https://my.artistworks.com/mike-marshall/learning/213087) [Improvising in B and Bb – “Long Journey Home”](https://my.artistworks.com/mike-marshall/learning/213084) [Saying Goodbye to Stage Fright](https://my.artistworks.com/mike-marshall/learning/213094) New Advanced Lessons: [Jazzing Up Your Bluegrass Rhythm](https://my.artistworks.com/mike-marshall/learning/213092) LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases “Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010”](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-4) [Mike Marshall & Darol Anger Release New Live Album, “Ook’n’m”](https://blog.artistworks.com/mike-marshall-darol-anger-live-album-2023) [Mandolin Lesson: Improvising Over the “Janice” Chord Changes](https://blog.artistworks.com/mandolin-lesson-improvising-janice) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mr Sun Drives Across the Midwest, Stops to Play Music](https://blog.artistworks.com/mr-sun-drives-across-midwest-stops-play-music/) **Published:** October 23, 2023 **Author:** ArtistWorks **Excerpt:**

This very week marks the start of a Mr Sun fall tour! Centering in the Great Lakes region, Darol's all-star band will hit some of our favorite Midwestern spots.

**Content:** This very week marks the start of a Mr Sun fall tour! Centering in the Great Lakes region, Darol’s all-star band will hit some of our favorite Midwestern spots. Tuesday, October 24 The Ark – Ann Arbor, MI 316 S. Main Ann Arbor, MI 48104 734-761-1818 https://theark.org/event/mr-sun-231024/theark.org SHOWTIME: 8 pm Wednesday, October 25 Michigan Academy of Folk Music – Holland, MI https://www.eventbrite.com/e/mr-sun-live-at-mafm-tickets-708079533947?aff=oddtdtcreator 451 Columbia Ave Ste 2 Holland, MI 49423 SHOWTIME: 6:30 pm (616) 414-2087 https://www.mifolkmusic.com/ Thursday, October 26 Gibson Music Hall – 211 W College Avenue, Appleton, WI, 549117:30 PM Showtime https://gibsoncommunitymusichall.ticketspice.com/preview/49bf6f8b90d4454b96c054811dbf5bd9 // gibsonmusichallevents@gmail.com // (920) 419-3550 (sometimes best reached via text) All shows at Gibson Community Music Hall are age 21+. Friday, October 27 Old Town School of Folk – Chicago, IL https://www.oldtownschool.org/concerts/2023/10-27-2023-mr-sun-lonesome-ace-string-band/ Szold Hall, 4544 N. Lincoln Ave Chicago, IL SHOWTIME: 8 pm Saturday, October 28 https://stoughtonoperahouse.showare.com/eventperformances.asp?evt=605 Stoughton Opera House 381 E Main St.Stoughton, WI https://www.stoughtonoperahouse.com/ SHOWTIME: 7:30 pm Sunday, October 29 Sacred Heart Music Center – Duluth, MN https://www.eventbrite.com/e/mr-sun-tickets-705597449967?aff=oddtdtcreator 201 W 4th St. Duluth, MN 55806 SHOWTIME: 7 pm. Ticket prices: $20/25 651-225-1151 https://sacredheartmusic.org/ ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Piano Lesson: Adding Guide Tones](https://blog.artistworks.com/jazz-piano-lesson-guide-tones/) **Published:** October 28, 2023 **Author:** ArtistWorks **Excerpt:**

As you progress as a jazz musician, regardless of your instrument of choice, one of the most critical elements to begin implementing into your improvisation and rhythmic comping is the use of guide tones. Guide tones help lead the listener through the chord progression of the piece you’re playing, and their use also projects musical maturity and a deeper understanding of harmony.

**Content:** ![]() As you progress as a jazz musician, regardless of your instrument of choice, one of the most critical elements to begin implementing into your improvisation and rhythmic comping is the use of guide tones. Guide tones help lead the listener through the chord progression of the piece you’re playing, and their use also projects musical maturity and a deeper understanding of harmony. In this [online jazz piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist, recording artist, producer, and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), explains how to begin incorporating guide tones into your solos and comping in the context of a blues in F. In addition to outlining the concept of guide tones, he also provides detailed musical examples at a slow, digestible tempo so that you can easily begin including these ideas into your playing. LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) “Using guide tones properly assists greatly in your voice leading,” George explains. “It gives the listener a clear idea of where you’re going to go and also outlines the quality of the chords you’re playing in the piece’s progression.” What are Guide Tones in music? Guide tones are the third and seventh scale degrees of any given chord you’re playing. They are the most harmonically important notes of the chord because they define the quality of the chord you’re playing. Guide tones indicate whether the chord you’re playing is major, minor, minor-major, or dominant. These tones almost single-handedly guide your listener through the harmonic progression of the piece you’re playing. “The guide tones are the third and seventh of the chord,” explains George. “They give us the essential quality of the chord. The fifth generally isn’t necessarily to convey the essential quality, unless we’re playing a special kind of minor chord that we’ll discuss in future lessons.” To learn more about guide tones, their significance in jazz music, and how to begin incorporating them when comping and improvising, dive into this [online piano lesson](https://artistworks.com/piano-lessons) from [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): Adding Guide Tones with George Whitty: LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive [piano lessons online](https://artistworks.com/piano-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), and get personal feedback on your playing. George’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: The ii-V-I Progression with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression) [Jazz Piano Lesson: An Intro to Improv Using the Pentatonic Scale with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-pentatonic-scale) [Piano Lesson: Tips To Get You Sight Reading Music with Hugh Sung](https://blog.artistworks.com/piano-lesson-sight-reading-music) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [The Virtual Mandolin Roundtable with Mike Marshall, Sierra Hull, & Caterina Lichtenberg](https://blog.artistworks.com/virtual-mandolin-roundtable-2023/) **Published:** October 31, 2023 **Author:** ArtistWorks **Excerpt:**

On Thursday, November 9, 2023, at 11:30 am PT / 2:30 pm ET, ArtistWorks will be hosting a free virtual live-streamed event featuring all three of our world-renowned mandolin instructors: Mike Marshall, Sierra Hull, and Caterina Lichtenberg.

**Content:** ![]() On Thursday, November 9, 2023, at 11:30 am PT / 2:30 pm ET, ArtistWorks will be hosting a free virtual live-streamed event featuring all three of our world-renowned mandolin instructors: [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull), and [Caterina Lichtenberg](https://www.artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). Together, these three master musicians will be discussing all things music, sharing exclusive performances, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing mandolinists, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2023-virtual-mandolin-roundtable) to RSVP for the event, receive FREE sample mandolin lessons, and enter for your chance to WIN an [Eastman MD305 Mandolin](https://www.eastmanguitars.com/md305)! ABOUT THE LIVE-STREAM EVENT: [The Virtual Mandolin Roundtable](https://go.artistworks.com/2023-virtual-mandolin-roundtable) promises an exciting and engaging experience for mandolin players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2023-virtual-mandolin-roundtable): Witness breathtaking mandolin mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2023-virtual-mandolin-roundtable): Learn from the pros as they delve into the secrets of their mandolin techniques, share stories from their careers, and discuss the future of mandolin playing. [Q&A sessions](https://go.artistworks.com/2023-virtual-mandolin-roundtable): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2023-virtual-mandolin-roundtable): Sign up to RSVP for the event, receive FREE sample mandolin lessons, and enter for your chance to WIN an Eastman MD305 Mandolin! Now, let’s get acquainted with our star-studded lineup: [MIKE MARSHALL](https://www.artistworks.com/mandolin-lessons-mike-marshall): Mike Marshall is one of the most accomplished and versatile string instrumentalists in the world today and a three-time Grammy Nominee. A master of mandolin, guitar, mandocello, and violin, Mike is a living compendium of musical styles and has created some of the most adventurous instrumental music in America today. Mike has helped spawn the next generation of young string instrumentalists through his many recording projects and to his deep commitment to music education. Mike seamlessly blends his American roots background with a deep understanding of European classical, Jazz, Pop, and Brazilian Music. At 19, he joined the David Grisman Quintet to tour and record with jazz violin legend Stephane Grappelli. Mike then formed the Montreux Band, Psychograss, and the Modern Mandolin Quartet and produced over 40 of his recordings on the Sony Classical, Rounder, Sugar Hill, Compass, Windham Hill, and his own Adventure Music labels. His musical touring partners have included Darol Anger, Edgar Meyer, Béla Fleck, Chris Thile, Sam Bush, and the group Vasen. [SIERRA HULL](https://www.artistworks.com/mandolin-lessons-sierra-hull): Sierra Hull has accomplished more as a singer, songwriter, and performer at a young age than many musicians do in a lifetime. Recognized six times as the IBMA “Mandolin Player of the Year,” she received a Grammy nomination for her album Weighted Mind when she was just 26. Since then, the now 32-year-old Sierra has shown no signs of slowing down and continues to reaffirm her standing as a modern pioneer of the bluegrass genre, a virtuosic songwriter, and a true master of the mandolin. Since her early childhood, Sierra has collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, Sturgill Simpson, and fellow ArtistWorks master instructors Bryan Sutton and Missy Raines. As such, Sierra has drawn from decades of performance experience to create a comprehensive course of online mandolin lessons designed to teach players of all levels how to play modern bluegrass. [CATERINA LICHTENBERG](https://www.artistworks.com/classical-mandolin-lessons-caterina-lichtenberg): Caterina Lichtenberg is one of the most important classical mandolinists in the world today. Raised in Germany, Caterina graduated with highest honors from the Music Conservatory in Cologne. She now holds the position of Professor of Classical mandolin/Soprano lute at that prestigious institution (the only position of its kind in the world today). For over 20 years Caterina has been recording, teaching, and touring throughout Europe, Japan, Taiwan, South America, Canada, and the U.S. to rave reviews. In January 2016, Caterina was signed to the ArtistWorks online teaching school as the Classical mandolin teacher. Mrs. Lichtenberg’s collaboration with American mandolinist Mike Marshall brought together two of the greatest mandolinists in the world. Their first recording blurred the lines between their classical, jazz, bluegrass, and Brazilian musical backgrounds. Their second release featured duets by Johann Sebastian Bach (The Two Part Inventions, Organ Duets and Canons) on mandolin and Mandocello was released in 2015. Their third CD includes original compositions by Caterina & Mike. To date, Caterina Lichtenberg has released 13 CDs under her own leadership in a variety of chamber music settings, five with guitarist/lutenist Mirko Schrader. As a specialist in early-period instruments, Caterina was invited to record on a 1775 mandolin from the Ferdinandeum Museum in Innsbruck, Austria. Caterina´s recent CD “SOLO” was nominated for the Opus Klassik in 2021. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) [Mike Marshall Releases “Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010”](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-4) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2024](https://blog.artistworks.com/mike-marshall-caterina-lichtenberg-mandolin-world-retreat-2024/) **Published:** November 3, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, Mike Marshall and Caterina Lichtenberg, will once again be hosting their annual “Mandolin World Retreat” in Benicia, CA. This year, it will be over an extended, 3-day weekend from March 8-10, 2024.

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will once again be hosting their annual “[Mandolin World Retreat](https://www.musicworldretreats.com/mandolin-world-2024-1)” in Benicia, CA. This year, it will be over an extended, 3-day weekend from March 8-10, 2024. As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their [Mandolin World Retreat](https://www.musicworldretreats.com/mandolin-world-2024-1) will provide a small number of students with the opportunity to work hands-on with Mike and Caterina in person. Don’t wait—registration for the retreat is OPEN NOW! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “We keep the size \[of the Retreat\] small so that all the attendees can really interact with us,” Mike and Caterina explain. “This gives everyone ample opportunity for questions, to work with us hands-on, and to discuss some of our favorite tips and tricks. All the while, we make sure to create a warm, energetic, and joy-filled learning environment.” Caterina and Mike will be covering a vast array of musical styles and topics at the retreat including bluegrass, swing, jazz, Brazilian choro, improvisation, and chord theory to the entire history of classical mandolin techniques spanning 300 years. LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) “We started the Mandolin World Retreats as a way to create an intimate, relaxed environment where each mandolinist (no matter their level or style of player) could find inspiration, be propelled forward on their musical journey, and leave with some new music under their fingers,” Mike and Caterina explain. “We love to find that magic spot where you are being challenged but aren’t in over your head.” Also joining Mike and Caterina at the retreat will be special guest instructors, Grammy-nominated mandolinist, David Benedict, and IBMA-nominated banjoist, Tabitha Agnew Benedict. For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented [Video Exchange Learning](https://artistworks.com/video-exchange)®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2024, click [here](https://www.musicworldretreats.com/mandolin-world-2024-1). LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Virtual Mandolin Roundtable with Mike Marshall, Sierra Hull, & Caterina Lichtenberg](https://blog.artistworks.com/virtual-mandolin-roundtable-2023) [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) [Mike Marshall Releases “Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010”](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-4) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Bluegrass Guitar: Sicily with Bryan Sutton & Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-sicily-bryan-sutton-chris-eldridge/) **Published:** November 10, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned flatpickers and ArtistWorks master guitar instructors, Bryan Sutton and Chris Eldridge, will be traveling to Sicily, Italy during the summer of 2024 to lead a four-day bluegrass guitar experience. Hosted in the beautiful city of Siracusa on the island of Ortigia off the coast of Sicily, the retreat will feature four days and four nights of immersive bluegrass guitar music and fun-filled Italian vacationing from August 12-16, 2024.

**Content:** ![]() We’re excited to announce that world-renowned flatpickers and ArtistWorks master guitar instructors, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), will be traveling to Sicily, Italy during the summer of 2024 to lead a four-day bluegrass guitar experience. Hosted in the beautiful city of Siracusa on the island of Ortigia off the coast of Sicily, the retreat will feature four days and four nights of immersive bluegrass guitar music and fun-filled Italian vacationing from August 12-16, 2024. As master flatpick and bluegrass guitar instructors here at ArtistWorks, Bryan and Chris both have the amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their “[Bluegrass Guitar: Sicily](https://www.musicworldretreats.com/bluegrass-sicily)” retreat will offer twenty-five students the opportunity to work hands-on with Chris and Bryan in person and do so in gorgeous Siracusa, Sicily. Don’t wait—registration is now open! LEARN MORE: [Want to learn from a bluegrass guitar master like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “[Bluegrass Guitar in Sicily](https://www.musicworldretreats.com/bluegrass-sicily)” is built around Bryan and Chris’ participatory and engaging teaching style. They’ll dive into topics like building the foundations of flatpicking bluegrass guitar, increasing the quality of your playing, rhythm guitar accompaniment, improvisation, fiddle tune variations, modern expression of the traditional style—and everything in between! LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) The goal of “[Bluegrass Guitar in Sicily](https://www.musicworldretreats.com/bluegrass-sicily)” is to create a relaxed, fun, and non-competitive environment that encourages each participant to take the next step in their guitar playing; where community is built on the shared joy of playing music, and the beauty and history of the place inspires one’s creativity. Add to that good food and wine, and you have the recipe for a memorable musical experience. Also joining Bryan and Chris at the retreat will be special guest instructor, Peppino D’Agostino, recognized as “One of the 50 Transcendent Acoustic Guitarists” by Guitar Player Magazine. For those students who may not be able to attend, don’t fret! You can work hands-on with Bryan and Chris to improve your bluegrass guitar playing right here at ArtistWorks. And, with our patented [Video Exchange Learning](https://artistworks.com/video-exchange)®, you can receive personal feedback and guidance from Chris and Bryan at every step of your musical journey. To register for Bryan Sutton & Chris Eldridge’s “Bluegrass Guitar: Sicily” retreat in Siracusa, Sicily, Italy in August 2024, click [here](https://www.musicworldretreats.com/bluegrass-sicily). LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris and Bryan’s courses each start with the basics and teach everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps) [Bluegrass Guitar Lesson: The 3 Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Black Friday Sales Event 2023](https://blog.artistworks.com/artistworks-black-friday-2023/) **Published:** November 16, 2023 **Author:** ArtistWorks **Excerpt:**

Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 50%. Take advantage of one of our biggest sales of the year and access a guided path of hundreds of lesson videos and learning tools. Plus, connect directly with your instructor for personal feedback on your playing and progress!

**Content:** ![]() Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 50%. Take advantage of one of our biggest sales of the year and access a guided path of hundreds of lesson videos and learning tools. Plus, connect directly with your instructor for personal feedback on your playing and progress! ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Those who join during our Black Friday sales event will be part of an exciting 2023 with lots of new additions and collaborations coming from many of our artists. Use code FRIDAY50 at checkout to save 50% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through November 26, 2023. So, take advantage now and start playing at a higher level! READ MORE: [The Virtual Mandolin Roundtable with Mike Marshall, Sierra Hull, & Caterina Lichtenberg](https://blog.artistworks.com/virtual-mandolin-roundtable-2023) [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps) [Rock Guitar Lesson: String Skipping with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-string-skipping) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Violin Lesson: How to Grip the Bow](https://blog.artistworks.com/violin-lesson-how-grip-bow/) **Published:** November 22, 2023 **Author:** ArtistWorks **Excerpt:**

When first learning to play the violin or any other bowed stringed instrument, one of the most important skills to focus on and perfect, even before picking up the instrument itself, is a proper bow hold and grip. The effectiveness of your bowing technique and the quality of tone produced on your instrument are influenced enormously by the manner in which you grip the bow. Therefore, it’s critical to focus on developing good habits and proper bow-related techniques early on in your learning journey.

**Content:** ![]() When first learning to play the violin or any other bowed stringed instrument, one of the most important skills to focus on and perfect, even before picking up the instrument itself, is a proper bow hold and grip. The effectiveness of your bowing technique and the quality of tone produced on your instrument are influenced enormously by the manner in which you grip the bow. Therefore, it’s critical to focus on developing good habits and proper bow-related techniques early on in your learning journey. In this [online classical violin lesson](https://artistworks.com/violin-lessons-richard-amoroso), Philadelphia Orchestra first section violinist and ArtistWorks instructor, [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), teaches his approach to gripping the bow and walks through some best practices to help you develop a bow hold that is comfortable and effective. He also outlines a few of the common mistakes that students make when first learning to hold the bow, and how to avoid these bad habits. LEARN MORE: [Want to learn how to play the classical violin from a master musician like Richard Amoroso? Try some free online violin lessons now!](https://go.artistworks.com/free-online-violin-lessons-richard-amoroso) “The bow grip should always be something of pure ease,” Richard explains. “It should never feel forced. The bow should never feel like something that you’re really squeezing or holding onto for dear life.” One clear indicator that you may be holding your bow incorrectly is any sort of feeling of discomfort in your bowing hand. Oftentimes, students who are in the early stages of learning will hold the bow in such a way that some of their fingers are either hyper-extended—this is often the pinky—or crumpled in an awkward way. If you notice that you’re experiencing similar issues when holding your bow, this lesson will likely provide the guidance you need to develop a more comfortable grip. “The key to a proper bow hold comes down to balance,” explains Richard. “The bow should be able to balance comfortably in your hand and require a minimal amount of energy to grip.” To learn more about properly gripping the bow and how to develop a comfortable and correct bowing technique, dive into this [online violin lesson](https://artistworks.com/violin-lessons-richard-amoroso) from [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso): How to Grip the Bow with Richard Amoroso: LEARN MORE: Have you always wanted to learn how to play the classical violin? Through our comprehensive [violin lessons online](https://artistworks.com/violin-lessons-richard-amoroso) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), and get personalized feedback on your playing. Richard’s course starts with the basics and teaches everything from beginner violin to advanced performance techniques, iconic classical compositions, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as violinists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Violin Lesson: How to Play Chords with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-to-play-chords) [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023) [Fiddle Lesson: Bowing Patterns for Melodies with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Cyber Week Sales Event 2023](https://blog.artistworks.com/artistworks-cyber-week-2023/) **Published:** November 27, 2023 **Author:** ArtistWorks **Excerpt:**

It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! SAVE 50% on any 3, 6, or 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today.

**Content:** ![]() It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! SAVE 50% on any 3, 6, or 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today. Use code CYBER50 at checkout to save 50% on any 3, 6, or 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through December 3, 2023. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video. Our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Violin Lesson: How to Grip the Bow with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-grip-bow) [Jazz Piano Lesson: Adding Guide Tones with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-guide-tones) [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Darol Anger Interview and Jam with Tristan Clarridge Just Added!](https://blog.artistworks.com/new-darol-anger-interview-and-jam-tristan-clarridge-just-added/) **Published:** November 29, 2023 **Author:** ArtistWorks **Excerpt:**

We're excited to announce we've just added a new 6 part interview and jam session series with Darol and 2023 Grand National Fiddle Champion, Tristan Clarridge. We’ve lost count of how many times Tristan has claimed a Championship Fiddling title! Darol and Tristan are old friends since the 90's and in this series Tristan joins Darol in his home studio to play some great music, share stories and tips for competitive fiddling, and exchange fiddling technique ideas and approaches.

To view the videos click the Lessons tab and select +Music then Special Guests and you'll find it at the end of the list next to a ton of other great interviews.

To watch it now: CLICK HERE

We hope you enjoy this fun interview, happy fiddling!

**Content:** We’re excited to announce we’ve just added a new 6 part interview and jam session series with Darol and 2023 Grand National Fiddle Champion, Tristan Clarridge. We’ve lost count of how many times Tristan has claimed a Championship Fiddling title! Darol and Tristan are old friends since the 90’s and in this series Tristan joins Darol in his home studio to play some great music, share stories and tips for competitive fiddling, and exchange fiddling technique ideas and approaches. To view the videos click the Lessons tab and select **+Music** then **Special Guests** and you’ll find it at the end of the list next to a ton of other great interviews. To watch it now: [CLICK HERE](https://my.artistworks.com/darol-anger/learning/214653) We hope you enjoy this fun interview, happy fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mandolin World Retreat Umbria, ITALY!!!](https://blog.artistworks.com/mandolin-world-retreat-umbria-italy/) **Published:** November 29, 2023 **Author:** ArtistWorks **Excerpt:**

**Content:** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat in Umbria, Italy 2024](https://blog.artistworks.com/mandolin-world-retreat-umbria-italy-2024/) **Published:** November 30, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, Mike Marshall and Caterina Lichtenberg, will again take their “Mandolin World Retreat” to Italy this coming summer. Hosted on a working, family-run farm resort on top of a ridge in the heart of the Umbrian countryside, the retreat will feature four days and four nights of immersive mandolin music and fun-filled Italian vacationing from June 3-7, 2024.

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will again take their “[Mandolin World Retreat](https://mailchi.mp/mikemarshall/umbria-2024)” to Italy this coming summer. Hosted on a working, family-run farm resort on top of a ridge in the heart of the Umbrian countryside, the retreat will feature four days and four nights of immersive mandolin music and fun-filled Italian vacationing from June 3-7, 2024. As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their [Mandolin World Retreat](https://mailchi.mp/mikemarshall/umbria-2024) will offer a small number of students the opportunity to work hands-on with Mike and Caterina in person and do so in the heart of the gorgeous countryside of Umbria, Italy. Don’t wait—registration is now open! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “This retreat is geared for those who love the mandolin and who want to come together in a unique locale to be inspired, meet new musical friends, partake in good food and wine, make music—and just have a GREAT TIME,” explains Mike and Caterina. Caterina and Mike will cover a vast array of musical styles and topics at the retreat including bluegrass, swing, jazz, Brazilian choro, improvisation, and chord theory to the entire history of classical mandolin techniques spanning 300 years. Also joining Caterina and Mike at the retreat will be special guest instructor, Peppino D’Agostino, recognized as “One of the 50 Transcendent Acoustic Guitarists” by Guitar Player Magazine. LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented [Video Exchange Learning](https://artistworks.com/video-exchange)®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat in Umbria, Italy this coming June, click [here](https://mailchi.mp/mikemarshall/umbria-2024). LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [SAVE 50%—ArtistWorks Cyber Week Sales Event 2023](https://blog.artistworks.com/artistworks-cyber-week-2023) [The Virtual Mandolin Roundtable with Mike Marshall, Sierra Hull, & Caterina Lichtenberg](https://blog.artistworks.com/virtual-mandolin-roundtable-2023) [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [The Virtual Classical Guitar Roundtable with Jason Vieaux & Colin Davin](https://blog.artistworks.com/virtual-classical-guitar-roundtable-2023/) **Published:** December 2, 2023 **Author:** ArtistWorks **Excerpt:**

On Wednesday, December 13, 2023, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring world-renowned classical guitarists and educators Jason Vieaux and Colin Davin.

**Content:** ![]() On Wednesday, December 13, 2023, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring world-renowned classical guitarists and educators [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux) and Colin Davin. You may be familiar with both Jason and Colin. Jason has been an instructor at ArtistWorks for over a decade, and Colin assists him in teaching his course, responding to Video Exchanges, and helping ArtistWorks’ classical guitar students improve as musicians and guitarists. Together, these two master musicians will discuss all things music, share exclusive performances, and answer viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing guitarists, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable) to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! We will be awarding the free subscription to three lucky winners! ABOUT THE LIVE-STREAM EVENT: [The Virtual Classical Guitar Roundtable](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable) promises an exciting and engaging experience for guitar players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable): Witness breathtaking guitar mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable): Learn from the pros as they delve into the secrets of their guitar techniques, share stories from their careers, and discuss the future of classical guitar playing. [Q&A sessions](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2023-virtual-classical-guitar-roundtable): Sign up to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! Now, let’s get acquainted with our star-studded lineup: [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux) Grammy-winner [Jason Vieaux](https://jasonvieaux.com), “among the elite of today’s classical guitarists” (Gramophone), is described by NPR as “perhaps the most precise and soulful classical guitarist of his generation”. In appearances from New York’s Lincoln Center to Amsterdam’s Concertgebouw and the Seoul Arts Center, Jason Vieaux has cemented his reputation as an artist of brilliance and uncompromised mastery. Cited for his “eloquent and vibrant performances” on disc (Gramophone Magazine) he is hailed as “virtuosic, flamboyant, dashing and, sometimes ineffably lyrical” (New York Times) on stage. Sought-after for his extensive concerto repertoire, Vieaux has performed with a long list of orchestras including Cleveland, Toronto, St. Louis, Houston, and Columbus, and has made premiere recordings with the Nashville Symphony (Leshnoff Concerto) and the Norrköping Symphony (Beal Six Sixteen). He has worked with renowned conductors including Giancarlo Guerrero, Jahja Ling, Gerard Schwarz, and David Robertson. Vieaux’s passion for new music has fostered premieres from Jeff Beal, Avner Dorman, Vivian Fung, Pierre Jalbert, Jonathan Leshnoff, David Ludwig, Mark Mancina, and Dan Visconti, among many others. Vieaux’s extensive discography includes his “Bach Volume 2: Works for Violin” released on Azica in 2022 to rave reviews for his “eloquent and vibrant performances” (Gramophone). Additional 2022 releases include “Shining Night” featuring his duo with acclaimed violinist Anne Akiko Meyers (Avie Records) and Michael Fine’s “Concierto del Luna” with flutist Alexa Still (Sony Classical), both enjoying strong critical acclaim. Vieaux recorded Pat Metheny’s “Four Paths of Light”, a solo work dedicated to him by Pat, for Metheny’s 2021 album “Road to the Sun”. Jason Vieaux won the 2014 Best Instrumental Classical Solo Grammy Award for “Play”. The Huffington Post declared PLAY is “part of the revitalized interest in the classical guitar”. A busy touring performer, Jason Vieaux enjoys repeated invitations from distinguished series, including San Francisco Performances, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, and the 92nd Street Y, among others. Festival engagements include Ravinia, Caramoor, Domaine-Forget, Music@Menlo, Round Top, and the Eastern Music Festival. Overseas performance venues include Amsterdam’s Concertgebouw, Seoul Arts Center, Shanghai Concert Hall, Sala Sao Paolo, and Teatro Colon in Buenos Aires. Jason Vieaux enjoys ongoing performing and recording collaborations with the Escher String Quartet, mezzo-soprano Sasha Cooke, violinist Anne Akiko Meyers, harpist Yolanda Kondonassis, accordion/bandoneon virtuoso Julien Labro, and saxophone virtuoso Timothy McAllister. In 2011 Vieaux co-founded the guitar department at the Curtis Institute of Music (with David Starobin). He has taught at the Cleveland Institute of Music for 25 years. Jason’s online Guitar School for Artistworks Inc. has hundreds of subscribers from all over the world. He plays a guitar by Gernot Wagner, 2013, made in Frankfurt. [Colin Davin](https://colindavin.com/) Guitarist Colin Davin has emerged as one of today’s most dynamic artists. Performance highlights include concertos with the Wisconsin Chamber Orchestra, New Mexico Philharmonic, Champaign-Urbana Symphony Orchestra, and Richmond Symphony; collaborations with guitarist Sharon Isbin, violinist Tessa Lark, and cellist Edward Arron; and solo and chamber music performances at the Aspen Music Festival and Maui Classical Music Festival. Davin appeared as a featured musical guest on the Late Show with David Letterman alongside the late Jessye Norman. He has performed at venues around the world, including Carnegie Hall, Alice Tully Hall, the Alhambra Palace, the Paris Conservatoire, the Fridge Fringe in Dubai, and the Canadian Embassy in Kabul, Afghanistan. An active player in the American contemporary music scene, Davin has performed with Contemporaneous, Talea Ensemble, Nu Deco Ensemble, and ensemblenewSRQ. His frequent collaborators include GRAMMY Award-winning soprano Estelí Gomez, and Dallas Symphony Orchestra principal harpist Emily Levin. Colin Davin is the newly appointed Director of Guitar Studies and Associate Professor of Guitar at Shenandoah Conservatory. He previously served as Co-Head of the guitar department at the Cleveland Institute of Music and on the faculty of the Baldwin Wallace Conservatory. In demand for his insights in masterclasses and lectures, he has been invited to teach in a guest capacity at institutions including The Juilliard School, Peabody Institute, and Oberlin Conservatory. He holds a Master of Music from The Juilliard School, with Sharon Isbin; a Bachelor of Music from the University of Southern California, with William Kanengiser; and underwent preparatory studies at the Cleveland Institute of Music, with Jason Vieaux. Colin Davin plays a guitar by Joshia de Jonge with Augustine Strings. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-carulli-andantino-g-major) [Violin Lesson: How to Grip the Bow with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-grip-bow) [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mr Sun: Ellington's Nutcracker Suite](https://blog.artistworks.com/mr-sun-ellingtons-nutcracker-suite/) **Published:** December 2, 2023 **Author:** ArtistWorks **Excerpt:**

It is OUT! Mr Sun Plays Duke Ellington's Nutcracker Suite is now immediately available for download, or shipping of CDs and vinyl to anyone who's interested.

Check out the mrsun band website for our tour dates in December!

**Content:** **It is OUT! [Mr Sun Plays Duke Ellington’s Nutcracker Suite ](http://mrsun.bandcamp.com/)**is now immediately available for download, or shipping of CDs and vinyl to anyone who’s interested. Check out the [mrsun band website](https://www.mrsunband.com/calendar) for our tour dates in December! [![]()](http://mrsun.bandcamp.com/) **Mr Sun records and performs a new interpretation of Ellington’s legendary Nutcracker Suite** Tchaikovsky’s Nutcracker Suite contains some of the most beloved and familiar melodies in the Western world. The **Mr Sun** band has seized upon the inspiration of Duke Ellington and Billy Strayhorn’s brilliant, sly, & urbane re-interpretation of Tchaikovsky’s Suite as an opportunity to salute and re-invent this wildly multi-facted work anew through the lens of the American String Band, a musical form which now contains myriad styles and is presently engaged in a marathon upheaval of innovation and expansion. The Project was generously underwritten by the Freshgrass Foundation, in collaboration with Mass/MOCA Art Museum. On Mr Sun’s new recording, the pieces of the Suite range from close interpretations of Billy Strayhorn’s original charts to intense extrapolations based on the spirit of the material. Mr Sun generally played original improvised solos, though some crucial musical statements by giants such as Johnny Hodges and Paul Gonsalves were transcribed directly and played in their spirit. Most of Strayhorn’s startling original horn voicings have been preserved in bowed strings, with multi-mandolin parts adding a punchy edge. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Annual Holiday Sales Event 2023](https://blog.artistworks.com/holiday-sale-2023/) **Published:** December 14, 2023 **Author:** ArtistWorks **Excerpt:**

Our annual ArtistWorks Holiday Sale is officially on, and this year it’s bigger than ever! This holiday season, save 50% on any course from the ArtistWorks catalog. That's right... ANY course!

**Content:** ![]() Our annual ArtistWorks Holiday Sale is officially on, and this year it’s bigger than ever! This holiday season, save 50% on any course from the ArtistWorks catalog. That’s right… ANY course! Immerse yourself in a [Video Exchange course](https://artistworks.com/all-courses) from one of our premier artists with a 3, 6, or 12-month subscription. Or, check out a video-only course from our [TrueFire Collection](https://artistworks.com/truefire-collections), [Musical Mechanics Add-Ons](https://artistworks.com/music-theory-and-musicianship), [Certificate Program](https://artistworks.com/online-music-certificate), or selection of [Bundles](https://artistworks.com/bundled-music-courses). You can even mix and match! Whichever courses you choose, there’s never been a better time to start playing and save. We only offer these kinds of savings once a year, so now’s the time to sign up or renew your current membership at an amazing price. Those joining or renewing now will be part of an exciting 2024 with lots of new additions and collaborations coming from many of our artists. Use code 50HOLIDAY at checkout to save 50% on any ArtistWorks course today. But, don’t wait—this offer is only available through December 27, 2023. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons, and join today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Virtual Classical Guitar Roundtable with Jason Vieaux & Colin Davin](https://blog.artistworks.com/virtual-classical-guitar-roundtable-2023) [Country Guitar Lesson: Two-Note Harmonizing with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-double-stops) [Blues Rock Guitar Lesson: Phrasing with Jared James Nichols](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Cello Lesson: Long Tones with Mike Block](https://blog.artistworks.com/cello-lesson-long-tones-mike-block/) **Published:** December 17, 2023 **Author:** ArtistWorks **Excerpt:**

When you’re first learning to play the cello, it’s important to focus on two tremendously critical facets of your playing and technique—bow control and producing a pleasing tone on your instrument. These two essential components of your playing go hand-in-hand, and there is a selection of exercises that you can perform to strengthen and develop these two elements of your playing. One such exercise is the practice of producing long tones.

**Content:** ![]() When you’re first learning to play the cello, it’s important to focus on two tremendously critical facets of your playing and technique—bow control and producing a pleasing tone on your instrument. These two essential components of your playing go hand-in-hand, and there is a selection of exercises that you can perform to strengthen and develop these two elements of your playing. One such exercise is the practice of producing long tones. In this [online cello lesson](https://artistworks.com/cello-lessons-mike-block), Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block), outlines a few exercises to help you develop your long tones and, in turn, improve your bow control and tone on your instrument. He also explains why working on long tones, specifically, is so important and how focusing on this technique will impact your playing overall. LEARN MORE: [Want to learn how to play the cello from a master musician like Mike Block? Try some free online cello lessons now!](https://go.artistworks.com/free-online-cello-lessons-mike-block) “When practicing long tones, the most important thing that we want to listen for is that we’re creating a smooth sound,” Mike explains. “The goal of the exercise is to get a smooth, continuous sound that doesn’t have a lot of swells or crescendos. We want it to be as smooth and even as possible.” What are Long Tones? Simply put, long tones are long, sustaining notes that produce an even and consistent sound. The initial goal when practicing long tones should be to improve your intonation, bow control, and endurance. However, the ultimate value of practicing long tones is it gives you a chance to focus more deeply on the most intimate, personal component of your musical expression: Your sound. “You can start every single practice session from now until forever with long tones,” explains Mike. “It’s a great way to relax, breathe fully, and get a close relationship with the cello and work on your sound.” To learn more about long-tone exercises and the importance of implementing them into your practice routine, dive into this [online cello lesson](https://artistworks.com/cello-lessons-mike-block) from [Mike Block](https://artistworks.com/cello-lessons-mike-block): Long Tones with Mike Block: LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques, classic popular songs in various genres and styles, [improvisation](https://artistworks.com/music-improvisation), [music theory](https://artistworks.com/music-theory-and-musicianship), and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Annual Holiday Sales Event 2023](https://blog.artistworks.com/holiday-sale-2023) [Violin Lesson: How to Grip the Bow with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-grip-bow) [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Announcing “Piano with Zachary Deak!"](https://blog.artistworks.com/announcing-piano-zachary-deak/) **Published:** December 20, 2023 **Author:** ArtistWorks **Excerpt:**

In December 2021, ArtistWorks launched a brand new piano course designed specifically for adults interested in learning to play the piano for the first time—“Beginner’s Guide to Piano.” Taught by esteemed pianist and life-long educator, Zachary Deak, the “Beginner’s Guide to Piano” course quickly gained traction and notoriety among aspiring pianists, and it wasn’t long before hundreds of students were enrolled, learning to play classical and popular music pieces they love on the piano.

**Content:** ![]() In December 2021, ArtistWorks launched a brand new piano course designed specifically for adults interested in learning to play the piano for the first time—“Beginner’s Guide to Piano.” Taught by esteemed pianist and life-long educator, Zachary Deak, the “Beginner’s Guide to Piano” course quickly gained traction and notoriety among aspiring pianists, and it wasn’t long before hundreds of students were enrolled, learning to play classical and popular music pieces they love on the piano. Due to the popularity of “Beginner’s Guide to Piano,” Zachary and the ArtistWorks team decided to expand his course to cover material teaching everything from beginner piano to intermediate and advanced concepts, techniques, music theory, performance pieces, and everything in between. We’re excited to announce that Zachary’s expanded, comprehensive piano course, “[Piano with Zachary Deak](https://www.artistworks.com/beginner-piano-lessons),” is officially live and open to the public. LEARN MORE: [Want to learn how to play piano from a master musician and member of the Old Dominion University keyboard faculty? Try some free online piano lessons now!](https://go.artistworks.com/free-adult-piano-lessons) Assistant Professor of Piano and Musicology and Director of Keyboard Studies at Old Dominion University in Norfolk, Virginia, pianist Zachary Deak has dedicated his life to musical performance and education. A graduate of the prestigious École Normale de Musique de Paris and Royal College of Music in London, Zachary has performed as a soloist and chamber musician throughout the US, UK, France, Morocco, Portugal, and more. Zachary was also the 2012 recipient of the Hopkinson silver medal at the distinguished Chappell Medal Piano Competition and the Lucy Ann Jones Award during his time at the Royal College of Music. He earned a Doctorate in Piano Performance from the University of Southern California. Throughout his career, Zachary has studied and performed with revered pianists such as Murray Perahia, Maria Joao Pires, Dang Thai Son, Vladimir Feltsman, Alexander Korsantia, Marc Durand, and more. As a passionate educator, he has taught piano students of all ages and skill levels and is excited to continue to inspire students around the globe through his expanded online piano course at ArtistWorks. Through Zachary’s [online piano lessons](https://www.artistworks.com/beginner-piano-lessons), you’ll learn the ins and outs of his distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Zachary has drawn from his extensive knowledge as both a professional pianist and educator to create a comprehensive course of [piano lessons online](https://www.artistworks.com/beginner-piano-lessons) designed to teach players of all levels how to play. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Zachary and get an intimate look into his unique approach and style. Grow as a pianist while simultaneously furthering yourself as a musician, and get direct guidance from Zachary at every step of your musical journey. [SIGN UP NOW](https://www.artistworks.com/beginner-piano-lessons) to gain access to Zachary’s library of [online piano lessons](https://www.artistworks.com/beginner-piano-lessons), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Zachary reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Annual Holiday Sales Event 2023](https://blog.artistworks.com/holiday-sale-2023) [Jazz Piano Lesson: Adding Guide Tones with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-guide-tones) [Beginner Piano Lesson: “What is Harmony?” with Zachary Deak](https://blog.artistworks.com/beginner-piano-lesson-what-harmony-zachary-deak) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Special Guest Interview - Nicolai Margolis](https://blog.artistworks.com/special-guest-interview-nicolai-margolis/) **Published:** December 21, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new interview filmed earlier this year featuring Nicolai Margolis, a talented 15 year old banjo player. Nicolai picked up the banjo at age 5 and hasn’t slowed down since. He’s explored every classic banjo tune he can, and has even started writing his own tunes and improvising! Check out more of what him & Tony have to say on what got him going, what inspired him, and everything else Banjo! You can find the complete interview in the Special Guests section of +Music in the LESSONS tab, or Click HERE to go directly to part one.

**Content:** We’re excited to announce a new interview filmed earlier this year featuring Nicolai Margolis, a talented 15 year old banjo player. Nicolai picked up the banjo at age 5 and hasn’t slowed down since. He’s explored every classic banjo tune he can, and has even started writing his own tunes and improvising! Check out more of what him & Tony have to say on what got him going, what inspired him, and everything else Banjo! You can find the complete interview in the Special Guests section of +Music in the LESSONS tab, or Click [HERE](https://my.artistworks.com/tony-trischka/learning/215324) to go directly to part one. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks x Compass Records: 30-minute Live Lesson Giveaway](https://blog.artistworks.com/artistworks-compass-records-live-lesson-giveaway-2023/) **Published:** December 22, 2023 **Author:** ArtistWorks **Excerpt:**

We've partnered with our friends at Compass Records to ring in 2024 with music and song!

**Content:** ![]() We’ve partnered with our friends at Compass Records to ring in 2024 with music and song! [Sign up now](https://go.artistworks.com/2023-compass-records-contest) for a chance to win a FREE 30-minute virtual lesson, one-on-one with the ArtistWorks and Compass Records artist of your choice—banjoist Alison Brown, fiddler Darol Anger, mandolinist Mike Marshall, or upright bassist Missy Raines! There will be one lucky recipient of this amazing prize, so don’t miss your chance to win. Our grand prize winner will be announced on February 1, 2024. [Enter here now](https://go.artistworks.com/2023-compass-records-contest) and instantly receive access to free sample video lessons while you wait. One lucky grand prize winner will receive: One FREE 30-minute virtual lesson with the ArtistWorks & Compass Records artist of their choice—either Alison Brown, Darol Anger, Mike Marshall, or Missy Raines Three runner-ups will each receive: A FREE 12-month subscription to the ArtistWorks bluegrass course of their choice. Don’t miss out on your chance to win. Hurry, the giveaway contest ends on January 31, 2024, at 12:00 pm PT! Click [here](https://go.artistworks.com/2023-compass-records-contest) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Annual Holiday Sales Event 2023](https://blog.artistworks.com/holiday-sale-2023) [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023) [“On Banjo with Alison Brown” is Now Open!](https://blog.artistworks.com/on-banjo-alison-brown-now-open) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Rhythm with Crosspicking](https://blog.artistworks.com/bluegrass-guitar-lesson-rhythm-crosspicking/) **Published:** December 29, 2023 **Author:** ArtistWorks **Excerpt:**

As bluegrass guitar players, it’s important to be able to perform single-note lines, execute intricate melodies, and improvise fluidly across the strings. However, believe it or not, it is far more critical to be able to support the other musicians in the ensemble with well-oiled rhythm guitar chops and stable foundational patterns.

**Content:** ![]() As bluegrass guitar players, it’s important to be able to perform single-note lines, execute intricate melodies, and improvise fluidly across the strings. However, believe it or not, it is far more critical to be able to support the other musicians in the ensemble with well-oiled rhythm guitar chops and stable foundational patterns. For most professional guitarists, rhythm guitar makes up about eighty percent of what they play, while only the remaining twenty percent consists of lead lines and solos. Therefore, as students of the genre and instrument, it’s critical that we focus on and master essential rhythm guitar techniques—particularly the [Boom-Chuck pattern](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton). That being said, just because we might not be stepping out into the spotlight to share our most intricate lead runs and licks all the time, does not mean that our rhythm playing has to be repetitive and stale. Introducing walking bass runs and crosspicking techniques are great ways to spice up our rhythm guitar playing and keep our rhythm work interesting for ourselves, our fellow bandmates, and the audience. Crosspicking, in particular, is one of the most important techniques used in the bluegrass and flatpick guitar style across the board. It is essential to the bluegrass aesthetic and is designed to make the acoustic guitar produce a sonic characteristic similar to that of a banjo roll. In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), outlines ways in which you can utilize crosspicking techniques to embellish your rhythm guitar playing and create interest, provide a wider dynamic range, and establish opportunities for musical interplay with other members of the ensemble. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “The most notable guitarists of the bluegrass style have all incorporated crosspicking into their Boom-Chuck rhythmic style,” Bryan explains. “It’s a great way to add some interest, raise the dynamic, and support everything. It can also really help keep structural integrity and awareness alive in the band.” What is crosspicking? Crosspicking is a guitar technique in which a flatpick is used to play a rolling, syncopated pattern across three strings. This rolling pattern typically outlines chord tones; however, melodic lines can also be featured. The crosspicking technique was developed to imitate the sound and aesthetic of a banjo roll, with the primary difference being that banjo rolls are fingerpicked rather than flatpicked. “Integrating crosspicking patterns into our Boom-Chuck rhythm requires us to recognize qualities of our righthand motion that are already occurring in the Boom-Chuck that we can then apply to crosspicking,” explains Bryan. “We want to be aware of the qualities of our motion as they do impact the qualities of our sound.” To learn more about crosspicking and how you can begin incorporating the technique into your rhythm guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): Rhythm with Crosspicking with Bryan Sutton: LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: The 3 Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps) [Flatpick Guitar Lesson: Modified Crosspicking Patterns with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-modified-crosspicking) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [How to Build Flatpicking Speed: A Guide for Serious Bluegrass Guitarists](https://blog.artistworks.com/how-to-build-flatpicking-speed-a-guide-for-serious-bluegrass-guitarists/) **Published:** December 12, 2025 **Author:** ArtistWorks **Content:** Every bluegrass guitarist remembers the moment they first heard Tony Rice or Doc Watson unleash a flurry of 16th notes that sounded as effortless as breathing. It is the holy grail of the genre: clean, driving, resonant speed. However, for many intermediate and advanced players, reaching that next tier of velocity often feels like hitting a brick wall. You push harder, your forearm tightens, and the tone thins out. If you’re wondering **how to build speed in flatpicking** without sacrificing tone or timing, you aren’t alone. The journey from moderate tempos to breakdown speeds requires a shift in mechanics, mindset, and mentorship. At ArtistWorks, we believe that speed is actually a byproduct of accuracy and relaxation. Through our comprehensive curriculums with standout educators like [Tyler Grant ](https://artistworks.com/tyler-grant)and [Bryan Sutton](https://artistworks.com/bryan-sutton), plus our unique Video Exchange Learning® platform, we have helped thousands of students break through these plateaus. In this guide, we will dismantle the mechanics of speed, optimize your gear, and outline a structured routine to help you fly up and down the fretboard. ### Table of Contents - [The Foundation: Relaxation Over Force](#foundation) - [Gear Check: The Best Pick for Flatpicking Speed](#gear-check) - [Right-Hand Mechanics: Economy of Motion](#mechanics) - [Flatpicking Exercises for Speed](#exercises) - [Designing Your Daily Flatpicking Practice Routine](#routine) - [The “Secret Weapon”: Video Exchange Learning](#video-exchange) - [Conclusion](#conclusion) ## The Foundation: Relaxation Over Force The biggest misconception about playing fast is that it requires “trying” harder. In reality, tension is the enemy of speed. When you tense your forearm, shoulder, or wrist, you are engaging opposing muscle groups that fight against each other, acting as a brake on your momentum. To master **how to build speed in flatpicking**, you must first master the art of playing with zero tension. This is often the first thing our world-class faculty, such as the legendary [Tyler Grant](https://artistworks.com/tyler-grant), looks for when reviewing student video submissions. If your shoulder is raised or your knuckles are white, you cannot achieve fluid speed. ### The “Shake Out” Technique Before you even touch a pick, let your arms hang loose by your sides. Shake them out until your hands feel heavy and warm. This serves as your baseline sensation. When you pick up the guitar, try to maintain that same feeling of heaviness in the elbow and wrist. Speed comes from a loose, swinging wrist, not a stiff, piston-like forearm. ## Gear Check: The Best Pick for Flatpicking Speed While technique is paramount, your equipment can either help or hinder your progress. Bluegrass guitar requires a specific tool to drive the heavy strings of a dreadnought acoustic. Many beginners gravitate toward thin, flexible picks because they feel easier to strum. However, for speed and precision, a thin pick introduces a “lag” time—the moment the pick bends before it snaps off the string. This micro-delay makes playing fast 16th notes nearly impossible. ### Choosing the Right Plectrum The **best pick for flatpicking speed** is generally rigid and between 1.0mm and 2.0mm in thickness. Materials like BlueChip (composite), tortoise shell alternatives (casein), or heavy celluloid are industry standards. Here’s a few things to consider when looking for the right pick for ultimate flatpicking speed: - **Rigidity:** Allows for instant energy transfer from hand to string. - **Bevel:** A “speed bevel” on the edge of the pick allows it to slice through the string rather than getting hung up on it. - **Grip:** Ensure the pick doesn’t rotate in your sweaty fingers during intense practice sessions. ## Right-Hand Mechanics: Economy of Motion Once you are relaxed and have the right pick, we must look at the geometry of your movement. Efficient flatpicking relies on “Economy of Motion.” This simply means strictly limiting the distance your pick travels away from the string. ### The Pick Slant Many speed pickers utilize a slight pick slant (angling the pick downward or upward) to facilitate smoother string crossings. This prevents the pick from getting “trapped” between strings during fast runs. Your instructor can review your picking angle personally to see if a slight adjustment in your wrist rotation could instantly unlock higher BPMs. ### Rest Strokes For powerful, fast downstrokes, consider practicing “rest strokes,” where the pick comes to rest on the adjacent string after striking the target string. This ensures you are driving *through* the string rather than pulling away from it, providing both volume and speed. ## Flatpicking Exercises for Speed Now, let’s get into the woodshed. **Flatpicking exercises for speed** should isolate specific mechanical challenges: string crossing, left-hand/right-hand synchronization, and stamina. ### 1. Open String Bursts Forget the left hand for a moment. Set your metronome to a comfortable tempo. Play continuous eighth notes on the open G string using strict alternate picking (Down-Up-Down-Up). Focus on making the “Up” stroke just as loud as the “Down” stroke. Every four measures, double the speed to 16th notes for one measure, then return to eighth notes. This “burst” training conditions your nervous system to handle speed in short, manageable intervals. ### 2. The Linear Chromatic Climb **Pattern:** Play frets 1-2-3-4 on the Low E string, then 1-2-3-4 on the A string, and so on up to the High E. **The Goal:** The key here isn’t just playing the notes, but keeping your fingers close to the fretboard. “Flying fingers” on the fretboard hand will slow you down just as much as a tense right hand. ### 3. Continuous G-Run Loops The classic Lester Flatt G-run is a perfect microcosm of bluegrass mechanics. It involves hammer-ons, slides, and precise picking. Loop the G-run continuously without pausing. This builds “vocabulary speed,” ensuring that the licks you use most often are bulletproof. Check out this breakdown on the G-run with our very own [Bryan Sutton](https://artistworks.com/bryan-sutton): ## Designing Your Daily Flatpicking Practice Routine Consistency beats intensity. You will make more progress practicing for 45 minutes every day than for five hours on Saturday. Here is a sample **daily flatpicking practice routine** designed to build velocity: - **0:00–0:10: Warm-up.** Slow scales, focus on tone and relaxation. No metronome yet. - **0:10–0:20: Technique Isolation.** Focus on the right hand. Practice crosspicking rolls or tremolo picking on a single string. - **0:20–0:40: The “Push” Session.** Use the metronome. Find your max tempo where you can play cleanly. Bump the BPM up by 3-5 beats. Play until it falls apart, then dial it back down. This is progressive overload for your hands. - **0:40–0:50: Repertoire.** Play a fiddle tune you know well (like “Blackberry Blossom” or “Whiskey Before Breakfast”) at a challenging tempo. - **0:50–1:00: Cool down.** Slow, melodic playing to ensure you don’t leave the session with tension in your hands. 💡 **Pro Tip:** For more targeted drills, check out our blog post on [5 Guitar Flatpicking Speed Exercises for Building Dexterity](https://blog.artistworks.com/5-guitar-flatpicking-speed-exercises-building-dexterity/). ## The “Secret Weapon”: Video Exchange Learning You can practice exercises all day, but if your mechanics are fundamentally flawed, you will only reinforce bad habits. This is where self-teaching often fails. You cannot see your own hand from the perspective of an expert. This is why [Tyler Grant’s Advanced Flatpicking Course](https://artistworks.com/tyler-grant) at ArtistWorks is so effective – utilizing our **Video Exchange Learning** system, you can film yourself playing a speed exercise or a tune, and submit it to the site. Tyler Grant will review your video and record a personalized video response tailored to your needs. This level of **personal guidance** is usually reserved for conservatory students, but at ArtistWorks, it is accessible to anyone, anywhere. It is the fastest way to correct course and break through speed barriers. Learn more about [how Video Exchange works](https://artistworks.com/how-it-works) on our website. ## Conclusion Learning **how to build speed in flatpicking** is a journey of refinement. It requires the right gear, a relaxed playing position, and a structured approach to practice. But more importantly, it requires feedback. Speed is precise; it leaves no room for error. By slowing down, analyzing your motion, and seeking expert critique, you will eventually find yourself playing at tempos you once thought impossible. Don’t let frustration keep you from the joy of jamming at full speed. With the right instruction, you can master the fretboard. Ready to pick faster and cleaner? Start a [free trial ](https://go.artistworks.com/bluegrass)at ArtistWorks today and learn with personal guidance from world-renowned educators like Tyler Grant and Bryan Sutton today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass, bryan sutton, flatpicking, guitar, tyler grant --- ### [Country Guitar Lesson: Advanced Rhythm Techniques](https://blog.artistworks.com/country-guitar-lesson-advanced-rhythm-techniques/) **Published:** January 11, 2024 **Author:** ArtistWorks **Excerpt:**

For many, the approach to guitar is often divided into two camps: lead and rhythm guitar playing. Throughout the lifetime of the electric guitar, in particular, and the course of pop culture history, there has become a prominent perception that lead guitar playing is the more complicated of the two approaches to the instrument, and that rhythm playing is simpler, more straightforward, and easier to perform. However, that is simply not the case, especially in the context of the country music genre.

**Content:** ![]() For many, the approach to guitar is often divided into two camps: lead and rhythm guitar playing. Throughout the lifetime of the electric guitar, in particular, and the course of pop culture history, there has become a prominent perception that lead guitar playing is the more complicated of the two approaches to the instrument, and that rhythm playing is simpler, more straightforward, and easier to perform. However, that is simply not the case, especially in the context of the country music genre. Rhythm guitar playing can be equally intricate, complex, and technical when compared to lead playing in country music, and there is an expansive variety of methods that you can employ to make your rhythm playing more elaborate. In this [online guitar lesson](https://artistworks.com/guitar-lessons), ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), teaches a handful of advanced rhythm guitar techniques in the context of a country shuffle that you can adopt to expand your rhythm guitar vocabulary and utilize in a variety of musical scenarios. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) “In my course, we really cover a huge number of rhythm techniques,” Guthrie explains. “The reason for that is because rhythm playing is so important. As a gigging guitarist, you’re going to be using your rhythm skills far more often than you’ll be taking solos or playing lead. So, it’s really important to get these techniques under your fingers.” In this lesson, Guthrie outlines critical rhythm practices that can be applied in nearly any context within country music—such as the use of open strings, double-stops, and hybrid picking. Plus, Guthrie delves into essential music theory concepts including the use of passing tones and inversions to improve voice-leading, and diads and triads to outline major, minor, and dominant seventh harmonies across the neck. “Focusing on your picking hand is really important when you’re working on these more advanced rhythm topics,” explains Guthrie. “In this shuffle, we’re adding all sorts of picking embellishments that heavily impact the tune’s groove and we’ll really want to get those tight.” To learn more about the various approaches you can use to expand your country rhythm guitar playing, dive into this [online guitar lesson](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) from [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Advanced Rhythm Techniques with Guthrie Trapp: [GUTHRIE’S ARTISTWORKS COURSE](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! [GUTHRIE’S TRUEFIRE COURSES](https://truefire.com/educators/guthrie-trapp/e4680): Guthrie also has two guitar courses that are now available at our sister company, [TrueFire](https://truefire.com/): [“Roots Recharge: A Genre-Bending Masterclass in Artistic Soloing”](https://truefire.com/guthrie-trapp-guitar-lessons/roots-recharge/c1965) [“In The Jam with Guthrie Trapp”](https://truefire.com/in-the-jam/guthrie-trapp/j165) These courses are both great supplements to his curriculum at ArtistWorks. Click the links above to learn more! READ MORE: [Country Guitar Lesson: Two-Note Harmonizing with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-double-stops) [Blues Rock Guitar Lesson: Phrasing with Jared James Nichols](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing) [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Tony Trischka Releases New Single Featuring Billy Strings, "Brown's Ferry Blues"](https://blog.artistworks.com/tony-trischka-billy-strings-browns-ferry-blues/) **Published:** January 12, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, bluegrass icon and ArtistWorks banjo instructor, Tony Trischka, released a brand new single entitled “Brown’s Ferry Blues,” featuring flatpicking powerhouse, Billy Strings, on both lead vocals and acoustic guitar.

**Content:** ![]() This morning, bluegrass icon and ArtistWorks banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), released a brand new single entitled “Brown’s Ferry Blues,” featuring flatpicking powerhouse, Billy Strings, on both lead vocals and acoustic guitar. Originally written and recorded by the Delmore Brothers in 1934, “Brown’s Ferry Blues” is injected with new life in this fresh take from Tony and Billy. Accompanying them on the track is a star-studded lineup of some of the most prolific players of modern bluegrass—including Béla Fleck alongside Tony on banjo, Sam Bush on mandolin, Mark Schatz on bass, and Michael Cleveland on fiddle. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) “Hearing Billy’s playing up close during the recording \[process\] absolutely blew me away. He had his own sound, which most people aren’t able to develop, and he could play completely inside or take it outside the chordal structure,” Tony expresses while reflecting on the development process of the new single. “Plus, of course, his time and tone were incredible, accompanied by a never-ending stream of wonderful ideas.” “Brown’s Ferry Blues” is the first single from Tony’s upcoming album set to be released in late spring 2024, Earl Jam: A Tribute to Earl Scruggs, on Down the Road Records. Having studied Scruggs’ unique approach to the banjo for over half a century, Tony was struck with new inspiration after unearthing a thumb drive containing over 200 recordings of Scruggs jamming with John Hartford at private gatherings during the 80s and 90s. After transcribing countless tunes and solos from this collection of recordings, Tony showcased a handful of these pieces in an overview of Scruggs’ career at Joe’s Pub in New York City, NY. When Ken Irwin of Down the Road Records heard recordings of Tony’s New York performance, the concept for Earl Jam was born. “With Billy’s incredible vocal, laying on top, I couldn’t have been happier,” Tony continues regarding the new single. “When Billy got to the last verse, he sang, ‘Well, here we are, and here we are…,’ and then mentioned the names of everyone in the band. This was taken from the original jam with John and Earl. John had forgotten the words and just started riffing and named the folks that were in the jam. And that’s the wonderful thing about the sessions with John and Earl.” To celebrate the release of this new single, we’ve uploaded a brand new lesson from Tony teaching this new version of “Brown’s Ferry Blues” to his [bluegrass banjo course](https://artistworks.com/banjo-lessons-tony-trischka) here at ArtistWorks. In addition to detailed video lessons outlining the tune and required techniques, Tony has included complete written transcriptions and tablature that students can use to supplement their learning. If you’re a current student of Tony’s, dive in and start learning “Brown’s Ferry Blues!” If you’re not yet a student, there’s never been a better time to join and start pickin’. Also featured on Tony’s upcoming Earl Jam release are bluegrass masters Stuart Duncan, Ronnie McCoury, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), Molly Tuttle, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), Dominick Leslie, Bronwyn Keith-Hynes, and more. Listen to the premiere of Tony Trischka’s cover of “Brown’s Ferry Blues” featuring Billy Strings here: LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, improvisation, and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner Banjo Lesson: Learn to Play “Blackberry Blossom” Using Barre Positions](https://blog.artistworks.com/beginner-banjo-lesson-blackberry-blossom-barre-positions) [Tony Trischka Celebrates 11,000 Video Exchanges!](https://blog.artistworks.com/tony-trischka-11000-video-exchanges) [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blue Ridge Fiddle Camp August 22-25 !](https://blog.artistworks.com/blue-ridge-fiddle-camp-august-22-25/) **Published:** January 15, 2024 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() ROSIN UP! This camp promises to be very special and rather intense! Applications for Blue Ridge Fiddle Camp are now open—and there’s no fee . All we ask is one video. And You Artistworks Video Exchangers are already great at that! Please visit the website for info and ask Casey questions. It will be held at one of the best locations for a music camp anywhere! APPLY NOW: [https://www.blueridgefiddlecamp.com/apply](https://www.blueridgefiddlecamp.com/apply?fbclid=IwAR3YYGMGkoPNljqKWP7ipDcxugw2H7Ugz-Yee5bBt8bGB2oGJTf3yoVrF8w) Celebrating individual voices and embracing both tradition and innovation, Blue Ridge Fiddle Camp invites all adventurous and open-minded players of the instrument around the globe—of any style or number of strings, acoustic or electric—to come together and shape the future of bowed string playing. Guided by a world-class faculty including Darol Anger, Scott Tixier, Tatiana Hargreaves, Jamey Haddad, and Zachary Brown, we’ll spend 4 inspiring days & nights exploring rhythm, technology, and style at the beautiful Brevard Music Center. Hope you can join us, it’s going to be awesome! IMPORTANT DATES Application Open: Jan. 9-Mar. 9 Camp: Aug. 22-25 [BlueRidgeFiddleCamp.com](https://l.facebook.com/l.php?u=http%3A%2F%2FBlueRidgeFiddleCamp.com%2F%3Ffbclid%3DIwAR0Yd1oaFf3NpXUk0NKsWcmrfCNiZzIq-bUykHquIXIf_z02PiBCTJHQlfY&h=AT0fcAuNcVWp4cfAskB0Kfr8EVXuKsRt6mW2Nz_YYhQhUMozjX6DrlgfzltxxrtgTs7HTx38PwXctcaTAr7ZYvtPwtV4P714ez_zWvMbxH2ZqNqOgYzFnb07Yq9xRKH9gFUpOSA&__tn__=-UK-y-R&c[0]=AT0NqVyRPyLAEWIN7CRO6dpj0rqYrcB7tLqpOPA7d9Lq60Z3Ti96rPVmh8R9UqKGdjmQmv_90rMvwLLTqvSeounztnWigdh1k5bQf7XFVEyXYnT3Gr-8xgNYRusecoeGIS9_Uy0KmXC-K5xP5GZY-bmr3MVmSi5d2gyrvFuQyVFOIIppY7RmIhi_31Yvb3HKaepAi92T77R5_roFR8N318dE9SEDFqltNFLz) Brought to you by [Brevard Music Center](https://www.facebook.com/brevardmusiccenter?__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=-]K-y-R) & [Mountain Song Productions](https://www.facebook.com/mountainsongproductions?__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=-]K-y-R) : [\#blueridgefiddlecamp](https://www.facebook.com/hashtag/blueridgefiddlecamp?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#brfc](https://www.facebook.com/hashtag/brfc?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#fiddle](https://www.facebook.com/hashtag/fiddle?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#violin](https://www.facebook.com/hashtag/violin?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#5stringfiddle](https://www.facebook.com/hashtag/5stringfiddle?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#5stringviolin](https://www.facebook.com/hashtag/5stringviolin?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#electricviolin](https://www.facebook.com/hashtag/electricviolin?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#viola](https://www.facebook.com/hashtag/viola?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#fiddlecamp](https://www.facebook.com/hashtag/fiddlecamp?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#musiccamp](https://www.facebook.com/hashtag/musiccamp?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#summermusiccamp](https://www.facebook.com/hashtag/summermusiccamp?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#stringcamp](https://www.facebook.com/hashtag/stringcamp?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#bluegrass](https://www.facebook.com/hashtag/bluegrass?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#americana](https://www.facebook.com/hashtag/americana?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#jazz](https://www.facebook.com/hashtag/jazz?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#jazzstrings](https://www.facebook.com/hashtag/jazzstrings?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#appalachianmusic](https://www.facebook.com/hashtag/appalachianmusic?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#oldtime](https://www.facebook.com/hashtag/oldtime?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#globalmusic](https://www.facebook.com/hashtag/globalmusic?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#americanroots](https://www.facebook.com/hashtag/americanroots?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#genrebending](https://www.facebook.com/hashtag/genrebending?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#brevardmusiccenter](https://www.facebook.com/hashtag/brevardmusiccenter?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#brevardnc](https://www.facebook.com/hashtag/brevardnc?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#worldofchop](https://www.facebook.com/hashtag/worldofchop?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#fiddleforward](https://www.facebook.com/hashtag/fiddleforward?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) [\#campfireconvo](https://www.facebook.com/hashtag/campfireconvo?__eep__=6&__cft__[0]=AZXTrvM1YuLEMiHKjdU8xc8hMNo96sDuVuOFB7nihdk2wu1irE5mf-sU9_SPt9jxuC8xYXHwScb8zDzbi55xeDbJBDZcRVuAXOjunFqSGM8tWCuikuIAduxpVErbyk1GuoXStq_mJMfnLneGugTNnh7mQTMr5K_aDlJlREMaTMXjLROl_E1CdEweX8SsyHuXMafQ-wzig_hAZ85zmn1IjuLh&__tn__=*NK-y-R) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Bluegrass Banjo Lesson: Tag Endings](https://blog.artistworks.com/alison-brown-banjo-lesson-tag-endings/) **Published:** January 18, 2024 **Author:** ArtistWorks **Excerpt:**

At its foundation, bluegrass is a primarily improvised music. No two performances are ever alike, no two solos from a performer are ever identical, and that is an intentional, defining characteristic of the bluegrass aesthetic.

**Content:** ![]() At its foundation, bluegrass is a primarily improvised music. No two performances are ever alike, no two solos from a performer are ever identical, and that is an intentional, defining characteristic of the bluegrass aesthetic. As a byproduct of bluegrass’ improvised nature, clear lines of communication between musicians are essential while performing. Communication between musicians can be driven by eye contact, come in the form of visual cues, or, in many cases, come in the form of melodic and musical cues as well. One of the most common contexts in which bluegrass musicians use musical cues to communicate with one another is at the end of a song. A short, familiar melodic phrase, commonly referred to as a tag ending, is played by one of the performers and conveys to each member of the ensemble that the tune is preparing to come to an end. This allows the group to close out the tune as a cohesive, aligned unit. In this [online banjo lesson](https://artistworks.com/banjo-lessons), Grammy Award-winning banjoist and ArtistWorks master bluegrass instructor, [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), explains the concept of the tag ending and teaches three common tag endings that you can incorporate into your next bluegrass jam session. While Alison does teach how to play these endings on the banjo, these tags can be applied to any instrument. This lesson is helpful for any aspiring ‘grasser, regardless of your preferred instrument. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Alison Brown? Try some free online banjo lessons now!](https://go.artistworks.com/banjo-lessons-alison-brown) “In bluegrass music, musicians tend to use the ‘shave and a haircut, two bits’ ending,” Alison explains. “In this lesson, I’m going to show you a few simple tag endings that you can use below the fifth fret to achieve the same goal.” What is a tag ending? To signify the ending of a song, many musicians will play a specific series of notes that are referred to as a “tag.” The phrases that make up these “tags” are all deeply ingrained in the bluegrass musical vocabulary, and are instantly recognizable to both seasoned bluegrass musicians and listeners alike. One very common tag ending is the melodic line that accompanies the old phrase, “shave and a haircut, two bits.” “These three tag endings are a great way to wave the flag and let your fellow musicians know that the tune is coming to a close at any jam session,” explains Alison. “As soon as you dive into one of these tags, people will know you’re ‘taking the horse to the barn,’ as they say.” To learn more about tag endings and how to begin implementing them into your next jam session, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons) from [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown): Tag Endings with Alison Brown: LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), and get personal feedback on your playing. Alison’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjoists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks x Compass Records: 30-minute Live Lesson Giveaway](https://blog.artistworks.com/artistworks-compass-records-live-lesson-giveaway-2023) [“On Banjo with Alison Brown” is Now Open!](https://blog.artistworks.com/on-banjo-alison-brown-now-open) [Tony Trischka Releases New Single Featuring Billy Strings, “Brown’s Ferry Blues”](https://blog.artistworks.com/tony-trischka-billy-strings-browns-ferry-blues) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### ["Lessons with Marcel" Interview: Mike Marshall's Incredible Bluegrass Journey](https://blog.artistworks.com/lessons-with-marcel-interview-mike-marshall/) **Published:** January 19, 2024 **Author:** ArtistWorks **Excerpt:**

On January 10, 2024, the immensely popular bluegrass and flatpick guitar YouTube channel, Lessons with Marcel, published a new interview featuring none other than critically acclaimed, multi-style mandolin virtuoso and ArtistWorks bluegrass instructor, Mike Marshall.

**Content:** ![]() On January 10, 2024, the immensely popular bluegrass and flatpick guitar YouTube channel, Lessons with Marcel, published a new interview featuring none other than critically acclaimed, multi-style mandolin virtuoso and ArtistWorks bluegrass instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). Hosted by guitarist, teacher, and YouTuber active in the Raleigh, NC music scene, Marcel Ardans, Lessons with Marcel is a digital media outlet dedicated to making bluegrass more accessible to players and enthusiasts around the world, and, much like ArtistWorks, is founded on the desire to cultivate and nurture a vibrant community of bluegrass musicians and fans online. In this installment from Lessons with Marcel, Marcel interviews mandolin master and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). While Lessons with Marcel often focuses primarily on bluegrass acoustic and flatpick guitar, this episode focused on Mike and his illustrious and broad career as a mandolinist and multi-instrumentalist in the worlds of acoustic music and bluegrass. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Topics covered in this fantastic interview include discussions with Mike about his time in the San Francisco Bay Area living and performing with flatpick guitar legend Tony Rice, Mike’s affinity and passion for playing styles outside of the bluegrass genre including jazz and classical, the love for teaching that Mike has developed throughout his career, Mike’s online ArtistWorks mandolin community, and more! “That’s what I love about my ArtistWorks course,” Mike explains. “Everything I’ve done, every method I use, everything I’ve studied to get where I am, is up there for my students. There are over 9,000 Video Exchanges up there now that the entire mandolin community can learn from. It’s pretty amazing.” Interested in learning more about [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall)’s exciting career and extensive musical journey in bluegrass and beyond, dive into this interview from “Lessons with Marcel”: “Mike Marshall’s Incredible Bluegrass Journey:” LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) [Mike Marshall Releases “Mike Marshall Mandocello J.S. Bach Cello Suite No. 4, BWV 1010”](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-4) [Mandolin Lesson: Improvising Over the “Janice” Chord Changes](https://blog.artistworks.com/mandolin-lesson-improvising-janice) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: Finding Minor Chords](https://blog.artistworks.com/bluegrass-mandolin-lesson-finding-minor-chords/) **Published:** January 25, 2024 **Author:** ArtistWorks **Excerpt:**

When first learning how to play the mandolin, or any instrument for that matter, the first two types of chords that students typically learn are major and minor harmonies. These harmonies each offer drastically different emotive characteristics and tonal qualities but are very closely related. In fact, there is a simple relationship between the two harmonies that allows players to easily determine one from the other. Understanding this fundamental relationship between major and minor chords is critical and will help you further understand a variety of music theory concepts.

**Content:** ![]() When first learning how to play the mandolin, or any instrument for that matter, the first two types of chords that students typically learn are major and minor harmonies. These harmonies each offer drastically different emotive characteristics and tonal qualities but are very closely related. In fact, there is a simple relationship between the two harmonies that allows players to easily determine one from the other. Understanding this fundamental relationship between major and minor chords is critical and will help you further understand a variety of music theory concepts. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons), world-renowned mandolinist, Grammy-nominated musician, and former member of the David Grisman Quintet, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), outlines how to derive minor chords from their corresponding major harmonies beginning with the common G, C, D, and A major chords. In addition to illustrating how the fingerings differ between the relative major and minor chords, Mike also explains the music theory behind these different tonalities so that you understand how these fingerings are determined. He then goes on to apply a few of these minor chords to the classic tune, “Blowin’ in the Wind.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “In this lesson, I’m going to take the G, C, A, and D major chords and show you how to transform them into minor chords,” Mike explains. “Minor chords have a flat third in them. Without getting too deep into the theory of it, this essentially means that we lower the third scale degree of the chord down one fret to transform the chord from major to minor.” What’s the difference between major and minor chords? The difference between a major and minor chord comes down to one, simple change: the third degree of the scale. A major chord contains the first, third, and fifth degrees of the major scale. Like a major chord, a minor chord also contains the first and fifth notes of the major scale that it’s named for. However, unlike the major chord, the minor chord contains a flattened third (or third lowered by a half-step) that gives it a darker quality. “Minor chords give you that spooky sound,” explains Mike. “Simply altering the placement of one finger changes the quality of the chord from happy and major, to spooky and minor.” To learn more about deriving minor chords from major triads and how to incorporate them into your playing, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons) from [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall): Finding Minor Chords with Mike Marshall: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Lessons with Marcel” Interview: Mike Marshall’s Incredible Bluegrass Journey](https://blog.artistworks.com/lessons-with-marcel-interview-mike-marshall) [Mike Marshall Celebrates 9,000 Video Exchanges PLUS 3.5+ Hours of New Mandolin Lessons Added to His Course](https://blog.artistworks.com/mike-marshall-9000-video-exchanges-plus-new-mandolin-lessons) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [4 New Tune Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar/) **Published:** January 27, 2024 **Author:** ArtistWorks **Excerpt:**

Yesterday, we debuted over a hundred brand new online bluegrass guitar lessons from world-renowned flatpick master and one of the longest-standing members of our premier ArtistWorks faculty, Bryan Sutton.

**Content:** ![]() Yesterday, we debuted over a hundred brand new [online bluegrass guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) from world-renowned flatpick master and one of the longest-standing members of our premier ArtistWorks faculty, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton). Bryan’s new lessons cover four brand new tunes with unique videos curated for students of every level, each outlining critical techniques for beginner, intermediate, and advanced players. Bryan teaches how to play bluegrass, folk, and fiddle tune classics including “Bury Me Beneath the Willow,” “Midnight On the Water,” and “Old Grimes,” and provides guidance on important foundational methods along the way. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) Alongside Bryan’s video instruction, these lessons include brand new learning materials to supplement Bryan’s teaching, including tablature and more. “What’s really cool about this new batch of tunes that I cover in these lessons is that, in addition to teaching the melody, chord progressions, and structure of each tune, we focus a lot more on the topic of improvisation, especially in the advanced curriculum,” explains Bryan. “I go into a lot of detail about my approach to improvising over these tunes, and provide tabbed out transcriptions of my solos featured in each lesson video.” If you’re a current student of Bryan’s, dive in now and enjoy learning these new tunes and techniques. If you’re just joining Bryan’s amazing online flatpick guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Rhythm with Crosspicking with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-rhythm-crosspicking) [Bluegrass Guitar Lesson: The 3-Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing “Fiddle with Alex Hargreaves”](https://blog.artistworks.com/new-course-fiddle-alex-hargreaves/) **Published:** January 29, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in mid-March 2024, “Fiddle with Alex Hargreaves.”

**Content:** ![]() We are excited to announce our newest course coming in mid-March 2024, “[Fiddle with Alex Hargreaves](https://go.artistworks.com/fiddle-lessons-alex-hargreaves).” Described as “one of the greatest improvising violinists in America today” by virtuoso mandolinist/composer [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), Alex Hargreaves is a fiddler who draws inspiration from a wide variety of genres and traditions. He is currently touring full-time with Grammy award-winning guitarist and singer Billy Strings. Based in Brooklyn, NY, Alex has toured with Jerry Douglas, David Grisman, Béla Fleck, Danilo Perez, and Sarah Jarosz, and has performed with many others including Punch Brothers, [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull), Steve Martin, and Kacey Musgraves—appearing on her Saturday Night Live debut. He was a member of the Grammy award-winning Turtle Island Quartet from 2016–2019, appearing on their 2018 release, Bird’s Eye View, and can often be heard playing in the house band on the public radio variety show, Live From Here with Chris Thile. At age 17, Alex, along with bassist Paul Kowert (Punch Brothers), teamed with [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) to form The Big Trio, performing together extensively following the release of their self-titled album in 2009. From 2007–2014, he toured with Sarah Jarosz, appearing on her three critically acclaimed albums, Song Up In Her Head, Follow Me Down, and Build Me Up From Bones, as well as being featured on her Grammy-nominated instrumental, Mansinneedof. Alex released his debut album Prelude in 2010, featuring [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), Grant Gordy, and Paul Kowert, along with special guests Béla Fleck and [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny). About Alex’s playing on the album, David Grisman says “\[Alex\] plays with wit, authority, and soulfulness belying his years. In my opinion, he’s destined to be one of the fiddle giants of the 21st century.” Alex was awarded the Jimmy Lyons full tuition scholarship to the Berklee College of Music at the 2010 Monterey Jazz Festival. While studying at Berklee, Alex completed the prestigious Global Jazz Institute, providing him with the opportunity to work one-on-one with artistic director Danilo Perez (Wayne Shorter Quartet), along with countless other jazz legends. During this time, Alex also toured with Perez and recorded on his album, Panama 500. Currently on faculty at The New School, Alex is an experienced music educator, having taught at a variety of music camps and workshops including the Mark O’Connor Fiddle Camp, Swannanoa Gathering, Augusta Heritage, Christian Howes’ Creative Strings Workshop, and the [Mike Block](https://www.artistworks.com/cello-lessons-mike-block) String Camp. He also teaches privately in Brooklyn and will soon be teaching online here at ArtistWorks. With a strong emphasis on ear training, Alex helps his students find their own way of learning and staying inspired, while still respecting the traditions and contributions of those who set the groundwork for the music we play today. Through his [online fiddle lessons](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) at ArtistWorks, you’ll learn the ins and outs of Alex’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Alex has drawn from his extensive knowledge as both a professional fiddler and seasoned educator to create a comprehensive course of [fiddle lessons online](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) designed to teach players of all levels how to play. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Alex and get an intimate look into his unique approach and style. Grow as a fiddle player while simultaneously furthering yourself as a musician, and get direct guidance from Alex at every step of your musical journey. [Sign up now](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) for news updates from Alex and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Bowing Patterns & Rhythms for Backup with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) [Violin Lesson: How to Grip the Bow with Richard Amoroso](https://blog.artistworks.com/violin-lesson-how-grip-bow) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-7/) **Published:** January 31, 2024 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added where you can find Tony picking a part the tune called "The Old Spinning Wheel"! Find it in the Classic Style Banjo department, or click HERE. Happy picking!

**Content:** ![]() A new lesson has just been added where you can find Tony picking a part the tune called “The Old Spinning Wheel”! Find it in the Classic Style Banjo department, or click [HERE](https://my.artistworks.com/tony-trischka/learning/216422). Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Easiest Bluegrass Banjo Songs to Learn First: A Beginner’s Roadmap](https://blog.artistworks.com/easiest-bluegrass-banjo-songs-to-learn-first-a-beginners-roadmap/) **Published:** December 9, 2025 **Author:** ArtistWorks **Content:** If you’re just starting your bluegrass journey, you’re likely searching for the **easiest bluegrass banjo songs to learn first**—the tunes that offer quick wins, build foundational technique, and spark real musical momentum. At ArtistWorks, our master instructors know exactly which songs help beginners develop confidence, fluidity, and joy in their playing. In this guide, you’ll discover time-tested beginner-friendly bluegrass tunes, plus tips, exercises, and expert strategies to accelerate your progress. ## Table of Contents - [Why Starting with Simple Songs Matters](#why-start-simple) - [Core Banjo Techniques These Songs Teach](#core-techniques) - [The Easiest Bluegrass Banjo Songs to Learn First](#best-songs) - [Actionable Practice Steps for Success](#practice-steps) - [Common Beginner Mistakes to Avoid](#mistakes) - [Learn Bluegrass Banjo with World-Class Masters](#learn-with-masters) - [Conclusion](#conclusion) ## Why Starting with Simple Songs Matters The right repertoire builds the right technique. Beginner players often assume they must master rolls or fretboard mechanics before trying real music, but playing songs early on speeds up your development. Bluegrass banjo is highly pattern-based, and songs provide the perfect context for learning timing, tone, and the signature Scruggs and melodic vocabulary. Simple tunes also reinforce the building blocks every picker needs—forward rolls, alternating thumb patterns, chord transitions, vamping, and right-hand efficiency. They give you tangible milestones and a sense of musical accomplishment, which is vital in the early stages. ## Core Banjo Techniques These Songs Teach Before we explore the *easiest bluegrass banjo songs*, it’s helpful to understand what skills they reinforce. These foundational techniques appear in nearly every classic tune: ### 1. Forward and Forward-Reverse Rolls Used extensively in Scruggs-style playing, the forward roll (T–I–M pattern) trains fluidity and timing. Many beginner tunes use predictable roll sequences, allowing you to lock into groove while keeping the fretting hand simple. ### 2. Alternating Thumb Roll This pattern stabilizes your right hand and introduces slight syncopation—one of bluegrass banjo’s defining rhythmic elements. It’s especially common in slower, vocal-based standards. ### 3. Slide, Hammer-On, and Pull-Off Embellishments Bluegrass banjo relies heavily on left-hand ornaments to create expressive phrasing. Beginner-friendly songs often include simple slides into chord tones or foundational hammer-on licks that appear across countless arrangements. ### 4. Vamping for Backup Backup is as essential as playing leads. Basic vamping (muted, percussive chords played on off-beats) helps develop rhythm and dynamics—skills that differentiate seasoned players from beginners. ## The **Easiest Bluegrass Banjo Songs to Learn First** Below is a curated list of beginner-friendly bluegrass standards chosen for their approachable structure, recognizable melodies, and technique-building value. These are student favorites across ArtistWorks, recommended by world-renowned banjo masters like [Tony Trischka](https://artistworks.com/tony-trischka), [Noam Pikelny](https://artistworks.com/noam-pikelny), [Alison Brown](https://artistworks.com/alison-brown), and [Allison de Groot](https://artistworks.com/allison-degroot). ### 1. “Boil Them Cabbage Down” This tune is a universal starting point. Its predictable melody and simple chord progression (usually just G and D) make it ideal for practicing forward rolls and light ornamentation. Many instructors treat it as “the first real tune” because students can learn a full solo quickly. #### What you’ll learn: - Forward roll consistency - Basic melody placement on the first and second strings - Hammer-on embellishments into the G chord ### 2. “Cripple Creek” A rite-of-passage tune for banjo players everywhere, “Cripple Creek” introduces slides and hammer-ons essential to Scruggs style. The A and B parts are short, repetitive, and incredibly rewarding to play. #### What you’ll learn: - Slides into melody notes - Alternating thumb roll technique - Left-hand timing coordination ### 3. “Banjo in the Hollow” This is one of the best beginner-friendly bluegrass banjo songs because it is upbeat without being technically demanding. The melody sits comfortably under the fingers, and the roll patterns repeat through the entire arrangement. #### What you’ll learn: - Forward-reverse rolls - Crisp right-hand articulation - Staying relaxed at higher tempos ### 4. “Old Joe Clark” This classic fiddle tune is popular because the melody is strong and the phrases are easy to internalize. Even a simplified version sounds great, and intermediate players can revisit it later with melodic-style ornaments. #### What you’ll learn: - Melodic phrasing fundamentals - Single-string transitions - Consistent right-hand attack ### 5. “You Are My Sunshine” (Bluegrass Style) While not originally a bluegrass tune, the bluegrass arrangement helps beginners develop backup skills and tasteful roll-based accompaniment. This is a perfect “sings-with-the-family” piece that also builds right-hand confidence. #### What you’ll learn: - Vamping patterns behind vocals - Chord transitions in G major - Roll-based accompaniment ## Actionable Practice Steps for Learning These Bluegrass Banjo Songs Here is a structured path used inside ArtistWorks lessons to help students master both technique and musical expression: ### 1. Start with Isolated Rolls Spend a few minutes warming up with forward, forward-reverse, and alternating thumb rolls at a slow tempo. Aim for even volume and relaxation—tension slows progress dramatically. ### 2. Learn the Chord Progression First Many beginner banjo arrangements use I-IV-V progressions in G. Practice transitioning between: - G major - C major - D major or D7 Keep your fretting hand light and economical. Clear chords lead to clearer melody. ### 3. Sing or Hum the Melody Even if you don’t consider yourself a singer, humming the melody helps with timing and phrasing. Banjo is a melodic instrument—knowing the tune internally makes learning twice as fast. ### 4. Add Rolls Around the Melody Most beginner-friendly bluegrass banjo songs allow melody notes to sit comfortably within standard roll patterns. Start by placing the melody on the first string, then wrap rolls around it. ### 5. Add Slides, Hammer-Ons, and Pull-Offs Last Ornaments should enhance the melody, not replace it. Many students rush into embellishments; instead, nail the clean version first, then add flavor. ### 6. Record Yourself and Listen Back This step—heavily emphasized by ArtistWorks instructors—reveals timing issues, dynamic imbalances, and tension you might not feel in the moment. ## Common Beginner Mistakes (and How to Correct Them) ### 1. Playing Too Fast Too Soon Speed is a natural temptation. But developing accuracy first will actually help you play faster in the long run. Use a metronome and increase tempo in 5 bpm increments. ### 2. Overusing the Index Finger Beginners often revert to using the index finger for too many notes, disrupting roll flow. Stick to proper T–I–M patterns for efficiency and tone. ### 3. Pressing Too Hard with the Fretting Hand Tension diminishes tone and introduces micro-delays. Aim for “minimum pressure required”—the note should ring clearly with the least effort. ### 4. Neglecting Backup Skills Bluegrass isn’t all about flashy solos. Strong backup playing—vamping, quiet rolls, tasteful fills—makes you a valuable bandmate and strengthens timing. ## Learn Bluegrass Banjo with World-Class Masters Whether you’re learning the simplest beginner tunes or diving into advanced melodic concepts, guidance from a master makes a world of difference. At ArtistWorks, students learn directly from legends such as [Tony Trischka](https://artistworks.com/tony-trischka), [Noam Pikelny](https://artistworks.com/noam-pikelny), [Alison Brown](https://artistworks.com/alison-brown), and [Allison de Groot](https://artistworks.com/allison-degroot). Our Video Exchange Learning® platform allows you to submit videos of your playing and receive personalized responses from your instructor—an unparalleled learning experience that turns every practice session into real progress. **Ready to start your journey?** [Start a free trial at ArtistWorks and learn with personal guidance.](https://artistworks.com) ## Conclusion: Start with the Easiest Bluegrass Banjo Songs to Learn First Mastering the **easiest bluegrass banjo songs to learn first** is the fastest, most motivating way to build technique, confidence, and musical enjoyment. These foundational tunes give you everything you need to grow—from roll fluency to expressive ornamentation to rock-solid timing. With expert feedback from world-class banjo teachers at ArtistWorks, your progress becomes not just possible, but inevitable. **Take the next step today.** Start a free trial at ArtistWorks and unlock your potential with supportive, expert guidance. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo **Tags:** banjo, bluegrass, songs --- ### [Billy Strings’ Tiny Desk Concert Featuring ArtistWorks’ Alex Hargreaves on Fiddle](https://blog.artistworks.com/billy-strings-tiny-desk-concert-featuring-artistworks-alex-hargreaves-on-fiddle/) **Published:** December 10, 2025 **Author:** ArtistWorks **Content:** Few performances capture the raw, unfiltered spirit of acoustic music like an NPR Tiny Desk Concert. And in his latest appearance, **Billy Strings stripped things down even further—literally asking the crew for fewer microphones** to let his band’s instruments “sound the way they’re meant to sound.” The result? A soul-stirring, deeply intimate performance that feels like a time capsule from the earliest, most organic Tiny Desk sessions—made even more extraordinary by the presence of **ArtistWorks fiddle master Alex Hargreaves**, whose musicality and tone helped elevate the entire set. In this article, we break down the magic of this performance, why Billy Strings continues to redefine modern bluegrass, and how Alex Hargreaves’ playing embodies the artistry our students know so well. ## **Billy Strings Returns to the Roots of Tiny Desk** NPR producer Kara Frame summed it up perfectly: **it’s rare these days for an artist to ask for fewer microphones**. But Billy Strings wanted authenticity, not amplification. After warming up in NPR’s iconic space, he asked the team to simplify the setup so the instruments could breathe—capturing what he called: > “The way these instruments are meant to sound.” Standing around the Tiny Desk with his band, Billy paused to reflect on the moment: > “We’ve been lucky to play a lot of cool venues… but this one feels different. I’ve seen so many amazing performances that happened right here, and I kind of believe that love and spirit soaks into this environment.” That reverence is palpable. From the first downbeat, you feel the room itself become part of the band. ## **The Soul of the Session: A Band Built on Mastery** Billy’s band is known for its almost telepathic cohesion, and the Tiny Desk environment made that chemistry shine. The lineup includes: - **Billy Strings** – vocals, guitar - **Alex Hargreaves** – fiddle - **Billy Failing** – banjo, background vocals - **Royal Masat** – bass, background vocals - **Jarrod Walker** – mandolin, background vocals Each musician brings both finesse and fire, creating a sound that is unmistakably bluegrass yet full of modern nuance. Billy may be the focal point, but this performance is truly a *band* effort—and that’s exactly the point. ## **Spotlight on ArtistWorks’ Alex Hargreaves** One of the standout elements of this Tiny Desk performance is the presence of **fiddle virtuoso and ArtistWorks instructor Alex Hargreaves**. For ArtistWorks students, this appearance is no surprise. Alex has long been celebrated as: - A master of tone and phrasing - A fearless improviser - One of the most respected young fiddlers in acoustic music In Tiny Desk’s intimate format, his playing takes center stage—fluid, expressive, and deeply musical. Whether weaving harmonies behind Billy’s vocals or taking a soaring lead, **Alex displays the exact mastery he teaches students inside his ArtistWorks Bluegrass Fiddle School**. Seeing him perform at one of music’s most iconic stages is a powerful reminder of what’s possible with dedicated practice, expert guidance, and a deep love for the craft. ## **A Set List That Honors Tradition — and Pushes It Forward** Billy Strings’ four-song set is a concise but powerful journey through Americana, bluegrass, and progressive acoustic textures. ### **Tiny Desk Set List:** 1. **“Red Daisy”** – A driving opener that sets the tone with high-energy pickin’. 2. **“My Alice”** – A tender, melodic tune showcasing the band’s vocal blend. 3. **“Malfunction Junction”** – A rhythmic, playful tune rooted in pure bluegrass vocabulary. 4. **“Gild the Lily”** – A beautiful closer that lets each musician shine. Each song highlights the band’s collective virtuosity, balanced with Billy’s emotional storytelling and signature humility. ## **Why This Tiny Desk Resonates with Bluegrass Fans** Billy Strings has a rare ability: he expands the reach of bluegrass without ever abandoning its heart. Part of that comes from his roots—he often credits his father for introducing him to the genre. Since then, he’s amassed a devoted following of “**billy goats**,” fans who have been known to schedule entire vacations around his tour dates. But what draws people in isn’t just technical brilliance—it’s sincerity. This Tiny Desk performance radiates that sincerity. No big stages, no walls of sound, no elaborate effects. Just: - **Authentic acoustic tone** - **Honest musicianship** - **A deep respect for tradition** - **A band playing as one** It’s a reminder of what makes bluegrass timeless. ## **Learn Bluegrass Fiddle from Alex Hargreaves at ArtistWorks** Watching Alex Hargreaves at Tiny Desk is inspiring—but learning directly **from him** is transformative. At ArtistWorks, Alex teaches students around the world through: 🎻 **Step-by-step video lessons for all levels** 🎻 **Genre-specific instruction: bluegrass, improvisation, backup, tune learning** 🎻 **Personalized Video Exchange® feedback** 🎻 **A supportive community of learners and musicians** Whether you’re just picking up the bow or ready to expand your improvisational vocabulary, Alex’s school gives you a clear, guided path to becoming the fiddler you want to be. 👉 **[Start your free trial of Alex Hargreaves’ Bluegrass Fiddle School today](https://artistworks.com/alex-hargreaves)** and experience master-level instruction you won’t find anywhere else. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo, Fiddle, Guitar, Mandolin, News **Tags:** billy strings, bluegrass, fiddle, guitar --- ### [Bluegrass Vocal Lesson: Microphone Technique](https://blog.artistworks.com/bluegrass-vocal-lesson-microphone-technique/) **Published:** February 4, 2024 **Author:** ArtistWorks **Excerpt:**

One of the many critical techniques that singers interested in performing publicly or with an ensemble need to understand is how their voice interacts with a microphone. Microphone technique is an essential skill for singers of all genres, however, particularly in the context of bluegrass, knowing how to balance one’s voice with the rest of the instrumentalists is of the utmost importance. Part of understanding how to balance one’s voice and achieve a great organic-sounding band mix is knowing a bit about the microphone’s construction, the type of microphone being used, and how the microphone works.

**Content:** ![]() One of the many critical techniques that singers interested in performing publicly or with an ensemble need to understand is how their voice interacts with a microphone. Microphone technique is an essential skill for singers of all genres, however, particularly in the context of bluegrass, knowing how to balance one’s voice with the rest of the instrumentalists is of the utmost importance. Part of understanding how to balance one’s voice and achieve a great organic-sounding band mix is knowing a bit about the microphone’s construction, the type of microphone being used, and how the microphone works. In this [online vocal lesson](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), critically acclaimed multi-instrumentalist and ArtistWorks instructor of bluegrass vocals, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), teaches about the unique manner in which the microphone is utilized in the context of a bluegrass performance, the type of microphones used, and, most importantly, how both the vocalists and instrumentalists should interact with the microphone to create a balanced sound. LEARN MORE: [Want to learn how to sing in the bluegrass style from a master vocalist like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-bluegrass-vocals-lessons-michael-daves) “Condenser microphones are very popular in the bluegrass world, and are perfectly suited for bluegrass performances,” Michael states. “With a condenser microphone, you can capture the entire band using just one mic, which gives you a natural reproduction of the acoustic tones of the instruments and the voice.” What is a condenser microphone? In the context of a bluegrass performance, the most common type of microphone used is a condenser microphone. There are two main types of microphones: condenser microphones and dynamics microphones. Condenser microphones are more sensitive than dynamic microphones, and, due to their design, are better at picking up more detail in a recording or performance. They also feature lower self-noise and better accuracy across a wider frequency spectrum. Due to the nature of their construction, wider frequency response, and sonic detail, condenser microphones are ideal for capturing acoustic instruments with accuracy and that is why they’re so frequently used to record or amplify bluegrass performances. “When using a condenser microphone, you also get this really interesting choreography on stage among the band members, because the band is essentially mixing themselves,” Michael explains. “At various times in the performance, each band member will have to come closer or move further away from the mic so that their voice or instrument stands out or lays back in the mix at different times.” To learn more about microphone technique and how to integrate a microphone into your next bluegrass jam session, dive into this [online vocal lesson](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) from [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves): Microphone Technique with Michael Daves: LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned musicians, like [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), and get personal feedback on your singing. Michael’s course starts with the basics and teaches everything from beginner vocal methods to advanced performance techniques, classical bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Vocal Lesson: An Introduction to Vocal Harmony with Michael Daves](https://blog.artistworks.com/bluegrass-vocal-lesson-harmony) [Bluegrass Guitar Lesson: The 3 Shape Method with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method) [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol & Mike perform with the Berklee World Strings!](https://blog.artistworks.com/darol-mike-perform-berklee-world-strings/) **Published:** February 7, 2024 **Author:** ArtistWorks **Excerpt:**

Longtime Artistworks Professors Darol Anger & Mike Marshall, performing as The Duo, played some great shows in New England recently with the crackerjack string orchestra from the internationally renowned Berklee College Of Music., led by Cello legend Eugene Friesen.

The Streaming site is still available free to view their final concert ! Here is the URL: https://vimeo.com/showcase/9726865?video=910061358

**Content:** Longtime **Artistworks** Professors **Darol Anger & Mike Marshall,** performing as **The Duo**, played some great shows in New England recently with the crackerjack string orchestra from the internationally renowned **Berklee College Of Music**., led by Cello legend Eugene Friesen. **The Streaming site is still available free to view their final concert ! [Here ](https://vimeo.com/showcase/9726865?video=910061358)is the URL: https://vimeo.com/showcase/9726865?video=910061358** [**![]()**](https://vimeo.com/showcase/9726865?video=910061358) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Bass Lesson: Using the Number System](https://blog.artistworks.com/bluegrass-bass-lesson-number-system/) **Published:** February 12, 2024 **Author:** ArtistWorks **Excerpt:**

When first learning to play an instrument of any kind, one of the most seemingly daunting tasks that musicians face is transposing their favorite tunes from one key to another. Transposing tunes quickly is a skill that is required commonly in the context of bluegrass. Whether adjusting the key of a tune to accommodate the preferred register of a vocalist or fellow instrumentalist, transposing tunes from one key to another is a talent that’s exercised at essentially every bluegrass jam session.

**Content:** ![]() When first learning to play an instrument of any kind, one of the most seemingly daunting tasks that musicians face is transposing their favorite tunes from one key to another. Transposing tunes quickly is a skill that is required commonly in the context of bluegrass. Whether adjusting the key of a tune to accommodate the preferred register of a vocalist or fellow instrumentalist, transposing tunes from one key to another is a talent that’s exercised at essentially every bluegrass jam session. Fortunately, there are a variety of tools that can make transposing tunes easier. One such tool is the musical number system. In this [online bass lesson](https://www.artistworks.com/bass-lessons), ten-time IBMA Award-winning “Bass Player of the Year” and ArtistWorks bluegrass bass instructor, [Missy Raines](https://www.artistworks.com/bass-lessons-missy-raines), outlines the concept of the number system and teaches how to apply it in the context of the classic tune, “Old Home Place.” LEARN MORE: [Want to learn how to play bluegrass from an upright bass master like Missy Raines? Try some free online bass lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) What is the Number System in Music? The number system in music is a tool through which players organize a unique note, series of notes, harmony, or series of chords, using a number rather than a letter name to represent or refer to each note or chord. For example, in this lesson from [Missy Raines](https://www.artistworks.com/bass-lessons-missy-raines), “Old Home Place” is performed in the key of B. As such, B is referred to as the 1, since it is the root note of the key. The second degree of the B major scale (C-sharp) is then referred to as the 2, D-sharp is then referred to as the 3, and so on. The benefit of the number system is that it is a moveable system, not a fixed system, meaning that the number that represents each chord changes depending on the key center in which the musician or ensemble is operating. The reason that this system is beneficial to musicians is that it allows players to learn tunes based on each chord’s corresponding number rather than the letter name, which makes transposing tunes from key to key much easier. “What the number system is designed to allow you to transpose tunes quickly,” Missy explains. “It allows you to easily understand the tune’s form, structure, and chord progression, and apply them in any key.” To learn more about the number system, how it relates to chords, harmony, and key centers, and how to apply it in your playing, dive into this [online bluegrass bass lesson](https://www.artistworks.com/bass-lessons-missy-raines) from [Missy Raines](https://www.artistworks.com/bass-lessons-missy-raines): Using the Number System with Missy Raines: LEARN MORE: Have you always wanted to learn how to play the upright bass? Through our comprehensive [online upright bass lessons](https://www.artistworks.com/bass-lessons-missy-raines) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned musicians, like Missy Raines, and get personal feedback on your playing. Missy’s bluegrass bass course starts with the basics and teaches everything from beginner upright bass methods to advanced performance techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “Fiddle with Alex Hargreaves” Now Available!](https://blog.artistworks.com/pre-sale-fiddle-alex-hargreaves) [Bluegrass Vocal Lesson: Microphone Technique with Michael Daves](https://blog.artistworks.com/bluegrass-vocal-lesson-microphone-technique) [Bluegrass Guitar Lesson: Rhythm with Crosspicking with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-rhythm-crosspicking) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-8/) **Published:** February 13, 2024 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has been added: “The Hurricane Rag”. Check it out in the Classic Style Banjo department, or CLICK HERE to go to part 1. Happy Picking!

**Content:** ![]() We’re excited to announce a new lesson has been added: “The Hurricane Rag”. Check it out in the Classic Style Banjo department, or [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/216980) to go to part 1. Happy Picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Missy Raines Releases New Album, “Highlander”](https://blog.artistworks.com/missy-raines-new-album-highlander/) **Published:** February 15, 2024 **Author:** ArtistWorks **Excerpt:**

Last Friday, February 9, 2024, 14-time IBMA Award-winning bassist, vocalist, songwriter, and ArtistWorks bluegrass bass instructor, Missy Raines, released her fifth solo album as a bandleader entitled, Highlander.

**Content:** ![]() Last Friday, February 9, 2024, 14-time IBMA Award-winning bassist, vocalist, songwriter, and ArtistWorks bluegrass bass instructor, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), released her fifth solo album as a bandleader entitled, Highlander. Released via iconic record label [Compass Records](https://compassrecords.com/)—known for their 20-year commitment to promoting and preserving roots, bluegrass, Celtic, Americana, and alternative music—Highlander features ten gorgeously thoughtful tracks, each showcasing Missy’s extensive knowledge of and deep passion for bluegrass music, making Highlander a bluegrass album for the ages. LEARN MORE: [Want to learn how to play bluegrass from an upright bass master like Missy Raines? Try some free online bass lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Missy gives a tip of the hat to the region of West Virginia where she grew up and developed her deep passion for bluegrass music. Working again with producer and fellow ArtistWorks instructor, [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), Missy and her touring band Allegheny are joined by a thoughtfully curated list of guests including Kathy Mattea, Laurie Lewis, Dudley Connell, Michael Cleveland, and Danny Paisley to create an album that at once honors Missy’s deep bluegrass roots even as she cultivates them. “Making this record and having this band has been sort of a homecoming,” Missy explains. “I’m at a point in my life where I’ve been able to look back at what I’ve gone through, what I’ve done, and the path I ultimately wanted to take.” Stand-out tracks on Highlander include “Who Needs a Mine,” a Missy original that reflects on the impact of the opioid crisis in West Virginia featuring fellow West Virginian Kathy Mattea, “I Would Be a Blackbird” featuring fellow female bluegrass pioneer Laurie Lewis, and the album’s first single “These Ole Blues” with bluegrass icon Danny Paisley sharing vocal duties with Missy. “I love so many different kinds of music,” explains Missy. “But, I cannot describe how bluegrass affects me, and why it affects me so deeply.” Head to Missy’s website [here](https://www.missyraines.com/store/p/highlander) to learn more and purchase the album. LEARN MORE: Have you always wanted to learn how to play the upright bass? Through our comprehensive [online upright bass lessons](https://www.artistworks.com/bass-lessons-missy-raines) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned musicians, like Missy Raines, and get personal feedback on your playing. Missy’s bluegrass bass course starts with the basics and teaches everything from beginner upright bass methods to advanced performance techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Bass Lesson: Using the Number System with Missy Raines](https://blog.artistworks.com/bluegrass-bass-lesson-number-system) [Pre-Sale VIP Memberships for “Fiddle with Alex Hargreaves” Now Available!](https://blog.artistworks.com/pre-sale-fiddle-alex-hargreaves) [4 New Tune Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Harmonica Lesson: Vibrations and Advice on Bending](https://blog.artistworks.com/harmonica-lesson-vibrations-note-bending/) **Published:** February 19, 2024 **Author:** ArtistWorks **Excerpt:**

One of the most expressive qualities of the human voice as a musical instrument is its ability to bend notes and glide seamlessly from one pitch to the next. Note bending is a technique that singers employ frequently, and it’s often mimicked as accurately as possible by a variety of different musical instruments. One instrument, in particular, through which you can bend notes and capture this expressive vocal texture is the harmonica.

**Content:** ![]() One of the most expressive qualities of the human voice as a musical instrument is its ability to bend notes and glide seamlessly from one pitch to the next. Note bending is a technique that singers employ frequently, and it’s often mimicked as accurately as possible by a variety of different musical instruments. One instrument, in particular, through which you can bend notes and capture this expressive vocal texture is the harmonica. In this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy), Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), teaches about the importance of note bending, provides some tips on how to bend notes on the harmonica, and explains how the vibrations of the instrument establish a deep connection between the harmonica and player. LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) “When you pick up a harmonica and play it with bends, the instrument comes alive,” Howard explains. “It becomes something that’s almost organic, and is very compelling not only for those listening but also for the player.” What is note bending? Note bending is a controlled technique musicians use to transition a musical note from one pitch to another smoothly. With unfretted stringed or other continuous-pitch instruments such as the trombone or human voice, this type of variation in pitch is often described as note intonation. Bent notes, however, are commonly played on fretted instruments by literally bending the string with excess finger pressure to raise a note seamlessly in pitch. On brass instruments, such as the trumpet, notes can be bent by adjusting the lip shape within the mouthpiece. On free-reed instruments, such as the harmonica, players are able to bend notes by altering their tongue, throat, and lip positions and using excess air pressure to overblow the reed. “You don’t have to know that much to play some simple blues licks that will really move an audience,” Howard explains. “If you get out in front of a crowd and start bending, people will go crazy because this music and this instrument touch them in their hearts.” To learn more about note bending on the harmonica and how to implement this technique into your playing, dive into this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy) from [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy): Vibrations and Advice on Bending with Howard Levy: LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Harmonica Lesson: Circular Breathing with Howard Levy](https://blog.artistworks.com/harmonica-lesson-circular-breathing) [Howard Levy Releases New Harmonica Instructional Book](https://blog.artistworks.com/howard-levy-new-harmonica-instructional-book) [Harmonica Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [10 Advanced Banjo Techniques Every Bluegrass Musician Should Master](https://blog.artistworks.com/10-advanced-banjo-techniques/) **Published:** February 21, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass music is a genre that resonates with the soul, and the banjo is its beating heart. If you're an intermediate or advanced musician looking to elevate your bluegrass banjo skills, mastering certain techniques is essential. Here, we'll dive into 10 advanced banjo techniques that are pivotal for any bluegrass musician. Plus, we'll link you to some fantastic ArtistWorks courses and provide access to some helpful free video lessons to aid your learning journey.

**Content:** ![]() Bluegrass music is a genre that resonates with the soul, and the banjo is its beating heart. If you’re an intermediate or advanced musician looking to elevate your[ bluegrass banjo](https://artistworks.com/banjo-lessons) skills, mastering certain techniques is essential. Here, we’ll dive into 10 advanced banjo techniques that are pivotal for any bluegrass musician. Plus, we’ll link you to some fantastic ArtistWorks courses and provide access to some helpful [free video lessons](https://artistworks.com/#freelessons) to aid your learning journey. 1\. Three-Finger Roll Variations The three-finger roll is the cornerstone of bluegrass banjo playing. Advanced players should experiment with different roll patterns to add complexity to our playing. 2\. Up-The-Neck Playing Moving beyond the first few frets opens a new realm of sound. Explore up-the-neck playing to discover melodic and rich tones. 3\. Syncopation Syncopation involves altering the expected rhythm to add interest and complexity. This technique can truly make your playing stand out. 4\. Hammer-Ons and Pull-Offs These techniques add fluidity and expressiveness to your playing. Advanced players should aim for clear, precise hammer-ons and pull-offs. 5\. Crosspicking Crosspicking creates a layered, textured sound and is essential for solos. 6\. Choke Bends A staple in bluegrass banjo, choke bends add a unique twang to your playing. 7\. Double-Thumb Roll This advanced roll adds a driving rhythm to your playing. 8\. Backup Playing Being able to play backup is crucial in a band setting. 9\. Melodic Playing This style allows for playing complex melodies on the banjo. 10\. Advanced Rhythm Techniques Incorporating advanced rhythm techniques can elevate your playing significantly. Mastering these 10 advanced banjo techniques will not only enhance your skills but also deepen your appreciation for the art of bluegrass music. Remember, practice and patience are key. Our [banjo courses](https://artistworks.com/banjo-lessons) at ArtistWorks led by master musicians [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) provide amazing resources to take your bluegrass banjo playing to the next level. We also offer [FREE sample lessons](https://artistworks.com/#freelessons) from any of these amazing instructors to get you started on your musical journey. Happy picking, and may your banjo journey be as enriching as the music you create! This blog post is just a starting point. For more in-depth learning and expert guidance, explore the [full range of courses](https://artistworks.com/all-courses) available at ArtistWorks. Our extensive library of lessons caters to all levels, ensuring that your journey in bluegrass music is well-supported. READ MORE: [Bluegrass Banjo Lesson: Tag Endings with Alison Brown](https://blog.artistworks.com/alison-brown-banjo-lesson-tag-endings) [Tony Trischka Releases New Single Featuring Billy Strings, “Brown’s Ferry Blues”](https://blog.artistworks.com/tony-trischka-billy-strings-browns-ferry-blues) [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [The Ultimate Guide to Building Speed on the Mandolin for Bluegrass Players](https://blog.artistworks.com/ultimate-guide-building-speed-mandolin-bluegrass-players/) **Published:** February 26, 2024 **Author:** ArtistWorks **Excerpt:**

When it comes to playing bluegrass mandolin, speed is not just a skill—it's an art. Achieving fluid, rapid-fire notes while maintaining clarity and tone is a goal for many aspiring mandolinists. In this ultimate guide, we'll explore various techniques and exercises to help you build speed on your mandolin, along with valuable resources from ArtistWorks and our free mandolin lessons to enhance your learning experience.

**Content:** ![]() When it comes to playing bluegrass mandolin, speed is not just a skill—it’s an art. Achieving fluid, rapid-fire notes while maintaining clarity and tone is a goal for many aspiring mandolinists. In this ultimate guide, we’ll explore various techniques and exercises to help you build speed on your mandolin, along with valuable resources from ArtistWorks and our free mandolin lessons to enhance your learning experience. Understanding the Basics Before diving into speed-building exercises, it’s crucial to have a strong foundation in mandolin basics. Ensure you’re comfortable with basic chords, scales, and picking techniques. For a comprehensive overview, check out these ArtistWorks Beginner Mandolin Lessons below: Down & Up Picking Basics with Mike Marshall: Basic Two-Finger Chords with Sierra Hull: 1\. Start Slow to Go Fast Ironically, the key to playing fast is to start slow. Focus on playing each note cleanly and precisely at a slow tempo before gradually increasing your speed. ArtistWorks’ bluegrass mandolin courses from [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) and [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) both offer detailed lessons on this concept. Additionally, this quick lesson video provides a practical guide to starting slowly to increase your speed. Playing with Speed with Sierra Hull: 2\. Developing Dexterity Finger agility is essential for speed. Practice exercises that involve finger independence and strength. Our ArtistWorks bluegrass mandolin courses cover this in detail. For an additional exercise, check out this lesson on playing scales with four fingers to improve your dexterity. Scales with Four Fingers with Mike Marshall: 3\. Efficient Picking Techniques Efficient picking is a cornerstone of fast mandolin playing. Learn alternate picking and practice crossing strings smoothly. Our intermediate mandolin lessons from [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) and [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) are a great resource, and this quick tip from Mike Marshall on righthand picking techniques is also helpful. Right-Hand Approaches with Mike Marshall: 4\. Scales and Arpeggios Practicing scales and arpeggios is vital for building speed and fluency. Use a metronome and gradually increase the tempo as you become more comfortable. Check out this free lesson from [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) on scale patterns that you can use to improve your fretboard fluency. Scale Patterns with Mike Marshall: 5\. The Art of Tremolo The tremolo technique is iconic in mandolin playing, especially in bluegrass. Learn to control and speed up your tremolo for dramatic effect. ArtistWorks provides specialized lessons on this topic as part of Mike and Sierra’s courses, and you can find additional guidance in this free tremolo tutorial here: Tremolo with Mike Marshall: 6\. Chord Transitions Quick and smooth chord transitions are crucial for up-tempo playing. Practice transitioning between common chord shapes at various speeds. Sierra and Mike both cover this in detail in their bluegrass mandolin courses at ArtistWorks. 7\. Playing Along with Songs One of the best ways to build speed is to play along with fast-paced bluegrass songs. This not only improves your speed but also your timing and rhythm. ArtistWorks offers studio-quality play-along backing tracks as part of Mike and Sierra’s mandolin courses. 8\. Incorporating Licks and Riffs Learn and incorporate classic bluegrass licks and riffs into your playing. This can enhance your speed and add a flair to your playing style. Check out this quick lesson from Sierra Hull on classic licks you can use to end a tune: Tag Endings with Sierra Hull: 9\. Regular Practice with a Metronome Consistent practice with a metronome cannot be overstated. It’s crucial for developing a sense of timing and gradually increasing your playing speed. 10\. Recording and Analyzing Your Playing Record yourself playing and listen back to identify areas for improvement. This self-analysis is critical for progress. Building speed on the mandolin is a journey that requires patience, dedication, and the right resources. By following the techniques and exercises outlined above and utilizing the invaluable lessons from ArtistWorks, you’ll be well on your way to mastering speed on the mandolin for bluegrass. For a deeper dive into mandolin mastery, explore the [full range of courses](https://artistworks.com/all-courses) available at ArtistWorks. Our expertly crafted [mandolin lessons](https://artistworks.com/mandolin-lessons) cater to all levels and are designed to provide you with the best learning experience possible. READ MORE: [Bluegrass Mandolin Lesson: Finding Minor Chords with Mike Marshall](https://blog.artistworks.com/bluegrass-mandolin-lesson-finding-minor-chords) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) [“Lessons with Marcel” Interview: Mike Marshall’s Incredible Bluegrass Journey](https://blog.artistworks.com/lessons-with-marcel-interview-mike-marshall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Classical Mandolin Lesson: An Introduction to Tremolo](https://blog.artistworks.com/classical-mandolin-lesson-tremolo-caterina-lichtenberg/) **Published:** February 29, 2024 **Author:** ArtistWorks **Excerpt:**

Instruments are designed, for the most part, to emulate the sonic capabilities of the human voice. What’s beautiful about the human voice, particularly in the context of music, is its ability to convey a vast array of complex emotions by using subtle inflections and intricate nuances within a musical passage. These nuances can be as simple as slightly wavering the volume of a single note or chord—a technique referred to as tremolo—which can completely alter the emotional character of a performance.

**Content:** ![]() Instruments are designed, for the most part, to emulate the sonic capabilities of the human voice. What’s beautiful about the human voice, particularly in the context of music, is its ability to convey a vast array of complex emotions by using subtle inflections and intricate nuances within a musical passage. These nuances can be as simple as slightly wavering the volume of a single note or chord—a technique referred to as tremolo—which can completely alter the emotional character of a performance. Skilled musicians often utilize tremolo techniques on their instruments to capture this emotive quality of the human voice. Stringed instruments in particular can replicate the tremolo effect of the human voice very easily, simply by altering the velocity and speed of the attack of their picking or bowing hand. The mandolin is no exception to this rule. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons), world-renowned classical mandolinist, professor at the Music Conservatory in Cologne, Germany, and ArtistWorks classical mandolin instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), teaches how to utilize tremolo techniques on the mandolin and provides detailed insights to help you begin incorporating tremolo effects into your own playing. LEARN MORE: [Want to learn how to play classical mandolin from a master musician like Caterina Lichtenberg? Try some free online mandolin lessons now!](https://go.artistworks.com/free-music-lessons-caterina-lichtenberg) What is tremolo and what is tremolo picking? Tremolo is the musical effect produced by the rapid modulation of volume. As a single note rapidly warbles from loud to soft to loud, it produces a dynamic sonic characteristic that isn’t possible when a note sustains at a fixed volume. When playing a stringed instrument like the mandolin, the tremolo effect is created by using a technique called tremolo picking. Players utilize tremolo picking by rapidly striking the string to produce a constant resonance. As a result, the volume will spike each time you strike the string, and it will briefly drop between strikes. “The sound that the tremolo effect produces is often the sound that most people think of when they imagine the mandolin,” Caterina explains. “The technique is synonymous with the instrument, which is why it’s so critical to focus on this aspect of your playing.” Executing tremolo picking techniques with a proper feel can be difficult at first. Since the methods are all about subtle adjustments to the picking hand, it can be tough to produce a tremolo effect that oscillates smoothly between louder and softer volumes when you’re first beginning to implement the method. So, make sure to cut yourself some slack as you work toward mastering your approach to tremolo. These small picking-hand movements will quickly become second nature, muscle memory will take over, and you’ll be able to execute your tremolo playing with precision. To learn more about tremolo techniques on the mandolin and how to incorporate tremolo picking into your playing, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons) from [Caterina Lichtenberg](https://www.artistworks.com/classical-mandolin-lessons-caterina-lichtenberg): An Introduction to Tremolo with Caterina Lichtenberg: LEARN MORE: Have you always wanted to learn how to play the classical mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Caterina Lichtenberg](https://www.artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, iconic classical pieces, études, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Summer Series—Week 5: Caterina Lichtenberg](https://blog.artistworks.com/artistworks-summer-series-caterina-lichtenberg) [Bluegrass Mandolin Lesson: Finding Minor Chords with Mike Marshall](https://blog.artistworks.com/bluegrass-mandolin-lesson-finding-minor-chords) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Blues Guitar Lesson: 12-Bar Blues Turnarounds & Endings](https://blog.artistworks.com/blues-guitar-lesson-blues-turnarounds/) **Published:** March 5, 2024 **Author:** ArtistWorks **Excerpt:**

In the vast landscape of musical genres, the 12-bar blues stands as a timeless testament to the soulful and expressive nature of music. As we delve into the intricate layers of this genre, one cannot overlook the significance of turnarounds and endings, the subtle yet powerful elements that punctuate the rhythmic heartbeat of the blues.

**Content:** ![]() In the vast landscape of musical genres, the 12-bar blues stands as a timeless testament to the soulful and expressive nature of music. As we delve into the intricate layers of this genre, one cannot overlook the significance of turnarounds and endings, the subtle yet powerful elements that punctuate the rhythmic heartbeat of the blues. Whether you’re a seasoned blues guitarist or just stepping into the soul-stirring realm of this genre, understanding the role of turnarounds is crucial to grasping the essence of the blues progression. These melodic twists and turns serve as the final punctuation in each 12-bar cycle, ushering us from resolution to anticipation and back again. In this [blues guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), teaches how to elegantly transition from the end of the 12-bar blues form back to the top—using a technique referred to as a turnaround—and how to bring a 12-bar blues tune to a close and end the piece. LEARN MORE: [Want to learn how to play blues guitar from a master musician like Keith Wyatt? Try some free online blues guitar lessons now!](https://go.artistworks.com/free-online-blues-guitar-lessons) What is a turnaround in the context of 12-bar blues? In the context of a 12-bar blues, a turnaround is a musical phrase or set of chords that occurs at the end of a section, typically leading to the beginning of the next cycle of the 12-bar progression. Turnarounds serve as a transitional element, adding variation and anticipation to the structure of the blues. They often create tension and resolution, guiding the listener’s ear back to the starting point of the blues progression. Turnarounds can be musically distinct, showcasing the player’s improvisational skills and adding a unique flavor to each rendition of the blues. Commonly, turnarounds are found in the last two bars of the 12-bar blues, helping to complete the musical cycle and maintain the rhythmic and harmonic flow of the blues tradition. “When you listen to 12-bar blues songs, there’s almost always an identifiable transition, sort of a musical figure, that everyone in the band plays together to migrate from the end to the top of the 12-bar blues form,” explains Keith. “One common way that guitarists approach this is with a couple of chord moves with a few specific rhythms, which we’ll be going over in this lesson. Understanding these transitions and how guitarists approach turnarounds is critical to mastering your blues vocabulary.” To learn more about turnarounds and endings in the context of a 12-bar blues and how to begin implementing them into your playing, dive into this [online slide guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): 12-Bar Blues Turnarounds & Endings with Keith Wyatt: LEARN MORE: Have you always wanted to learn how to play the blues guitar? Through our comprehensive [blues guitar lessons online](https://artistworks.com/guitar-lessons-keith-wyatt) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and get personal feedback on your playing. Keith’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic blues tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as blues guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) [Country Guitar Lesson: Two-Note Harmonizing with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-double-stops) [Blues Rock Guitar Lesson: Phrasing with Jared James Nichols](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Pickin' Perfection: 7 Must-Know Bluegrass Standards for Flatpick Guitarists](https://blog.artistworks.com/7-must-know-bluegrass-standards-flatpick-guitarists/) **Published:** March 5, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass music, with its lively rhythms and soul-stirring melodies, beckons flatpick guitarists to embark on a thrilling musical journey. For those eager to immerse themselves in the heart of bluegrass, mastering the classics is essential. In this article, we've curated seven must-know bluegrass standards that will elevate your flatpicking game and bring the authentic spirit of bluegrass to your fingertips. You can unlock bluegrass guitar lessons on these classic tunes from flatpicking masters Bryan Sutton, Chris Eldridge, and Tyler Grant here at Artistworks.

**Content:** ![]() Bluegrass music, with its lively rhythms and soul-stirring melodies, beckons flatpick guitarists to embark on a thrilling musical journey. For those eager to immerse themselves in the heart of bluegrass, mastering the classics is essential. In this article, we’ve curated seven must-know bluegrass standards that will elevate your flatpicking game and bring the authentic spirit of bluegrass to your fingertips. You can unlock bluegrass guitar lessons on these classic tunes from flatpicking masters [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) here at Artistworks. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) “Foggy Mountain Breakdown” by Earl Scruggs: This instrumental masterpiece by Earl Scruggs is a flatpicking showcase, demanding precision and speed. Its energetic pace captures the essence of bluegrass and challenges flatpickers to reach new heights. “Bluegrass Stomp” by Bill Monroe: Bill Monroe’s “Bluegrass Stomp” is a classic that embodies the signature sound of bluegrass. Its spirited tempo and intricate flatpicking patterns make it a cornerstone for any aspiring flatpick guitarist. “Blackberry Blossom” Traditional: “Blackberry Blossom” is a traditional tune blending Celtic and bluegrass influences. Its intricate melody and dynamic shifts provide an excellent canvas for showcasing your flatpicking dexterity. “Old Home Place” by J.D. Crowe and The New South: A bluegrass standard, “Old Home Place” features a compelling combination of driving rhythm and memorable melody. Explore the distinctive licks and phrases that make this song a perennial favorite. “Billy in the Lowground” Traditional: A staple in bluegrass jam sessions, “Billy in the Lowground” allows flatpickers to express their creativity. Its catchy melody and room for improvisation make it perfect for honing your flatpicking skills. “Salt Creek” Traditional: “Salt Creek” is a flatpicking gem with a toe-tapping melody. As you navigate its twists, you’ll encounter challenges that elevate your technique. This standard is a crowd-pleaser at bluegrass gatherings. “Whiskey Before Breakfast” Traditional: Closing our list is the spirited “Whiskey Before Breakfast.” This flatpicking standard offers a delightful mix of fast-paced picking and melodic variations. Its infectious energy makes it a must-play for captivating any audience. As you embark on your journey to master these seven bluegrass standards, consider enhancing your learning experience with ArtistWorks’ bluegrass guitar courses taught by master guitarists [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). The ArtistWorks platform offers invaluable insights from renowned artists, providing personalized feedback to help you refine your flatpicking technique. Whether you’re a beginner or an experienced player, ArtistWorks opens a door to a world of expert guidance and collaborative learning. Dive into the rich tapestry of bluegrass through the ArtistWorks acoustic guitar courses taught by [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), and let your flatpicking weave the melodies that define this timeless genre. Happy pickin’! READ MORE: [Bluegrass Guitar Lesson: Rhythm with Crosspickingn with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-rhythm-crosspicking) [Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-tony-rice-sweeps) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Exploring the Roots of Bluegrass: A Deep Dive into Historical Mandolin Styles](https://blog.artistworks.com/bluegrass-historical-mandolin-styles/) **Published:** March 7, 2024 **Author:** ArtistWorks **Excerpt:**

In the heart of bluegrass music lies the enchanting twang of the mandolin, a stringed instrument that has become synonymous with the genre's soulful and energetic sound. As we journey through the roots of bluegrass, it's crucial to unravel the historical mandolin styles that have shaped the distinctive character of this beloved musical tradition. Join us on a melodic expedition as we delve into the rich tapestry of mandolin history, tracing the intricate threads that have woven the fabric of bluegrass music.

**Content:** ![]() In the heart of bluegrass music lies the enchanting twang of the mandolin, a stringed instrument that has become synonymous with the genre’s soulful and energetic sound. As we journey through the roots of bluegrass, it’s crucial to unravel the historical mandolin styles that have shaped the distinctive character of this beloved musical tradition. Join us on a melodic expedition as we delve into the rich tapestry of mandolin history, tracing the intricate threads that have woven the fabric of bluegrass music. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall or Sierra Hull? Try some free online mandolin lessons now!](https://artistworks.com/#freelessons) Early Mandolin Styles: The mandolin’s origins can be traced back to Europe in the 18th century, but its introduction to American music in the late 19th century paved the way for its significant role in bluegrass. Early mandolin styles, influenced by classical and folk traditions, laid the foundation for the instrument’s evolution in the hands of pioneers like Bill Monroe. Bill Monroe and the Birth of Bluegrass: Bill Monroe, often hailed as the Father of Bluegrass, played a pivotal role in defining the sound of the genre. His innovative mandolin playing introduced a driving rhythm and distinctive picking technique that set the standard for generations to come. Monroe’s use of tremolo and cross-picking became hallmarks of bluegrass mandolin, forever shaping the instrument’s identity. The Monroe-Style Mandolin: Monroe’s influence extended beyond his compositions to his unique mandolin style. The Monroe-style mandolin is characterized by its crisp, clear notes, rapid-fire picking, and the use of double stops. Aspiring mandolin players often delve into this historical style to grasp the essence of bluegrass authenticity. The Dawning of Newgrass: As bluegrass continued to evolve, a new wave of musicians ushered in the era of “Newgrass.” Artists like David Grisman and Sam Bush infused traditional bluegrass with elements of jazz, rock, and even experimental music. This era showcased the mandolin’s versatility and ability to adapt to a wide range of genres. ArtistWorks Bluegrass Mandolin Courses: For those seeking to explore the roots of bluegrass through the mandolin, the mandolin courses at ArtistWorks provide an unparalleled opportunity. With courses taught by renowned musicians like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), the lessons offer a deep dive into historical mandolin styles, techniques, and the art of improvisation. Personalized feedback and a collaborative online community create an immersive learning experience that caters to all skill levels. As we reflect on the historical mandolin styles that have shaped bluegrass music, it’s evident that the journey is both timeless and ever-evolving. Whether you’re a seasoned player or just starting, the mandolin courses at ArtistWorks, taught by [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), open the door to a world of expertise and shared passion. Immerse yourself in the roots of bluegrass, embrace the legacy of mandolin masters, and let your musical journey unfold with the guidance of the ArtistWorks community. Happy picking! READ MORE: [The Ultimate Guide to Building Speed on the Mandolin for Bluegrass Players](https://blog.artistworks.com/ultimate-guide-building-speed-mandolin-bluegrass-players) [Bluegrass Mandolin Lesson: Finding Minor Chords with Mike Marshall](https://blog.artistworks.com/bluegrass-mandolin-lesson-finding-minor-chords) [Bluegrass Mandolin Lesson: Playing with Speed with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-speed-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Lessons Just Added!](https://blog.artistworks.com/new-lessons-just-added-2/) **Published:** March 11, 2024 **Author:** ArtistWorks **Excerpt:**

New lessons have just been added! A Potpourri of Early Béla contains an inside look on the early workings of Béla Fleck. Ranging from technique, exercises, licks, and more. You can find the new lessons in the Advanced department, or click any of the following links. Happy picking!

A Potpourri of Early Béla: Thirds

A Potpourri of Early Béla: Chromatic Scale Pattern

**Content:** ![]() New lessons have just been added! A Potpourri of Early Béla contains an inside look on the early workings of Béla Fleck. Ranging from technique, exercises, licks, and more. You can find the new lessons in the Advanced department, or click any of the following links. Happy picking! [A Potpourri of Early Béla: Thirds](https://my.artistworks.com/tony-trischka/learning/217590) [A Potpourri of Early Béla: Chromatic Scale Pattern](https://my.artistworks.com/tony-trischka/learning/217670) [A Potpourri of Early Béla: Béla’s Break on John Hardy](https://my.artistworks.com/tony-trischka/learning/217671) [A Potpourri of Early Béla: New Grass Revival Lick](https://my.artistworks.com/tony-trischka/learning/217672) [A Potpourri of Early Béla: Early Béla Blues Scale & Exercise](https://my.artistworks.com/tony-trischka/learning/217673) [A Potpourri of Early Béla: 80’s Exercise](https://my.artistworks.com/tony-trischka/learning/217674) [A Potpourri of Early Béla: “Major Honker”](https://my.artistworks.com/tony-trischka/learning/217675) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Advanced Fingerpicking Patterns for Banjo: Elevate Your Bluegrass Game](https://blog.artistworks.com/advanced-fingerpicking-patterns-bluegrass-banjo/) **Published:** March 13, 2024 **Author:** ArtistWorks **Excerpt:**

Banjo enthusiasts and bluegrass aficionados know that mastering fingerpicking patterns is crucial to taking their playing to the next level. In this blog, we'll explore advanced fingerpicking techniques for the banjo that will elevate your bluegrass game. To guide us on this musical journey, we'll refer to the valuable resources provided by the online banjo courses from Tony Trischka, Noam Pikelny, and Alison Brown here at ArtistWorks, each offering a comprehensive learning experience for players of all skill levels.

**Content:** ![]() Banjo enthusiasts and bluegrass aficionados know that mastering fingerpicking patterns is crucial to taking their playing to the next level. In this blog, we’ll explore advanced fingerpicking techniques for the banjo that will elevate your bluegrass game. To guide us on this musical journey, we’ll refer to the valuable resources provided by the online banjo courses from [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown) here at ArtistWorks, each offering a comprehensive learning experience for players of all skill levels. LEARN MORE: [Click here to access FREE sample banjo lessons from bluegrass masters Tony Trischka, Noam Pikelny, and Alison Brown!](https://artistworks.com/#freelessons) The Foundation: Traditional Bluegrass Rolls Before delving into advanced fingerpicking, it’s essential to have a solid foundation in traditional bluegrass banjo rolls. ArtistWorks’ banjo courses, led by renowned instructors [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown), emphasize the importance of mastering these fundamental techniques. Rolls like the forward roll, backward roll, and alternating thumb roll serve as the building blocks for more intricate patterns. Bluegrass Banjo Lesson: The Alternating Roll with Alison Brown Syncopation: Adding Flavor to Your Playing To inject life and character into your banjo playing, explore syncopated fingerpicking patterns. Syncopation involves emphasizing off-beats, creating a lively and dynamic sound. ArtistWorks provides detailed lessons on incorporating syncopation into your playing, allowing you to experiment with timing and add a layer of complexity to your bluegrass repertoire. Crosspicking: A Banjo Virtuoso’s Technique Take your fingerpicking to the next level with crosspicking, a technique that involves picking individual strings in a crosswise motion. ArtistWorks’ instructors guide learners through the nuances of crosspicking, helping banjo players achieve a fluid and melodic sound. This advanced technique is a hallmark of virtuoso bluegrass players, and mastering it can set you apart in the world of banjo playing. Melodic Fingerpicking: Crafting Beautiful Tunes Melodic fingerpicking is a sophisticated technique that allows banjo players to play intricate melodies seamlessly. ArtistWorks’ online banjo courses offer step-by-step guidance on developing melodic fingerpicking skills. By learning how to navigate the fretboard with precision and creativity, you’ll be able to craft beautiful tunes that showcase the banjo’s versatility. Banjo Lesson: An Introduction to Melodic Style with Noam Pikelny Banjo Tips from Tony Trischka: Melodic Style Playing Clawhammer Technique: Breaking Traditional Molds While fingerpicking patterns are commonly associated with three-finger picking styles, the clawhammer technique offers a unique alternative. ArtistWorks’ instructors provide comprehensive lessons on the clawhammer technique, a distinctive style characterized by a downward strumming motion with the back of the fingernail. Incorporating clawhammer into your repertoire can add a fresh and unconventional dimension to your bluegrass playing. Elevating your bluegrass game requires dedication, practice, and access to high-quality learning resources. ArtistWorks’ online [banjo courses](https://artistworks.com/banjo-lessons) serve as an invaluable tool for banjo players looking to master advanced fingerpicking patterns. Whether you’re exploring syncopation, delving into crosspicking, or experimenting with melodic fingerpicking, ArtistWorks provides expert guidance to help you refine your skills and take your banjo playing to new heights. We also offer [FREE sample lessons](https://artistworks.com/#freelessons) from Tony, Noam, Alison, and all of our amazing instructors to get you started. So, pick up your banjo, tune in to ArtistWorks, and embark on a musical journey that will set you apart in the world of bluegrass. READ MORE: [10 Advanced Banjo Techniques Every Bluegrass Musician Should Master](https://blog.artistworks.com/10-advanced-banjo-techniques) [Bluegrass Banjo Lesson: Tag Endings with Alison Brown](https://blog.artistworks.com/alison-brown-banjo-lesson-tag-endings) [Tony Trischka Releases New Single Featuring Billy Strings, “Brown’s Ferry Blues”](https://blog.artistworks.com/tony-trischka-billy-strings-browns-ferry-blues) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Mastering Fast-Paced Rhythm Techniques for Bluegrass Guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar/) **Published:** March 14, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass guitar is a vibrant and dynamic genre known for its intricate melodies, lightning-fast picking, and infectious rhythms. At the heart of this musical style lies a mastery of rhythm techniques that propel the music forward with energy and precision. In this blog, we'll delve into the world of bluegrass rhythm guitar, drawing insights from the esteemed instructors at ArtistWorks: Bryan Sutton, Chris Eldridge, and Tyler Grant.

**Content:** ![]() Bluegrass guitar is a vibrant and dynamic genre known for its intricate melodies, lightning-fast picking, and infectious rhythms. At the heart of this musical style lies a mastery of rhythm techniques that propel the music forward with energy and precision. In this blog, we’ll delve into the world of bluegrass rhythm guitar, drawing insights from the esteemed instructors at ArtistWorks: [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). Understanding the Role of Rhythm: Rhythm is the backbone of bluegrass music. It sets the pace, drives the momentum, and provides the foundation upon which melodies and solos can flourish. In bluegrass guitar, mastering rhythm is about more than just keeping time—it’s about creating a groove that engages the listener and inspires movement. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton)‘s Approach: As a Grammy-winning guitarist and instructor at ArtistWorks, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) brings a wealth of experience to his bluegrass guitar lessons. His approach to rhythm emphasizes clarity, consistency, and control. Sutton teaches students how to achieve a clean and precise sound by focusing on proper technique, including right-hand picking and left-hand fretting. In his course, Sutton breaks down essential rhythm patterns such as the boom-chick strumming style commonly found in bluegrass music. He emphasizes the importance of maintaining a steady tempo while accentuating the backbeat to create a driving rhythm that propels the music forward. Bluegrass Guitar Lesson: Rhythm with Crosspicking with Bryan Sutton: [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge)‘s Insight: [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), another renowned instructor at ArtistWorks, offers valuable insights into the nuances of bluegrass rhythm guitar. With a background in both traditional and progressive bluegrass styles, Eldridge’s teachings highlight the interplay between rhythm and melody. Eldridge encourages students to experiment with syncopated rhythms and crosspicking techniques to add depth and complexity to their playing. Through his flatpick guitar lessons, students learn how to blend traditional bluegrass rhythm patterns with modern innovations, allowing for a dynamic and versatile approach to rhythm guitar. Bluegrass Guitar Lesson: Tony Rice Rhythm Fill Sweeps with Chris Eldridge: [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant)‘s Techniques: [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) rounds out the roster of bluegrass acoustic guitar instructors at ArtistWorks with his expertise in flatpicking and rhythm guitar. With a focus on rhythmically intricate arrangements and improvisation, Grant’s flatpick guitar lessons offer students a comprehensive toolkit for mastering fast-paced rhythm techniques. Grant emphasizes the importance of developing a strong sense of timing and rhythm subdivision, enabling students to navigate complex chord progressions and syncopated rhythms with ease. Through his bluegrass guitar course, students learn how to incorporate dynamic accents, fills, and variations to keep their rhythm playing fresh and engaging. Flatpick Guitar Lesson: Boom Strum Rhythm in “Skip to My Lou” with Tyler Grant: Practice Tips and Resources: To master fast-paced rhythm techniques in bluegrass guitar, consistent practice is key. Set aside dedicated time each day to work on rhythm exercises and repertoire from the courses taught by Sutton, Eldridge, and Grant. Focus on maintaining a steady tempo, clean technique, and precision in your picking and fretting hand movements. Additionally, leverage the wealth of resources available on the ArtistWorks platform, including video lessons, backing tracks, and personalized feedback from the instructors themselves. Take advantage of the opportunity to interact with fellow students in the online community, sharing insights, tips, and encouragement as you progress on your musical journey. Mastering fast-paced rhythm techniques in bluegrass guitar requires dedication, patience, and a commitment to honing your skills. By studying under the guidance of expert instructors like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) at ArtistWorks, you’ll gain invaluable insights into the intricacies of bluegrass rhythm guitar and develop the proficiency needed to thrive in this exciting musical genre. So pick up your guitar, tune up those strings, and let the rhythm of bluegrass carry you away on a musical adventure like no other. READ MORE: [Pickin’ Perfection: 7 Must-Know Bluegrass Standards for Flatpick Guitarists](https://blog.artistworks.com/7-must-know-bluegrass-standards-flatpick-guitarists) [4 New Tune Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [“Fiddle with Alex Hargreaves” is Now Open!](https://blog.artistworks.com/fiddle-alex-hargreaves-now-open/) **Published:** March 19, 2024 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Fiddle with Alex Hargreaves,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Fiddle with Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves),” is officially here! As of 9 am PT, the course is officially live and open to all students. Described as “one of the greatest improvising violinists in America today” by virtuoso mandolinist/composer [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), Alex Hargreaves is a fiddler who draws inspiration from a wide variety of genres and traditions. He is currently touring full-time with Grammy award-winning guitarist and singer Billy Strings. Based in Brooklyn, NY, Alex has toured with Jerry Douglas, David Grisman, Béla Fleck, Danilo Perez, and Sarah Jarosz, and has performed with many others including Punch Brothers, [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull), Steve Martin, and Kacey Musgraves—appearing on her Saturday Night Live debut. He was a member of the Grammy award-winning Turtle Island Quartet from 2016–2019, appearing on their 2018 release, Bird’s Eye View, and can often be heard playing in the house band on the public radio variety show, Live From Here with Chris Thile. At age 17, Alex, along with bassist Paul Kowert (Punch Brothers), teamed with [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) to form The Big Trio, performing together extensively following the release of their self-titled album in 2009. From 2007–2014, he toured with Sarah Jarosz, appearing on her three critically acclaimed albums, Song Up In Her Head, Follow Me Down, and Build Me Up From Bones, as well as being featured on her Grammy-nominated instrumental, Mansinneedof. Alex released his debut album Prelude in 2010, featuring [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), Grant Gordy, and Paul Kowert, along with special guests Béla Fleck and [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny). About Alex’s playing on the album, David Grisman says “\[Alex\] plays with wit, authority, and soulfulness belying his years. In my opinion, he’s destined to be one of the fiddle giants of the 21st century.” Alex was awarded the Jimmy Lyons full tuition scholarship to the Berklee College of Music at the 2010 Monterey Jazz Festival. While studying at Berklee, Alex completed the prestigious Global Jazz Institute, providing him with the opportunity to work one-on-one with artistic director Danilo Perez (Wayne Shorter Quartet), along with countless other jazz legends. During this time, Alex also toured with Perez and recorded on his album, Panama 500. Currently on faculty at The New School, Alex is an experienced music educator, having taught at a variety of music camps and workshops including the Mark O’Connor Fiddle Camp, Swannanoa Gathering, Augusta Heritage, Christian Howes’ Creative Strings Workshop, and the [Mike Block](https://www.artistworks.com/cello-lessons-mike-block) String Camp. He also teaches privately in Brooklyn and will soon be teaching online here at ArtistWorks. With a strong emphasis on ear training, Alex helps his students find their own way of learning and staying inspired, while still respecting the traditions and contributions of those who set the groundwork for the music we play today. Through his [online fiddle lessons](https://artistworks.com/fiddle-lessons-alex-hargreaves) at ArtistWorks, you’ll learn the ins and outs of Alex’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Alex has drawn from his extensive knowledge as both a professional fiddler and seasoned educator to create a comprehensive course of [fiddle lessons online](https://artistworks.com/fiddle-lessons-alex-hargreaves) designed to teach players of all levels how to play. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Alex and get an intimate look into his unique approach and style. Grow as a fiddle player while simultaneously furthering yourself as a musician, and get direct guidance from Alex at every step of your musical journey. [SIGN UP NOW](https://artistworks.com/fiddle-lessons-alex-hargreaves) to gain access to Alex’s library of [online fiddle lessons](https://artistworks.com/fiddle-lessons-alex-hargreaves), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Alex reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Slap Bass Guitar Lesson: Popping & Pull-Offs](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs/) **Published:** March 20, 2024 **Author:** ArtistWorks **Excerpt:**

Slap bass is a dynamic and percussive technique predominantly used in funk, jazz, and rock music genres. It involves striking the strings of a bass guitar with the thumb in a downward motion, followed by a popping or snapping of the strings against the fretboard with the fingers. This creates a distinct and rhythmic sound characterized by its sharp attack and pronounced articulation.

**Content:** ![]() Slap bass is a dynamic and percussive technique predominantly used in funk, jazz, and rock music genres. It involves striking the strings of a bass guitar with the thumb in a downward motion, followed by a popping or snapping of the strings against the fretboard with the fingers. This creates a distinct and rhythmic sound characterized by its sharp attack and pronounced articulation. Slap bass players often incorporate techniques such as hammer-ons, pull-offs, and ghost notes to add complexity and groove to their playing. The technique gained popularity in the 1970s and 1980s, particularly through the work of bassists like Larry Graham, Bootsy Collins, and Flea, and continues to be a hallmark of energetic and funk-driven basslines in contemporary music. In this [online bass guitar lesson](https://www.artistworks.com/bass-lessons), world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), outlines his approach to integrating pull-offs into the popping technique of his slap bass playing. In addition to detailing his unique methods, Stu provides a handful of exercises using the E minor pentatonic scale so that you can quickly begin employing pull-offs in your slapping and popping. LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) “Up to this point, we’ve taken a look at integrating hammer-on methods into our slap playing,” Stu explains. “In this lesson, we’re taking a deep dive into a technique that’s simultaneously similar and almost the opposite—incorporating pull-offs into our popping.” What is popping in slap bass playing? Popping is a fundamental component of slap bass technique, where the player plucks or pulls a string away from the fretboard, causing it to vibrate and produce a sharp, percussive sound. This technique is achieved by using the fingertips or fingernails of the plucking hand to strike the string in an upward motion, creating a distinct “pop” sound. Popping is often combined with slapping—a downward striking motion with the thumb—to create rhythmic patterns and accents in basslines. Developed alongside slap bass in funk music during the 1970s, popping adds groove and funkiness to basslines, and is commonly associated with bassists like Larry Graham, Louis Johnson, and Bootsy Collins. Mastering the popping technique requires precision, timing, and coordination between the plucking hand and the fretting hand to achieve crisp and articulate notes. “Pentatonic runs are great for incorporating pull-offs into our popping,” explains Stu. “These runs feature a series of whole steps, making them symmetrical and perfect for performing the pull-off movement when popping.” To learn more about slap bass and how to begin integrating the index and middle fingers into your popping and pull-off techniques, dive into this [online bass guitar lesson](https://www.artistworks.com/bass-lessons) from [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm): Popping & Pull-Offs with Stu Hamm: LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://www.artistworks.com/bass-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Slap Bass Lesson: An Introduction to Popping with Stu Hamm](https://blog.artistworks.com/slap-bass-lesson-popping-stu-hamm) [Missy Raines Releases New Album, “Highlander”](https://blog.artistworks.com/missy-raines-new-album-highlander) [Electric Bass Lesson: Arpeggios for Common Chords Found in Jazz with John Patitucci](https://blog.artistworks.com/electric-bass-lesson-arpeggios-jazz) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Guitar --- ### [Banjo Innovations: Blending Bluegrass with Other Musical Styles](https://blog.artistworks.com/banjo-innovations-blending-bluegrass-other-musical-styles/) **Published:** March 26, 2024 **Author:** ArtistWorks **Excerpt:**

The banjo, with its distinctive twang, has long been associated with traditional Appalachian bluegrass music. However, in recent years, a new wave of musicians has been pushing the boundaries of banjo playing, blending it with diverse musical styles to create innovative and captivating sounds. Artists like Tony Trischka, Noam Pikelny, and Alison Brown have been at the forefront of this movement, using their expertise to explore the versatility of the banjo. Through their banjo lessons online on platforms like ArtistWorks, they're not only teaching aspiring musicians but also inspiring a new generation of banjo players to think outside the bluegrass box.

**Content:** ![]() The banjo, with its distinctive twang, has long been associated with traditional Appalachian bluegrass music. However, in recent years, a new wave of musicians has been pushing the boundaries of banjo playing, blending it with diverse musical styles to create innovative and captivating sounds. Artists like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) have been at the forefront of this movement, using their expertise to explore the versatility of the banjo. Through their [banjo lessons online](https://artistworks.com/banjo-lessons) on platforms like ArtistWorks, they’re not only teaching aspiring musicians but also inspiring a new generation of banjo players to think outside the bluegrass box. LEARN MORE: [Click here to access FREE sample banjo lessons from bluegrass masters Tony Trischka, Noam Pikelny, and Alison Brown!](https://artistworks.com/#freelessons) Tony Trischka: Pioneering Banjo Fusion [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) is a visionary banjo player known for his pioneering work in blending bluegrass with jazz, classical, and even rock influences. With a career spanning over five decades, Trischka has consistently pushed the boundaries of banjo playing, earning him the title of “one of the most influential banjo players in the roots music world” by Billboard Magazine. In his [online banjo lessons](https://artistworks.com/banjo-lessons) at ArtistWorks, Trischka shares his wealth of knowledge, offering insights into his innovative techniques and approaches to banjo playing. From intricate melodic lines to unconventional chord voicings, Trischka encourages his students to experiment with different styles and genres, ultimately expanding the possibilities of the banjo. Noam Pikelny: Redefining Banjo Solo Performance [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) is another trailblazing banjo player who has made significant contributions to the evolution of the instrument. Best known for his work with the Punch Brothers, Pikelny is revered for his technical prowess and innovative solo performances. In his [online banjo course](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks, Pikelny delves into the intricacies of solo banjo playing, offering valuable lessons on technique, repertoire, and musical interpretation. While rooted in bluegrass tradition, Pikelny’s approach to the banjo transcends genre boundaries, incorporating elements of folk, jazz, and classical music. By exploring the nuances of tone, dynamics, and phrasing, Pikelny empowers his students to develop their own unique voice on the instrument, paving the way for new possibilities in banjo performance. Alison Brown: Bridging the Gap Between Bluegrass and Jazz [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) is a Grammy-winning banjo virtuoso who has earned acclaim for her innovative blend of bluegrass and jazz. As a former investment banker turned full-time musician, Brown brings a unique perspective to her playing, seamlessly fusing technical precision with artistic expression. In her [online banjo lessons](https://artistworks.com/banjo-lessons) at ArtistWorks, Brown shares her insights into improvisation, harmony, and rhythm, offering aspiring banjo players a glimpse into her creative process. By incorporating elements of jazz theory and technique into traditional bluegrass tunes, Brown encourages her students to expand their musical horizons and explore new avenues of expression on the banjo. Through her innovative approach, Brown is helping to bridge the gap between different musical styles, fostering a greater appreciation for the versatility of the banjo. The banjo has come a long way from its humble roots in Appalachian bluegrass music. Thanks to the pioneering efforts of artists like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), the banjo has evolved into a versatile instrument capable of spanning a wide range of musical genres. Through their online courses on platforms like ArtistWorks, these trailblazing musicians are inspiring a new generation of banjo players to push the boundaries of tradition and explore new creative possibilities. As the banjo continues to evolve and adapt, one thing is clear: its potential is limitless, limited only by the imagination of those who dare to innovate. READ MORE: [Advanced Fingerpicking Patterns for Banjo: Elevate Your Bluegrass Game](https://blog.artistworks.com/advanced-fingerpicking-patterns-bluegrass-banjo) [10 Advanced Banjo Techniques Every Bluegrass Musician Should Master](https://blog.artistworks.com/10-advanced-banjo-techniques) [Bluegrass Banjo Lesson: Tag Endings with Alison Brown](https://blog.artistworks.com/alison-brown-banjo-lesson-tag-endings) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar/) **Published:** March 27, 2024 **Author:** ArtistWorks **Excerpt:**

Mastering speed and precision on the guitar is a lifelong journey, especially for bluegrass guitarists. In the fast-paced world of bluegrass music, players need both lightning-fast fingers and impeccable accuracy to keep up with the genre's demanding rhythms and intricate melodies. While scales might seem like basic exercises, advanced scale exercises can significantly enhance a guitarist's technique, enabling them to play with greater speed, precision, and musicality. In this blog, we'll explore some advanced scale exercises tailored specifically for bluegrass guitarists looking to take their playing to the next level.

**Content:** ![]() Mastering speed and precision on the guitar is a lifelong journey, especially for bluegrass guitarists. In the fast-paced world of bluegrass music, players need both lightning-fast fingers and impeccable accuracy to keep up with the genre’s demanding rhythms and intricate melodies. While scales might seem like basic exercises, advanced scale exercises can significantly enhance a guitarist’s technique, enabling them to play with greater speed, precision, and musicality. In this blog, we’ll explore some advanced scale exercises tailored specifically for bluegrass guitarists looking to take their playing to the next level. Chromatic Runs: Chromatic runs are excellent for building speed and agility in your fingers. Start by ascending and descending chromatically across all six strings, using alternate picking technique. Focus on keeping your movements precise and even, gradually increasing your speed as you become more comfortable. Experiment with different rhythmic patterns to challenge yourself further. Three-Notes-Per-String Patterns: Three-notes-per-string patterns are great for improving fluidity and dexterity across the fretboard. Practice scales such as the major scale or the Mixolydian scale in this pattern, ensuring each note is cleanly articulated. Pay close attention to your picking hand, aiming for consistency in your picking motion. String Skipping: String skipping exercises are fantastic for developing both speed and accuracy while navigating the guitar fretboard. Start with simple patterns, skipping one or two strings at a time, and gradually increase the complexity as you progress. Focus on maintaining a relaxed hand position and minimizing excess movement. Sequenced Patterns: Sequenced patterns involve playing a series of notes in a specific sequence, then shifting that sequence up or down the scale. This exercise not only improves your technical proficiency but also enhances your understanding of the fretboard. Experiment with different sequences and scales to keep the exercise challenging and engaging. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) Mastering speed and precision on the guitar is essential for any aspiring bluegrass guitarist. Advanced scale exercises provide a structured approach to developing these crucial skills, enabling players to navigate the fretboard with confidence and finesse. Whether you’re a beginner looking to build a strong foundation or an experienced player seeking to refine your technique, incorporating these exercises into your practice routine can lead to significant improvements in your playing. For those interested in furthering their skills in bluegrass guitar, exploring dedicated courses such as those offered by [Bryan Sutton](https://www.artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://www.artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://www.artistworks.com/guitar-lessons-tyler-grant) can be immensely beneficial. These instructors provide comprehensive bluegrass guitar lessons, including flatpick guitar lessons, covering everything from fundamental techniques to advanced repertoire. By combining these resources with regular practice and dedication, you can unlock your full potential as a bluegrass guitarist and take your playing to new heights. So, dive into the world of guitar scales, embrace the challenges, and enjoy the journey of becoming a proficient bluegrass guitarist. Happy picking! READ MORE: [Mastering Fast-Paced Rhythm Techniques for Bluegrass Guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar) [Pickin’ Perfection: 7 Must-Know Bluegrass Standards for Flatpick Guitarists](https://blog.artistworks.com/7-must-know-bluegrass-standards-flatpick-guitarists) [4 New Tune Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Bass Guitar Lesson: Walking Bass Lines in Blues](https://blog.artistworks.com/bass-guitar-lesson-walking-bass-lines-blues/) **Published:** March 29, 2024 **Author:** ArtistWorks **Excerpt:**

In the intricate tapestry of blues and jazz music, there exists a rhythmic heartbeat that pulsates beneath the melodies and harmonies, guiding the listener through a mesmerizing journey of sound. This rhythmic foundation is none other than the enigmatic walking bass line—a fundamental element that gives blues and jazz its distinctive groove and swing.

**Content:** ![]() In the intricate tapestry of blues and jazz music, there exists a rhythmic heartbeat that pulsates beneath the melodies and harmonies, guiding the listener through a mesmerizing journey of sound. This rhythmic foundation is none other than the enigmatic walking bass line—a fundamental element that gives blues and jazz its distinctive groove and swing. But what exactly are walking bass lines? How do they function within the context of blues and jazz music? And what makes them so essential to the rich sonic tapestry of both genres? Let’s embark on a journey to unravel the mystery behind these captivating musical motifs. At its core, a walking bass line is a series of notes played on the lower register of an instrument in an ensemble, typically the double bass or the bass guitar. These notes move in a steady, flowing manner, often outlining the underlying chord progression of a song. Unlike static bass lines that simply repeat a single pattern, walking bass lines are dynamic and ever-evolving, adapting to the changing harmonies and rhythms of the music. The term “walking” aptly describes the fluid motion of these bass lines, as if the notes are taking a leisurely stroll through the musical landscape. Each step connects seamlessly to the next, creating a sense of continuity and forward motion. This rhythmic propulsion is what gives blues and jazz their distinctive sense of swing, inviting listeners to tap their feet and nod their heads in time with the music. In this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east), Grammy Award-winning bassist and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), introduces us to walking bass line techniques in the context of the blues genre. Nathan has employed these methods throughout his career in the studio and on the stage supporting legendary artists like Eric Clapton, Michael Jackson, Stevie Wonder, Herbie Hancock, Daft Punk, and more. LEARN MORE: [Want to learn how to play the bass guitar from a master musician like Nathan East? Try some free online bass lessons now!](https://go.artistworks.com/free-online-bass-lessons-nathan-east) “When I’m playing walking bass lines in the context of a blues, I’m almost always narrowing in on and following what the guitarist is playing,” Nathan explains. “As I’m walking, I pick up on what the guitar is doing to compliment what they’re playing, but also keep the energy and movement of the tune flowing.” Walking bass lines are more than just a rhythmic device—they’re also a form of musical expression. Skilled bassists use them to add depth, color, and texture to a performance, infusing each note with emotion and personality. Through subtle variations in timing, articulation, and phrasing, they can convey a wide range of moods and feelings, from joy and exuberance to introspection and melancholy. In the world of blues and jazz improvisation, walking bass lines serve as a dynamic canvas upon which other musicians can paint their musical ideas. Like a masterful chef preparing a sumptuous meal, the bassist lays down a flavorful foundation, allowing soloists to improvise and explore new harmonic territories with confidence and freedom. “As I’m walking, I’m constantly thinking about what types of lines will sound good in the higher register and which will sound better in the lower register,” explains Nathan. “In the higher octave, the instrument maybe speaks a bit more, but when walking in the lower register, the lines act as more of an anchor.” To learn more about walking bass lines and their associated techniques to begin implementing them into your blues playing, dive into this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east) from [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east): Walking Bass Lines in Blues with Nathan East: LEARN MORE: Have you always wanted to learn how to play the electric [bass](https://www.artistworks.com/bass-lessons) guitar? Through our comprehensive [bass lessons online](https://artistworks.com/rock-bass-lessons-nathan-east) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), and get personal feedback on your playing. Nathan’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, tunes, and grooves. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Slap Bass Guitar Lesson: Popping & Pull-Offs with Stu Hamm](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs) [Bluegrass Bass Lesson: Using the Number System with Missy Raines](https://blog.artistworks.com/bluegrass-bass-lesson-number-system) [Bass Guitar Lesson: An Introduction to 5-String Bass with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-5-string-bass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Guitar --- ### [Mastering Speed and Precision: Advanced Scale Exercises for Rock and Shred Guitarists](https://blog.artistworks.com/advanced-scale-exercises-rock-and-shred-guitarists/) **Published:** April 1, 2024 **Author:** ArtistWorks **Excerpt:**

For aspiring rock and shred guitarists, mastering speed and precision is essential to stand out in the music scene. Whether you're riffing like Slash or shredding like Steve Vai, honing your skills through targeted exercises is key. In this blog, we'll delve into advanced scale exercises tailored for rock and shred guitarists to elevate their playing to the next level.

**Content:** ![]() For aspiring rock and shred guitarists, mastering speed and precision is essential to stand out in the music scene. Whether you’re riffing like Slash or shredding like Steve Vai, honing your skills through targeted exercises is key. In this blog, we’ll delve into advanced scale exercises tailored for rock and shred guitarists to elevate their playing to the next level. [Rock Guitar Lessons](https://www.artistworks.com/guitar-lessons-paul-gilbert): Building the Foundation Rock guitar is characterized by its energetic rhythms, powerful chords, and memorable melodies. To excel in this genre, a solid foundation in guitar scales is indispensable. Whether you’re a beginner or an experienced player, revisiting fundamental scale exercises can enhance your technique and musicality. Pentatonic Scale Sequences: 1\. Practice ascending and descending sequences in various positions of the pentatonic scale. 2\. Incorporate hammer-ons, pull-offs, and slides for fluidity and expression. 3\. Experiment with different rhythmic patterns to develop versatility. Rock Guitar Lesson: Fast Descending Pentatonic Pattern with Paul Gilbert: Blues Scale Licks: 1\. Learn classic blues licks and incorporate them into your improvisations. 2\. Focus on bending techniques to add emotion and flair to your playing. 3\. Explore the interplay between major and minor pentatonic scales for dynamic solos. Guitar Scales for Shred Guitarists: Pushing the Limits Shred guitar pushes the boundaries of speed and technicality, requiring precision and dexterity. To keep up with the blistering pace of shred solos, practicing advanced scale exercises is crucial. Chromatic Scale Runs: 1\. Develop finger independence and speed by practicing chromatic scale runs across the fretboard. 2\. Gradually increase tempo while maintaining accuracy and control. 3\. Experiment with alternate picking and legato techniques for seamless transitions. Three-Note-Per-String Scales: 1\. Mastering three-note-per-string scales enhances speed and fluidity in shredding. 2\. Focus on synchronization between both hands to execute rapid sequences effortlessly. 3\. Incorporate string skipping and tapping techniques for added complexity. Rock Guitar Lesson: Three-Note-Per-String Major Scale with Paul Gilbert: Guitar Exercises for Speed and Precision: Putting It All Together To truly excel as a rock or shred guitarist, it’s essential to combine speed with precision. Incorporating the following exercises into your practice routine will help you achieve mastery over your instrument: Metronome Practice: 1\. Use a metronome to build speed gradually and maintain consistent timing. 2\. Start at a comfortable tempo and gradually increase the speed as you become more proficient. 3\. Focus on clean articulation and precise fretting throughout each exercise. String Skipping Drills: 1\. Improve fret-hand accuracy and picking precision by practicing string skipping exercises. 2\. Start with simple patterns and gradually increase the difficulty as you progress. 3\. Concentrate on maintaining an even tone and volume across all strings. Rock Guitar Lesson: String Skipping with Paul Gilbert: Elevate Your Guitar Skills with [Paul Gilbert’s Rock Guitar Course](https://www.artistworks.com/guitar-lessons-paul-gilbert) As you continue your journey to master speed and precision on the guitar, consider enrolling in [Paul Gilbert’s rock guitar course](https://www.artistworks.com/guitar-lessons-paul-gilbert) at ArtistWorks. With his unparalleled expertise and comprehensive curriculum, you’ll receive personalized instruction and valuable insights to take your playing to new heights. Whether you’re a beginner or an advanced guitarist, Paul Gilbert’s course offers the perfect blend of technique, theory, and creativity to help you achieve your musical goals. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) Incorporate these advanced scale exercises into your practice routine and witness the transformation in your playing. From blistering shred solos to soulful rock ballads, mastering speed and precision will set you apart as a formidable guitarist in the world of rock music. READ MORE: [Paul Gilbert Celebrates 14,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-14000-video-exchanges) [Guitar Lesson: Opening Up the Neck Using Triads with Guthrie Trapp](https://blog.artistworks.com/guitar-lesson-triads-guthrie-trapp) [Rock Guitar Lesson: Bending & Vibrato with Paul Gilbert](https://blog.artistworks.com/guitar-lesson-bending-vibrato-paul-gilbert) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing “Session Player Toolkit with Dave Isaacs”](https://blog.artistworks.com/new-course-session-player-toolkit-dave-isaacs/) **Published:** April 3, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in mid-May 2024, “Session Player Toolkit with Dave Isaacs.”

**Content:** ![]() We are excited to announce our newest course coming in mid-May 2024, “[Session Player Toolkit with Dave Isaacs](https://go.artistworks.com/guitar-lessons-dave-isaacs).” There’s no shortage of guitar teachers in Music City USA… They don’t call Nashville “Guitar Town” for nothing. But, Dave Isaacs has earned a reputation as one of the best: not simply a guitar and piano teacher but as a musical mentor to performing artists, songwriters, and working musicians as well as beginners, weekend warriors, and perpetual beginners. Dave’s approach to teaching develops not only guitar playing but the whole musician, building real skills, confidence, and musical knowledge. Dave published his first book The Perpetual Beginner: A Musician’s Path to Lifelong Learning in 2019. Publishers Weekly called it “a delightful blend of memoir and music instruction” and featured it as a spotlight new release. As a speaker and workshop leader, Dave offers creative people—and those who want to be more creative—with an inspiring and practical perspective on music, methodology, and motivation. Dave’s students have included hit songwriters, internationally touring performers and the next generation of Nashville’s rising stars. A dynamic performing artist himself, Dave has played in venues across the US from small clubs to festivals and concert halls. He’s jammed with Les Paul on a Manhattan nightclub stage, rocked in the mud at Yasgur’s Farm, harmonized in Greenwich Village folk clubs, and chicken-picked hot licks on Nashville’s Lower Broadway. His twelve independent album releases run a wide stylistic range, from eclectic singer-songwriter to swampy groove-blues, bright country-rock, Southern soul, and lyrical jazz and classical guitar. On the academic side, Dave is an award-winning graduate of New York’s venerable Manhattan School of Music, with a Master of Music degree in classical guitar performance. He was a full-time instructor of music and music technology at Tennessee State University from 2009-2013 and taught music theory and listening skills in the audio production program at the Art Institute of Tennessee-Nashville from 2008-2016. Through his [online guitar lessons](https://go.artistworks.com/guitar-lessons-dave-isaacs) at ArtistWorks, you’ll learn the ins and outs of Dave’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Dave has drawn from his extensive knowledge as a professional guitarist and seasoned educator to create a comprehensive course of [guitar lessons online](https://go.artistworks.com/guitar-lessons-dave-isaacs) designed to teach players everything they need to know to become a well-rounded session guitarist. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Dave and get an intimate look into his unique approach and style. Grow as a guitar player while simultaneously furthering yourself as a musician, and get direct guidance from Dave at every step of your musical journey. [Sign up now](https://go.artistworks.com/guitar-lessons-dave-isaacs) for news updates from Dave and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar) [Country Guitar Lesson: Advanced Rhythm Techniques with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-advanced-rhythm-techniques) [Bluegrass Guitar Lesson: Rhythm with Crosspicking with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-rhythm-crosspicking) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Volume 2: Darol's Jazz & Blues Compositions Music Book](https://blog.artistworks.com/volume-2-darols-jazz-blues-compositions-music-book/) **Published:** April 4, 2024 **Author:** ArtistWorks **Excerpt:**

Excited to be releasing Volume 2 of the Big Book of Darol Anger Tunes (That’s me!) with all the more Jazz-oriented compositions that I’ve written up to now. You can order a physical copy from my Bandcamp page. The book includes 16 Darol Anger originals spanning a time period from 1979 through 2023, with tunes recorded by the David Grisman Quintet, The Montreux Band, the Anger-Marshall Duo, the Turtle Island String Quartet, Comotion, The Republic Of Strings, Psychograss, and Mr Sun. There are a few relatively popular tunes included in this collection, including Key Signator, which has recently entered the repertoire of Billy Strings. Some of the tunes include my improvised solos on the changes of the tunes. A full score for my radical re-imagining of Deford Bailey’s Evening Prayer Blues also makes an appearance. I’m really happy with this collection, which contains some of my most catchy ditties. Melody, chords, counterlines, background info, all that stuff.
https://darolanger1.bandcamp.com/merch

**Content:** Excited to be releasing [Volume 2 of the Big Book of Darol Anger Tunes](https://darolanger1.bandcamp.com/merch) (That’s me!) with all the more Jazz-oriented compositions that I’ve written up to now. You can order a physical copy from my [Bandcamp page](https://darolanger1.bandcamp.com/merch). The book includes 16 Darol Anger originals spanning a time period from 1979 through 2023, with tunes recorded by the David Grisman Quintet, The Montreux Band, the Anger-Marshall Duo, the Turtle Island String Quartet, Comotion, The Republic Of Strings, Psychograss, and Mr Sun. There are a few relatively popular tunes included in this collection, including Key Signator, which has recently entered the repertoire of Billy Strings. Some of the tunes include my improvised solos on the changes of the tunes. A full score for my radical re-imagining of Deford Bailey’s Evening Prayer Blues also makes an appearance. I’m really happy with this collection, which contains some of my most catchy ditties. Melody, chords, counterlines, background info, all that stuff. https://darolanger1.bandcamp.com/merch ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Learn to Play "Blackberry Blossom"](https://blog.artistworks.com/fiddle-lesson-blackberry-blossom-alex-hargreaves/) **Published:** April 4, 2024 **Author:** ArtistWorks **Excerpt:**

"Blackberry Blossom" is a traditional fiddle tune that likely originated in the Appalachian region of the United States during the 19th century. The exact origins of the tune are somewhat unclear, as is common with many traditional folk tunes. However, it is believed to have evolved from a combination of Irish and Scottish musical influences brought over by settlers to the American South.

**Content:** ![]() “Blackberry Blossom” is a traditional fiddle tune that likely originated in the Appalachian region of the United States during the 19th century. The exact origins of the tune are somewhat unclear, as is common with many traditional folk tunes. However, it is believed to have evolved from a combination of Irish and Scottish musical influences brought over by settlers to the American South. The tune’s name possibly stems from the Appalachian tradition of naming tunes after local flora and fauna. Over time, “Blackberry Blossom” has become a staple in American folk, bluegrass, and old-time music repertoires, cherished for its lively melody and intricate fingerwork, making it a favorite among fiddlers and musicians alike. In this [online fiddle lesson](https://www.artistworks.com/fiddle-lessons), fiddle virtuoso, member of Billy Strings’ touring band, and ArtistWorks instructor, [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves), outlines how to play the classic fiddle tune “Blackberry Blossom” using a Georgia Shuffle feel. Alex provides a detailed overview of the melody to “Blackberry Blossom” in the key of G and illustrates the bowing pattern to properly execute the tune with a George Shuffle feel. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Alex Hargreaves? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) What is a Georgia Shuffle? The Georgia Shuffle feel is a distinctive rhythmic pattern commonly associated with blues and jazz music, particularly originating from the southern United States. It’s characterized by a syncopated groove with a laid-back swing, often featuring a subtle emphasis on the off-beats. This rhythmic style lends a relaxed yet driving feel to the music, creating a sense of groove and momentum. The Georgia Shuffle feel is typically executed by musicians through a combination of subtle accents, dynamic phrasing, and a precise sense of timing, resulting in a distinctive and infectious rhythm that is both smooth and captivating to listeners. ““Blackberry Blossom” is a perfect tune for which you can apply the Georgia Shuffle feel,” Alex explains. “This tune makes for a great real-world application of the Georgia Shuffle, and by mastering it in the context of “Blackberry Blossom,” you’ll be able to utilize the feel in the context of other tunes as well.” To learn how to play the classic fiddle tune, “Blackberry Blossom” using a Georgia Shuffle feel, dive into this [online fiddle lesson](https://www.artistworks.com/fiddle-lessons) from [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves): Learn to Play “Blackberry Blossom” with Alex Hargreaves: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://www.artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves), and get personal feedback on your playing. Alex’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation, and classic tunes in a variety of styles including bluegrass, jazz, swing, and Texas fiddle. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Fiddle with Alex Hargreaves” is Now Open!](https://blog.artistworks.com/fiddle-alex-hargreaves-now-open) [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023) [Fiddle Lesson: Learn to Play “Whiskey Before Breakfast” with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-whiskey-before-breakfast) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Beginner Lessons Just Added!](https://blog.artistworks.com/new-beginner-lessons-just-added/) **Published:** April 5, 2024 **Author:** ArtistWorks **Excerpt:**

Happy Friday to everyone in the ArtistWorks Ukulele community! We are very happy to announce the addition of a big batch of new lessons in the Beginner lesson department. In this new series, Sarah goes deep into Hawaiian Song Structure, covering many aspects along with suggestions on where and how to apply these ideas. These are all new VE categories you can submit to as well, and they're all supported with detailed PDFs to help you follow along. To find the new lessons, scroll down the lesson list towards the end of Beginner, or simply click on one of the links below to go directly to any of the lesson pages. Have a great weekend and enjoy!

Hawaiian Song Structure 1 - Hawaiian Vamps & Basic Song Structure

Hawaiian Song Structure 1 - Modulation

**Content:** ![]() Happy Friday to everyone in the ArtistWorks Ukulele community! We are very happy to announce the addition of a big batch of new lessons in the Beginner lesson department. In this new series, Sarah goes deep into Hawaiian Song Structure, covering many aspects along with suggestions on where and how to apply these ideas. These are all new VE categories you can submit to as well, and they’re all supported with detailed PDFs to help you follow along. To find the new lessons, scroll down the lesson list towards the end of Beginner, or simply click on one of the links below to go directly to any of the lesson pages. Have a great weekend and enjoy! [Hawaiian Song Structure 1 – Hawaiian Vamps & Basic Song Structure](https://my.artistworks.com/craig-sarah/learning/218385) [Hawaiian Song Structure 1 – Modulation](https://my.artistworks.com/craig-sarah/learning/218390) [Hawaiian Song Structure 2 – Hawaiian Vamps](https://my.artistworks.com/craig-sarah/learning/218386)![]() [Hawaiian Song Structure 2 – Chord Substitutions](https://my.artistworks.com/craig-sarah/learning/218391) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Innovative Strumming Patterns for the Modern Bluegrass Mandolin Player](https://blog.artistworks.com/strumming-patterns-bluegrass-mandolin/) **Published:** April 8, 2024 **Author:** ArtistWorks **Excerpt:**

As the rhythmic heartbeat of bluegrass music, the mandolin holds a special place in the hearts of musicians and enthusiasts alike. Beyond mastering mandolin chords and scales, exploring innovative strumming patterns can elevate your playing to new heights. In this guide, we'll delve into some exciting strumming techniques tailored for the modern bluegrass mandolin player.

**Content:** ![]() As the rhythmic heartbeat of bluegrass music, the mandolin holds a special place in the hearts of musicians and enthusiasts alike. Beyond mastering mandolin chords and scales, exploring innovative strumming patterns can elevate your playing to new heights. In this guide, we’ll delve into some exciting strumming techniques tailored for the modern bluegrass mandolin player. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall or Sierra Hull? Try some free online mandolin lessons now!](https://artistworks.com/#freelessons) Unlocking Mandolin Strumming Potential: Cross-Picking: One of the hallmark techniques of bluegrass mandolin, cross-picking involves alternating between strings while maintaining a steady rhythm. Practice exercises like “roll patterns” to develop precision and speed in your picking hand. Chop Chords: Emulating the percussive sound of a snare drum, chop chords add a rhythmic punch to your playing. Experiment with different chop patterns, incorporating rests and accents to create dynamic variations. Mike Marshall Mandolin Lessons – Bluegrass Chop Chords: Bluegrass Mandolin Lesson: Octave Mandolin Strumming & Chopping with Sierra Hull: Tremolo Flourishes: Infusing your melodies with tremolo adds depth and emotion to your playing. Focus on maintaining a smooth, consistent tremolo while varying the speed and intensity to suit the mood of the music. Mike Marshall Mandolin Lessons – Tremolos: Double Stops: Harnessing the power of two-note chords, double stops enrich your sound with harmonious depth. Explore different combinations of double stops within chord progressions, incorporating slides and bends for added flair. Syncopated Rhythms: Break away from traditional downbeat strumming patterns by introducing syncopation into your playing. Experiment with off-beat accents and syncopated rhythms to infuse your music with energy and drive. Mandolin Exercises for Mastery: Repetition is Key: Dedicate regular practice sessions to mastering each strumming pattern, focusing on precision and consistency. Slow it Down: Start at a comfortable tempo and gradually increase speed as you gain confidence and control over the technique. Record Yourself: Use audio or video recording to track your progress and identify areas for improvement. Jam with Others: Collaborating with fellow musicians exposes you to different playing styles and helps sharpen your improvisational skills. Stay Inspired: Draw inspiration from your favorite bluegrass artists and incorporate elements of their playing into your own style. Mastering mandolin strumming patterns is a journey that requires dedication, patience, and a willingness to experiment. Whether you’re a beginner or a seasoned player, honing your skills through targeted exercises and creative exploration will unlock new dimensions in your music. For those seeking comprehensive [mandolin lessons](https://www.artistworks.com/mandolin-lessons) and guidance, the online resources that we offer at ArtistWorks are invaluable. Renowned musicians like [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) and [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) provide expert instruction tailored to all skill levels, covering everything from mandolin chords to advanced techniques and beyond. Take advantage of these [online mandolin lessons](https://www.artistworks.com/mandolin-lessons) to enhance your playing and embark on a rewarding musical journey. Embrace the rich tradition of bluegrass music while carving out your unique voice as a modern mandolin player. With perseverance and passion, the possibilities are limitless. READ MORE: [Exploring the Roots of Bluegrass: A Deep Dive into Historical Mandolin Styles](https://blog.artistworks.com/bluegrass-historical-mandolin-styles) [The Ultimate Guide to Building Speed on the Mandolin for Bluegrass Players](https://blog.artistworks.com/ultimate-guide-building-speed-mandolin-bluegrass-players) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mastering Ukulele Chords: Essential Rhythm Exercises & Techniques](https://blog.artistworks.com/mastering-ukulele-chords/) **Published:** April 9, 2024 **Author:** ArtistWorks **Excerpt:**

Are you eager to elevate your ukulele skills? Whether you're a beginner or an experienced player, mastering ukulele chords is crucial for unlocking the full potential of this delightful instrument. In this comprehensive guide, we'll delve into essential rhythm exercises and techniques that will help you become a proficient ukulele player. Whether you're strumming along to your favorite tunes or composing your own melodies, these tips will enhance your playing prowess.

**Content:** ![]() Are you eager to elevate your ukulele skills? Whether you’re a beginner or an experienced player, mastering ukulele chords is crucial for unlocking the full potential of this delightful instrument. In this comprehensive guide, we’ll delve into essential rhythm exercises and techniques that will help you become a proficient ukulele player. Whether you’re strumming along to your favorite tunes or composing your own melodies, these tips will enhance your playing prowess. LEARN MORE: [Want to learn how to play the ukulele from master musicians like Craig Chee and Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) Understanding Ukulele Chords Before we dive into the rhythm exercises, let’s ensure we’re on the same page about ukulele chords. Chords are the building blocks of music, comprising a combination of notes played simultaneously. In ukulele playing, chords are formed by pressing down on the strings at specific frets to produce different harmonic sounds. Familiarizing yourself with chord shapes and transitions is fundamental to becoming proficient in ukulele playing. Rhythm Exercises for Ukulele Chords Strumming Patterns: Mastering various strumming patterns is key to adding rhythm and dynamics to your ukulele playing. Start with simple patterns and gradually progress to more complex ones. Experiment with different combinations of upstrokes and downstrokes to find your unique style. Ukulele Lesson: An Introduction to Basic Strumming with Craig Chee: Metronome Practice: Utilize a metronome to improve your timing and rhythm. Start by practicing basic chord changes in sync with the metronome beats. Gradually increase the tempo as you become more comfortable, challenging yourself to maintain precision and accuracy. Chord Progressions: Practice transitioning smoothly between different chords. Start with common chord progressions such as C-F-G or Am-Dm-G-C, focusing on seamless transitions and maintaining consistent strumming patterns. Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee: Fingerpicking Exercises: Explore fingerpicking techniques to add texture and complexity to your playing. Practice plucking individual strings within chord shapes, gradually increasing speed and dexterity. Ukulele Lesson: Basic Picking Technique with Craig Chee Techniques for Mastering Ukulele Chords Barre Chords: Barre chords involve using one finger to press down multiple strings across the fretboard. Mastering barre chords expands your chord vocabulary and allows you to play chords in different positions on the neck. Chord Inversions: Experiment with chord inversions to create richer harmonies and smoother transitions between chords. By rearranging the order of notes within a chord, you can achieve unique voicings and enhance your musical arrangements. Dynamic Strumming: Explore dynamic strumming techniques such as accenting certain beats, palm muting, and percussive strumming. Varying the intensity and articulation of your strumming adds depth and emotion to your playing. Listening and Mimicking: Take inspiration from your favorite ukulele players and songs. Listen attentively to their playing style and try to replicate their techniques. Analyze chord progressions and rhythm patterns to broaden your musical repertoire. Elevate Your Ukulele Skills with Online Lessons In conclusion, mastering ukulele chords requires dedication, practice, and a willingness to explore new techniques. Whether you’re honing your strumming skills or delving into fingerpicking intricacies, consistency is key to progress. To further enhance your learning journey, consider enrolling in [online ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah). One exceptional resource for online ukulele instruction is the course offered by [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) at ArtistWorks. With their expert guidance and comprehensive curriculum, you’ll gain valuable insights into chord theory, rhythm techniques, and much more. Embrace the opportunity to learn from seasoned professionals and take your ukulele playing to new heights. Remember, mastering ukulele chords is a rewarding journey that requires patience and perseverance. So, pick up your ukulele, embark on your musical adventure, and let the rhythmic melodies flow. Happy strumming! READ MORE: [Ukulele Lesson: An Introduction to Basic Strumming with Craig & Sarah](https://blog.artistworks.com/ukulele-lesson-basic-strumming) [Ukulele Lesson: An Introduction to Chord Melody with Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-chord-melody) [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Upright Bass Lesson: Walking Bass Lines Over Altered Chords](https://blog.artistworks.com/bass-lesson-walking-bass-lines-altered-chords/) **Published:** April 12, 2024 **Author:** ArtistWorks **Excerpt:**

Walking bass lines are a fundamental aspect of jazz and blues music, often performed by upright bass players. These lines provide a rhythmic and melodic foundation, guiding the harmonic progression of a piece while maintaining a steady groove. Upright bass, also known as double bass or contrabass, is particularly renowned for its rich and resonant tones, making it an ideal instrument for crafting intricate walking bass patterns.

**Content:** ![]() Walking bass lines are a fundamental aspect of jazz and blues music, often performed by upright bass players. These lines provide a rhythmic and melodic foundation, guiding the harmonic progression of a piece while maintaining a steady groove. Upright bass, also known as double bass or contrabass, is particularly renowned for its rich and resonant tones, making it an ideal instrument for crafting intricate walking bass patterns. Whether in a small ensemble or a big band setting, the upright bass player’s role in generating walking bass lines is crucial for establishing the rhythmic pulse and harmonic structure of the music, ensuring a cohesive and dynamic performance. In this [online bass lesson](https://artistworks.com/jazz-bass-lessons-john-patitucci), Grammy Award-winning bassist and ArtistWorks jazz instructor, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci), introduces us to the concept of altered chords, explains what they are and what makes a chord “altered,” and outlines how to navigate them when crafting a walking bass line or improvising. LEARN MORE: [Want to learn how to play the bass guitar from a master musician like John Patitucci? Sign up for John’s course today for just $29!](https://artistworks.com/jazz-bass-lessons-john-patitucci) Altered chords play a pivotal role in the harmonic language of jazz music, adding depth and complexity to chord progressions. These chords are characterized by the inclusion of one or more altered tones, such as sharpened or flattened fifths, ninths, elevenths, or thirteenths. By introducing these tensions, altered chords create tension and dissonance, which can be resolved in a variety of ways, adding intrigue and color to the music. In jazz improvisation, musicians often utilize altered chords to inject harmonic interest and create a sense of tension and release within their solos. Whether subtly weaving them into a chord progression or boldly highlighting their dissonant qualities, altered chords are a hallmark of the sophisticated and expressive language of jazz music. “One of the most difficult things about crafting a walking bass line over altered chords is deciding how to address the harmonic alteration while still keeping the line foundational and grounded for the rest of the ensemble,” explains John. “In this lesson, we’ll be focusing on techniques to accomplish this successfully. It can be done, and will ultimately become second nature.” To learn more about altered chords and how to navigate them when crafting a walking bass line and improvising, dive into this [online bass lesson](https://artistworks.com/jazz-bass-lessons-john-patitucci) from [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci): Walking Bass Lines Over Altered Chords with John Patitucci: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bass Guitar Lesson: Walking Bass Lines in Blues with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-walking-bass-lines-blues) [Slap Bass Guitar Lesson: Popping & Pull-Offs with Stu Hamm](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs) [Bluegrass Bass Lesson: Using the Number System with Missy Raines](https://blog.artistworks.com/bluegrass-bass-lesson-number-system) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Rhythms of the Breath Vol.2 OUT NOW](https://blog.artistworks.com/rhythms-breath-vol2-out-now/) **Published:** April 15, 2024 **Author:** ArtistWorks **Excerpt:**

After more than a year of painstaking work, Vol.2 of the revolutionary "Rhythms of the Breath" series is now available worldwide.

**Content:** ![]() After more than a year of painstaking work, **[Vol.2 of the revolutionary “Rhythms of the Breath”](http://levyland.com/book-rhythms-of-the-breath)** series is now available worldwide. For those not familiar with the concept, I have applied Right and Left hand drumming patterns to Blow and Draw harmonica breathing patterns, creating the first harmonica books that systematically organize single-note Rhythmic Breathing Rudiments. These books not only bring my own playing up to a new level but also revolutionize the way harmonica players approach the instrument. In this follow up book, I delve deeper, exploring more Rhythmic Breathing Rudiments- fascinating, captivating and cool-sounding, full of mind-bending challenges yet fun at the same time. Any harmonica player will benefit hugely from them. Rhythms of the Breath Vol.1 made a big impact on the harmonica community through its innovative exercises and its exciting new approach to the instrument. This seminal work has catalyzed a paradigm shift in practicing and playing the harp. In my follow-up book, [**Rhythms of the Breath Vol.2**](https://levyland.com/book-rhythms-of-the-breath), I delve deeper, exploring more Rhythmic Breathing Rudiments- fascinating, captivating and cool-sounding, full of mind-bending challenges yet fun at the same time. I take you step-by-step through a comprehensive collection of over 140 exercises and tunes, with lots of helpful (sometimes humorous) advice and detailed explanations, as well as several added features that make everything more complete and accessible: - 140+ exercises and tunes meticulously crafted to enhance your skills. - Free downloads of 140+ MIDI tracks for all exercises and tunes using a piano sound, that allows you to listen and/or play along clearly; 40+ exercises and tunes played by Howard on harmonica. - 3 levels of exercises catering to all skill levels: Basic, Intermediate (with bends), and Advanced (with bends, overblows/overdraws). - Enhanced harmonica tabs and musical notation. - Exercises are written for diatonic harmonica in C (may be played on other key harmonicas as well). For those ready to expand their horizons, intermediate and advanced level exercises await, pushing the boundaries of what’s possible on the harmonica. Even if you’re new to bending or overblowing, my engaging exercises will inspire you to learn and grow. Join me on this transformative journey, filled with “lightbulb moments” that will lift your playing to new levels. Whether you’re a blues enthusiast, a rocker, or a jazz aficionado, this book is a ticket to harmonica excellence. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists/) **Published:** April 15, 2024 **Author:** ArtistWorks **Excerpt:**

Are you ready to elevate your guitar game to the next level? Whether you're a seasoned rocker or a blues enthusiast just starting out, the right effects pedals can transform your sound from ordinary to extraordinary. In this guide, we'll explore five essential effects that every rock and blues guitarist should have in their arsenal. From adding depth and dimension to your solos to creating lush, atmospheric textures, these pedals will take your playing to new heights.

**Content:** ![]() Are you ready to elevate your guitar game to the next level? Whether you’re a seasoned rocker or a blues enthusiast just starting out, the right effects pedals can transform your sound from ordinary to extraordinary. In this guide, we’ll explore five essential effects that every rock and blues guitarist should have in their arsenal. From adding depth and dimension to your solos to creating lush, atmospheric textures, these pedals will take your playing to new heights. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) 1\. Overdrive/Distortion No rock or blues guitarist’s toolkit is complete without a quality overdrive or distortion pedal. From crunchy rhythm tones to screaming lead solos, this pedal adds grit and aggression to your sound. Whether you’re emulating the raw power of blues legends like B.B. King or channeling the blistering solos of rock icons like Jimi Hendrix, an overdrive/distortion pedal is essential for capturing that classic tone. 2\. Delay Want to add depth and atmosphere to your guitar solos? Look no further than a delay pedal. By repeating and echoing your notes at varying intervals, delay pedals create lush, expansive sounds that can transport your audience to another dimension. Whether you’re playing haunting blues ballads or epic rock anthems, a delay pedal adds a new dimension to your sound. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) 3\. Reverb For that unmistakable sense of space and ambiance, a reverb pedal is a must-have for any guitarist. Whether you’re playing in a small club or a massive arena, reverb adds richness and depth to your tone, giving your sound a sense of depth and dimension. From subtle room ambience to cavernous cathedral-like reverbs, this pedal adds a touch of magic to your playing. 4\. Wah-Wah Few effects are as iconic or expressive as the wah-wah pedal. Made famous by guitarists like Jimi Hendrix and Eric Clapton, this pedal adds a vocal-like quality to your playing, allowing you to shape your tone with the movement of your foot. Whether you’re adding funky rhythm accents or wailing guitar solos, a wah-wah pedal is essential for adding personality and flair to your sound. 5\. Chorus Looking to add shimmer and sparkle to your clean tones? A chorus pedal is the perfect choice. By modulating your guitar signal and creating subtle pitch variations, chorus pedals add warmth and depth to your sound, giving your guitar tones a lush, ethereal quality. Whether you’re playing clean arpeggios or jangly rhythm parts, a chorus pedal adds a touch of magic to your sound. Mastering the art of rock and blues guitar requires more than just technical skill – it’s about capturing the essence of the music and expressing yourself in a way that resonates with your audience. By adding these five essential effects pedals to your rig, you can unlock a world of sonic possibilities and take your playing to new heights. And for those looking to dive even deeper into the world of rock and blues guitar, consider checking out our [online guitar lessons](https://www.artistworks.com/guitar-lessons) from legendary guitarists like [Paul Gilbert](https://www.artistworks.com/guitar-lessons-paul-gilbert) and [Jared James Nichols](https://www.artistworks.com/guitar-lessons-jared-james-nichols) at ArtistWorks. With their expert guidance and personalized feedback, you can take your skills to the next level and unleash your full potential as a guitarist. So what are you waiting for? Transform your guitar sound today and unleash your inner rock or blues god with these essential effects pedals. Your audience will thank you for it. READ MORE: [Mastering Speed and Precision: Advanced Scale Exercises for Rock and Shred Guitarists](https://blog.artistworks.com/advanced-scale-exercises-rock-and-shred-guitarists) [Blues Guitar Lesson: 12-Bar Blues Turnarounds & Endings with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-blues-turnarounds) [Blues Rock Guitar Lesson: Phrasing with Jared James Nichols](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The Banjo Player’s Roadmap to Mastering Traditional Bluegrass Rhythms](https://blog.artistworks.com/banjo-roadmap-traditional-bluegrass-rhythms/) **Published:** April 18, 2024 **Author:** ArtistWorks **Excerpt:**

In the heart of bluegrass music, the banjo reigns supreme as the rhythmic backbone, infusing soulful melodies with its distinct twang. For aspiring banjo enthusiasts, navigating the intricate landscape of traditional bluegrass rhythms can seem daunting. Fear not, for we've crafted the ultimate guide tailored to banjo players eager to master these timeless rhythms.

**Content:** ![]() In the heart of bluegrass music, the banjo reigns supreme as the rhythmic backbone, infusing soulful melodies with its distinct twang. For aspiring banjo enthusiasts, navigating the intricate landscape of traditional bluegrass rhythms can seem daunting. Fear not, for we’ve crafted the ultimate guide tailored to banjo players eager to master these timeless rhythms. Unveiling Bluegrass Banjo Mastery: A Step-by-Step Guide Understanding the Essence of Bluegrass Rhythms Before diving into intricate picking patterns, it’s crucial to grasp the essence of bluegrass rhythms. At its core, bluegrass music thrives on driving, syncopated rhythms that propel the melody forward. Embrace the heartbeat of the genre and familiarize yourself with its distinctive pulse. Essential Banjo Techniques for Bluegrass Mastery 1\. Scruggs Style Picking: Named after the legendary Earl Scruggs, this iconic picking style forms the cornerstone of bluegrass banjo. Mastering the three-finger roll technique is paramount, enabling you to create intricate, lightning-fast melodies. 2\. Roll Patterns: Dive deep into roll patterns, the building blocks of bluegrass banjo. From the timeless forward roll to the intricate Foggy Mountain Breakdown, each pattern adds a layer of complexity and richness to your playing. Banjo Tips from Tony Trischka: Foggy Mountain Breakdown Roll: Bluegrass Banjo Lesson: The Alternating Roll with Alison Brown: 3\. Timing and Groove: Bluegrass rhythms thrive on impeccable timing and groove. Practice with a metronome to hone your sense of timing, ensuring your playing remains tight and cohesive. Banjo Lessons: Your Gateway to Bluegrass Mastery Embarking on your journey to master traditional bluegrass rhythms is made infinitely easier with the guidance of expert banjo lessons. Whether you’re a beginner or seasoned player, investing in quality banjo lessons can fast-track your progress and unlock new levels of proficiency. Connecting with [ArtistWorks Banjo Courses](https://artistworks.com/banjo-lessons) In the realm of online banjo instruction, ArtistWorks stands out as a beacon of excellence, offering comprehensive banjo courses led by acclaimed virtuosos. Dive into the world of bluegrass banjo with courses curated by Tony Trischka, Noam Pikelny, and Alison Brown. 1\. [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)‘s Banjo Lessons: Delve into the rich tapestry of bluegrass banjo with Tony Trischka, a pioneer of modern banjo playing. From foundational techniques to advanced improvisation, Tony’s lessons provide invaluable insights for banjo players of all levels. 2\. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny)‘s Bluegrass Banjo Course: Explore the intricacies of traditional bluegrass rhythms with Grammy-nominated banjo maestro Noam Pikelny. With a focus on musicality and expression, Noam’s course offers a holistic approach to mastering the nuances of bluegrass banjo. 3\. [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown)‘s Banjo Workshop: Join Grammy-winning banjo virtuoso Alison Brown on a journey through the realms of bluegrass and beyond. Alison’s unique perspective and innovative approach to banjo playing open new doors for aspiring musicians, inspiring creativity and exploration. LEARN MORE: [Click here to access FREE sample banjo lessons from bluegrass masters Tony Trischka, Noam Pikelny, and Alison Brown!](https://artistworks.com/#freelessons) Embrace the Journey to Bluegrass Banjo Mastery Mastering traditional bluegrass rhythms is a rewarding endeavor that requires dedication, patience, and a thirst for musical exploration. With the right guidance and resources at your disposal, the journey becomes not only achievable but immensely fulfilling. As you embark on your quest for banjo mastery, remember the wealth of knowledge and expertise awaiting you in the ArtistWorks banjo courses. Whether you’re seeking to refine your technique, expand your repertoire, or unlock new creative avenues, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) are poised to guide you every step of the way. So, pick up your banjo, tune into the rhythmic pulse of bluegrass, and embark on a musical odyssey unlike any other. The journey to bluegrass banjo mastery awaits – are you ready to take the first step? READ MORE: [Banjo Innovations: Blending Bluegrass with Other Musical Styles](https://blog.artistworks.com/banjo-innovations-blending-bluegrass-other-musical-styles) [Advanced Fingerpicking Patterns for Banjo: Elevate Your Bluegrass Game](https://blog.artistworks.com/advanced-fingerpicking-patterns-bluegrass-banjo) [10 Advanced Banjo Techniques Every Bluegrass Musician Should Master](https://blog.artistworks.com/10-advanced-banjo-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar/) **Published:** April 23, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass guitar is a unique blend of tradition and innovation, where players harness the rich harmonic possibilities of the instrument while staying true to its roots. For those seeking to elevate their bluegrass guitar playing to the next level, mastering advanced harmonic concepts is essential. In this article, we'll delve into some sophisticated techniques and approaches that will enhance your understanding and performance of bluegrass guitar.

**Content:** ![]() Bluegrass guitar is a unique blend of tradition and innovation, where players harness the rich harmonic possibilities of the instrument while staying true to its roots. For those seeking to elevate their bluegrass guitar playing to the next level, mastering advanced harmonic concepts is essential. In this article, we’ll delve into some sophisticated techniques and approaches that will enhance your understanding and performance of bluegrass guitar. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) Understanding Advanced Harmonic Concepts: 1\. Chord Substitutions: One of the hallmarks of advanced harmonic concepts is the ability to substitute chords within a progression while maintaining its essence. Experiment with substituting chords within common bluegrass progressions to add depth and color to your playing. 2\. Extended Chords: Beyond the basic triads, incorporating extended chords such as seventh, ninth, and thirteenth chords can enrich your harmonies and create a more dynamic sound palette. Explore how these extended chords can be integrated into bluegrass chord progressions to create tension and release. 3\. Modal Interchange: Modal interchange involves borrowing chords from parallel scales or modes to introduce unexpected harmonic flavors. Experiment with incorporating chords from related modes into your bluegrass arrangements to add complexity and interest. 4\. Voice Leading: Paying attention to the smooth movement of individual voices within chord progressions can greatly enhance the harmonic flow of your playing. Practice incorporating voice-leading principles into your arrangements to create seamless transitions between chords. Implementing Advanced Harmonic Concepts in Bluegrass Guitar: Now that we’ve explored these advanced harmonic concepts, it’s time to put them into practice. Here are some practical tips for integrating these techniques into your bluegrass guitar playing: 1\. Start by analyzing your favorite bluegrass songs and identifying opportunities to apply chord substitutions, extended chords, modal interchange, and voice leading. 2\. Experiment with incorporating these advanced harmonic concepts into your improvisations and solos to add depth and complexity to your playing. 3\. Practice playing through chord progressions using different inversions and voicings to explore the full harmonic potential of the guitar. Mastering advanced harmonic concepts is a journey that requires dedication, practice, and a willingness to explore new possibilities. By incorporating chord substitutions, extended chords, modal interchange, and voice leading into your bluegrass guitar playing, you can unlock a world of harmonic richness and creativity. For those looking to deepen their understanding of bluegrass guitar and explore these advanced concepts further, [online guitar lessons](https://www.artistworks.com/guitar-lessons) can be a valuable resource. Artists like [Bryan Sutton](https://www.artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://www.artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://www.artistworks.com/guitar-lessons-tyler-grant) offer comprehensive bluegrass guitar courses on our platform here at ArtistWorks, providing in-depth instruction and personalized feedback to help you reach your full potential as a bluegrass guitarist. So, pick up your flatpick guitar, dive into the world of advanced harmonic concepts, and let your creativity soar on the fretboard! READ MORE: [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar) [Mastering Fast-Paced Rhythm Techniques for Bluegrass Guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar) [Pickin’ Perfection: 7 Must-Know Bluegrass Standards for Flatpick Guitarists](https://blog.artistworks.com/7-must-know-bluegrass-standards-flatpick-guitarists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn/) **Published:** April 26, 2024 **Author:** ArtistWorks **Excerpt:**

Are you an aspiring jazz guitarist looking to enhance your skills and repertoire? Look no further! In this blog post, we'll delve into 10 iconic jazz guitar solos that every player should learn. Whether you're a beginner or an experienced musician, these solos offer a wealth of inspiration, technique, and musicality. Let's dive in and explore the world of jazz guitar!

**Content:** ![]() Are you an aspiring jazz guitarist looking to enhance your skills and repertoire? Look no further! In this blog post, we’ll delve into 10 iconic jazz guitar solos that every player should learn. Whether you’re a beginner or an experienced musician, these solos offer a wealth of inspiration, technique, and musicality. Let’s dive in and explore the world of jazz guitar! LEARN MORE: [Have you always wanted to learn how to play jazz guitar? Click here to access FREE sample online jazz guitar lessons from world-renowned musicians Dave Stryker, Chuck Loeb, and Martin Taylor!](https://artistworks.com/#freelessons) “Blue in Green” – Miles Davis (Performed by Wes Montgomery) This hauntingly beautiful ballad features a mesmerizing solo by jazz guitar legend Wes Montgomery. Montgomery’s phrasing, tone, and melodic sensibility make this solo a must-learn for any jazz guitarist. “All Blues” – Miles Davis (Performed by Grant Green) Grant Green’s solo on “All Blues” is a masterclass in bluesy improvisation. His soulful playing and impeccable timing showcase the essence of jazz guitar soloing. “Autumn Leaves” – Joseph Kosma (Performed by Joe Pass) Joe Pass’s rendition of “Autumn Leaves” is a textbook example of solo guitar mastery. His chordal approach, walking bass lines, and inventive improvisation make this solo essential for aspiring jazz guitarists. “Four on Six” – Wes Montgomery “Four on Six” is a quintessential jazz guitar piece composed and performed by the legendary Wes Montgomery. His use of octaves, single-note lines, and rhythmic creativity are a testament to his innovative style. “Stella by Starlight” – Victor Young (Performed by Tal Farlow) Tal Farlow’s solo on “Stella by Starlight” is a shining example of lyrical expression and harmonic sophistication. His fluid technique and harmonic adventurousness make this solo a challenging yet rewarding endeavor. “Oleo” – Sonny Rollins (Performed by Pat Martino) Pat Martino’s blistering solo on “Oleo” showcases his incredible technical prowess and improvisational fluency. His lightning-fast lines and rhythmic precision are a testament to his virtuosity as a jazz guitarist. “Giant Steps” – John Coltrane (Performed by Kenny Burrell) Kenny Burrell’s interpretation of “Giant Steps” demonstrates his mastery of bebop vocabulary and harmonic complexity. His tasteful phrasing and melodic invention make this solo a valuable study for jazz guitarists. “Confirmation” – Charlie Parker (Performed by Barney Kessel) Barney Kessel’s solo on “Confirmation” exemplifies his bebop sensibility and improvisational brilliance. His fluid lines and bebop language showcase the essence of jazz guitar soloing in a classic bebop setting. “My Favorite Things” – Rodgers and Hammerstein (Performed by John McLaughlin) John McLaughlin’s solo on “My Favorite Things” is a tour de force of modal improvisation and rhythmic intensity. His fusion of Indian influences with jazz guitar language creates a unique and captivating solo. “In a Sentimental Mood” – Duke Ellington (Performed by George Benson) George Benson’s rendition of “In a Sentimental Mood” is a masterclass in lyrical expression and emotional depth. His smooth phrasing, rich tone, and impeccable sense of timing make this solo a timeless gem. Transcribing these solos is an invaluable practice for any jazz guitarist. By analyzing and learning from the techniques and concepts employed by these masters, you’ll deepen your understanding of jazz guitar and develop your own unique voice as a player. If you’re looking for further guidance in your jazz guitar journey, consider exploring jazz [guitar lessons](https://artistworks.com/guitar-lessons) offered by renowned musicians like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), [Chuck Loeb](https://artistworks.com/guitar-lessons-chuck-loeb), and [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) at ArtistWorks. Their comprehensive courses cover a wide range of topics, from fundamental techniques to advanced improvisation, providing invaluable insights and inspiration for aspiring jazz guitarists. In conclusion, learning these 10 jazz guitar solos will not only enhance your skills as a player but also enrich your understanding of the rich tradition and language of jazz guitar. So grab your guitar, dive into these solos, and let the journey begin! READ MORE: [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) [New Course: Announcing “Session Player Toolkit with Dave Isaacs”](https://blog.artistworks.com/new-course-session-player-toolkit-dave-isaacs) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos/) **Published:** April 29, 2024 **Author:** ArtistWorks **Excerpt:**

Rock music and electric guitar solos are synonymous with each other. From iconic riffs to blazing solos, the guitar has been the driving force behind some of the greatest rock anthems of all time. For intermediate guitarists looking to elevate their skills and expand their repertoire, mastering classic rock solos is essential. In this blog post, we'll delve into 10 rock solos that every intermediate guitarist should learn to sharpen their techniques and add flair to their playing.

**Content:** ![]() Rock music and electric guitar solos are synonymous with each other. From iconic riffs to blazing solos, the guitar has been the driving force behind some of the greatest rock anthems of all time. For intermediate guitarists looking to elevate their skills and expand their repertoire, mastering classic rock solos is essential. In this blog post, we’ll delve into 10 rock solos that every intermediate guitarist should learn to sharpen their techniques and add flair to their playing. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “Sweet Child O’ Mine” by Guns N’ Roses: Kicking off our list is Slash’s legendary solo from “Sweet Child O’ Mine.” This solo is a masterclass in melodic phrasing and control, featuring both fast runs and emotive bends. Learning this solo will improve your dexterity and sense of timing, making it a must for any aspiring rock guitarist. “Hotel California” by Eagles: Joe Walsh and Don Felder’s dual guitar solo in “Hotel California” is iconic. This solo is a great exercise in harmonizing and blending two guitar parts seamlessly. It also teaches valuable skills in playing with feeling and expression, essential for any rock guitarist. “Stairway to Heaven” by Led Zeppelin: Jimmy Page’s solo in “Stairway to Heaven” is a rite of passage for guitarists. Known for its intricate fingerpicking and dynamic shifts, this solo will challenge your finger coordination and control. Mastering this piece will elevate your playing to new heights. “Comfortably Numb” by Pink Floyd: David Gilmour’s emotive solo in “Comfortably Numb” is a showcase of tone and phrasing. Learning this solo will improve your bending technique and teach you how to convey emotion through your playing. It’s a timeless piece that every guitarist should have in their repertoire. “Highway Star” by Deep Purple: Ritchie Blackmore’s solo in “Highway Star” is a high-energy tour de force. Known for its blazing speed and intricate runs, this solo will push your technical abilities to the limit. It’s a great exercise in alternate picking and string skipping, essential for any rock guitarist. LEARN MORE: [Want to learn blues and rock guitar techniques from a true master of the instrument like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “Sultans of Swing” by Dire Straits: Mark Knopfler’s solo in “Sultans of Swing” is a lesson in tastefulness and restraint. Known for its fingerstyle picking and melodic sensibility, this solo will improve your finger dexterity and ear for melody. It’s a must-learn for any guitarist interested in classic rock. “November Rain” by Guns N’ Roses: Another classic from Slash, the solo in “November Rain” is epic in every sense of the word. Featuring sweeping arpeggios and soulful bends, this solo will teach you how to build tension and release in your playing. It’s a challenging piece but well worth the effort. “Whole Lotta Love” by Led Zeppelin: Jimmy Page’s riff-heavy solo in “Whole Lotta Love” is a staple of classic rock. Known for its raw energy and bluesy licks, this solo will improve your sense of groove and timing. It’s a great exercise in playing with attitude and swagger. “Crazy Train” by Ozzy Osbourne: Randy Rhoads’ solo in “Crazy Train” is a shred masterpiece. Featuring lightning-fast runs and virtuosic techniques, this solo will push your speed and precision to the limit. It’s a challenging piece but incredibly rewarding to master. “Enter Sandman” by Metallica: Kirk Hammett’s solo in “Enter Sandman” is a lesson in metal riffing and soloing. Known for its aggressive tone and fast-paced runs, this solo will improve your palm muting and downpicking technique. It’s a must-learn for any aspiring metal guitarist. Mastering these 10 rock solos will not only expand your repertoire but also sharpen your skills as a guitarist. From iconic riffs to blazing solos, each piece offers valuable lessons in technique, expression, and musicality. And for those seeking further guidance, online guitar lessons from renowned instructors like Paul Gilbert and Jared James Nichols at ArtistWorks offer comprehensive courses tailored to rock guitarists of all levels. So, whether you’re looking to improve your electric guitar skills or dive deeper into the world of rock guitar, these courses provide the perfect opportunity to take your playing to the next level. Start your journey today and unleash your inner rock star! READ MORE: [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) [Mastering Speed and Precision: Advanced Scale Exercises for Rock and Shred Guitarists](https://blog.artistworks.com/advanced-scale-exercises-rock-and-shred-guitarists) [Blues Rock Guitar Lesson: Phrasing with Jared James Nichols](https://blog.artistworks.com/jared-james-nichols-guitar-lesson-phrasing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Resophonic Guitar Lesson: Building a Solo](https://blog.artistworks.com/resophonic-guitar-lesson-building-a-solo/) **Published:** April 30, 2024 **Author:** ArtistWorks **Excerpt:**

Dynamism in musical improvisation is crucial for keeping the audience engaged and creating a sense of excitement and spontaneity. It allows the musician to explore different textures, tempos, and intensities, adding depth and variety to the performance.

**Content:** ![]() Dynamism in musical improvisation is crucial for keeping the audience engaged and creating a sense of excitement and spontaneity. It allows the musician to explore different textures, tempos, and intensities, adding depth and variety to the performance. Moreover, telling a story through a solo adds emotional resonance and connects the listener on a deeper level. Just like a well-crafted narrative, a solo should have a clear beginning, middle, and end, with each phrase contributing to the overall arc. By weaving together melodic motifs and rhythmic patterns, musicians can convey emotions, build tension, and ultimately deliver a memorable and compelling musical journey. In this [online dobro lesson](https://www.artistworks.com/dobro-lessons-andy-hall), resophonic guitar virtuoso, co-founding member of The Infamous Stringdusters, and ArtistWorks bluegrass instructor, [Andy Hall](https://www.artistworks.com/dobro-lessons-andy-hall), outlines his unique approaches to crafting a solo and the improvisational techniques that he employs to create engaging and exciting phrases. LEARN MORE: [Want to learn how to play the resophonic guitar from a master musician like Andy Hall? Try some free online lap steel guitar and dobro lessons now!](https://go.artistworks.com/free-online-dobro-lessons-andy-hall) “Throughout my career, I’ve focused heavily on refining my phrasing,” Andy explains. “What I mean by phrasing, is the ability to communicate ideas through music, almost like a conversation. You’ll want longer phrases, shorter phrases, and, as when speaking, you’ll want to include some breaths.” What is musical phrasing? Musical phrasing refers to the art of shaping and organizing musical passages into coherent and expressive units. Much like the punctuation and syntax in language, phrasing in music involves dividing a piece into phrases or musical sentences, each with its own musical idea or theme. These musical phrases typically consist of a beginning, a middle, and an end, with variations in dynamics, articulation, and rhythm to convey emotion and meaning. Understanding and interpreting musical phrasing allows musicians to breathe life into their performances, creating nuance, drama, and storytelling within the music. It’s not only about playing the right notes but also about how those notes are articulated, connected, and grouped to convey a sense of musical direction and expression. To learn how to build a solo, improve your improvisational skills, and develop a mature and fluent sense of phrasing on the dobro or lap steel guitar, dive into this [online resophonic guitar lesson](https://www.artistworks.com/dobro-lessons-andy-hall) from [Andy Hall](https://www.artistworks.com/dobro-lessons-andy-hall): Building a Solo with Andy Hall: LEARN MORE: Have you always wanted to learn how to play dobro or lap steel guitar? Through our comprehensive [resophonic guitar lessons online](https://www.artistworks.com/dobro-lessons-andy-hall) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy Hall](https://www.artistworks.com/dobro-lessons-andy-hall), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner dobro and lap steel guitar techniques to advanced performance methods, improvisation, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as resophonic guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Dobro Lesson: Learn “Angeline the Baker” with Andy Hall](https://blog.artistworks.com/dobro-lesson-learn-%E2%80%9Cangeline-baker%E2%80%9D-andy-hall) [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) [Pickin’ Perfection: 7 Must-Know Bluegrass Standards for Flatpick Guitarists](https://blog.artistworks.com/7-must-know-bluegrass-standards-flatpick-guitarists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Guthrie Trapp and Tom Bukovac Drop Their Electrifying New Record: 'In Stereo'](https://blog.artistworks.com/guthrie-trapp-tom-bukovac-new-record-in-stereo/) **Published:** May 1, 2024 **Author:** ArtistWorks **Excerpt:**

Hey, guitar aficionados and music enthusiasts alike! Get ready to crank up the volume and dive into a musical journey like no other, because the dynamic duo of Guthrie Trapp and Tom Bukovac have just unleashed their latest masterpiece: "In Stereo."

**Content:** ![]() Hey, guitar aficionados and music enthusiasts alike! Get ready to crank up the volume and dive into a musical journey like no other, because the dynamic duo of [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Tom Bukovac have just unleashed their latest masterpiece: “[In Stereo](https://bakedalaskarecords.com/).” For those unfamiliar, [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Tom Bukovac are no strangers to the world of music or the depths of the Nashville session sphere. Renowned for their virtuoso guitar skills and their ability to seamlessly blend genres, these two maestros have been pushing the boundaries of contemporary guitar music for years. LEARN MORE: [Want to learn how to play guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) “In Stereo” is a testament to their unparalleled talent and creative synergy. From the opening riff to the closing crescendo, each track on the album is a sonic adventure that will leave you awe-inspired and craving more. With its fusion of rock, blues, country, and everything in between, “In Stereo” is a testament to the versatility and sheer brilliance of Guthrie Trapp and Tom Bukovac. Whether you’re a seasoned guitarist, just starting out, or simply a fan of instrumental guitar music, there’s something for everyone on this record. From blistering solos to soulful melodies, Guthrie and Tom showcase their mastery of the instrument in every note. Tom Bukovac & Guthrie Trapp “In Stereo”: OUT NOW! But the excitement doesn’t end there. For aspiring guitarists looking to unlock the secrets behind [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp)‘s electrifying playing, there’s no better time to dive into his [online guitar lessons](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp) at ArtistWorks. With Guthrie as your guide, you can learn the techniques and insights showcased on “In Stereo” right from the comfort of your own home. Whether you’re interested in honing your skills in country, blues, or rock guitar, Guthrie’s comprehensive guitar lessons offer something for players of all levels. So, what are you waiting for? Grab your guitar, plug in your headphones, and join [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Tom Bukovac on their sonic adventure with “In Stereo.” And remember, with Guthrie’s guitar lessons at ArtistWorks, you can learn to play like a pro in no time. Don’t miss out on this opportunity to take your playing to the next level! Experience “In Stereo” today and let the music speak for itself. Click [here](https://bakedalaskarecords.com/) to learn more and to purchase your copy of “In Stereo” now! [GUTHRIE’S ARTISTWORKS COURSE](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! [GUTHRIE’S TRUEFIRE COURSES](https://truefire.com/educators/guthrie-trapp/e4680): Guthrie also has two guitar courses that are now available at our sister company, [TrueFire](https://truefire.com/): [“Roots Recharge: A Genre-Bending Masterclass in Artistic Soloing”](https://truefire.com/guthrie-trapp-guitar-lessons/roots-recharge/c1965) [“In The Jam with Guthrie Trapp”](https://truefire.com/in-the-jam/guthrie-trapp/j165) These courses are both great supplements to his curriculum at ArtistWorks. Click the links above to learn more! READ MORE: [Country Guitar Lesson: Advanced Rhythm Techniques with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-advanced-rhythm-techniques) [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) [Blues Guitar Lesson: 12-Bar Blues Turnarounds & Endings with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-blues-turnarounds) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Elevate Your Bluegrass Sound: Mastering 5 Essential Guitar Effects Inspired by Billy Strings](https://blog.artistworks.com/bluegrass-guitar-effects-billy-strings/) **Published:** May 2, 2024 **Author:** ArtistWorks **Excerpt:**

In the vibrant world of bluegrass music, tradition meets innovation, and no one exemplifies this fusion better than modern virtuosos like Billy Strings. With his electrifying performances, Billy has redefined the boundaries of bluegrass guitar, blending traditional techniques with contemporary flair. Central to his groundbreaking sound are the guitar effects pedals that he seamlessly integrates into his acoustic setup. Whether you're a seasoned bluegrass player or just starting out, mastering these essential effects can elevate your playing and help you channel the spirit of Billy Strings.

**Content:** ![]() In the vibrant world of bluegrass music, tradition meets innovation, and no one exemplifies this fusion better than modern virtuosos like Billy Strings. With his electrifying performances, Billy has redefined the boundaries of bluegrass guitar, blending traditional techniques with contemporary flair. Central to his groundbreaking sound are the guitar effects pedals that he seamlessly integrates into his acoustic setup. Whether you’re a seasoned bluegrass player or just starting out, mastering these essential effects can elevate your playing and help you channel the spirit of Billy Strings. Reverb: Creating Depth and Atmosphere Bluegrass often thrives on the resonance of acoustic instruments, and reverb adds a lush ambiance that can transform your sound. Experiment with different reverb settings to emulate the spaciousness of a live performance in a grand hall or the intimate warmth of a small venue. Billy Strings often uses reverb to give his guitar an ethereal quality, enhancing each note’s presence and decay. Delay: Adding Texture and Dimension Delve into the world of rhythmic complexity with delay, a versatile effect that can breathe new life into your bluegrass licks. By subtly layering repetitions of your notes, you can create intricate patterns that weave in and out of the music, adding depth and complexity to your sound. Billy Strings is a master of using delay to build tension and anticipation, turning his guitar into a mesmerizing tapestry of sound. Compression: Smoothing Out Your Dynamics Achieving consistent volume levels is essential in bluegrass, where dynamics play a crucial role in shaping the music’s emotional landscape. Compression evens out the peaks and valleys of your playing, allowing you to maintain a steady, balanced sound. Billy Strings harnesses the power of compression to ensure that every note sings with clarity and presence, whether he’s flatpicking at breakneck speed or delicately fingerpicking a soulful ballad. Overdrive: Adding Grit and Punch While bluegrass guitarists typically favor clean tones, a touch of overdrive can inject your playing with raw energy and attitude. Experiment with different overdrive settings to find the sweet spot that enhances your playing without overpowering the acoustic character of your guitar. Billy Strings uses overdrive sparingly but strategically, giving his solos a fiery edge that cuts through the mix with searing intensity. EQ: Sculpting Your Tone Tailor your sound to perfection with the precision of EQ, a powerful tool for shaping the frequency spectrum of your guitar. Whether you’re boosting the mids for added punch or rolling off the highs for a mellower vibe, EQ allows you to fine-tune your tone to suit any musical context. Billy Strings employs EQ to sculpt his signature sound, ensuring that each note resonates with clarity and definition, whether he’s playing in a raucous jam session or a hushed acoustic ballad. By incorporating these essential effects into your bluegrass arsenal, you can unlock a world of sonic possibilities and take your playing to new heights. Whether you’re inspired by the electrifying energy of Billy Strings or the timeless traditions of bluegrass guitar, mastering these effects will enrich your musical journey and help you carve out your own distinctive sound. And for those seeking expert guidance on their bluegrass guitar journey, consider exploring the online courses offered by renowned instructors like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) at ArtistWorks. With their wealth of knowledge and expertise, you’ll be well on your way to mastering the art of flatpick guitar and unleashing your full potential as a bluegrass musician. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by over 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar) [Mastering Fast-Paced Rhythm Techniques for Bluegrass Guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-9/) **Published:** May 6, 2024 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has just been added! This lesson dives into a tune from one of Tony’s all-time favorite Banjo players: “Bye Bye Blues” by Allen Shelton from the album Shelton Special. You can find this lesson in the Intermediate department, or CLICK HERE to jump to Part 1. Happy picking!

**Content:** ![]() We’re excited to announce a new lesson has just been added! This lesson dives into a tune from one of Tony’s all-time favorite Banjo players: “Bye Bye Blues” by Allen Shelton from the album **Shelton Special**. You can find this lesson in the Intermediate department, or [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/217597) to jump to Part 1. Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [A Beginner's Guide to Harmonicas and Essential Equipment for Jam Sessions](https://blog.artistworks.com/harmonica-equipment-guide/) **Published:** May 6, 2024 **Author:** ArtistWorks **Excerpt:**

Are you drawn to the soulful sounds of the harmonica, eager to dive into the world of blues, folk, and beyond? Whether you're a novice or a seasoned musician looking to add a new instrument to your repertoire, the harmonica offers a world of musical possibilities. In this guide, we'll walk you through everything you need to know about selecting the right harmonicas and equipment to kickstart your harmonica journey and jam effortlessly with friends.

**Content:** ![]() Are you drawn to the soulful sounds of the harmonica, eager to dive into the world of blues, folk, and beyond? Whether you’re a novice or a seasoned musician looking to add a new instrument to your repertoire, the harmonica offers a world of musical possibilities. In this guide, we’ll walk you through everything you need to know about selecting the right harmonicas and equipment to kickstart your harmonica journey and jam effortlessly with friends. LEARN MORE:[ Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Harmonicas: Your Musical Companion When it comes to harmonicas, the options may seem overwhelming at first glance. However, choosing the right harmonica boils down to two main factors: key and type. The key determines the pitch of the instrument, while the type refers to the layout and construction. For beginners, starting with a diatonic harmonica in the key of C is highly recommended. This versatile key is commonly used in a variety of musical genres and is perfect for learning the basics. As you progress, you may want to explore other keys to expand your musical range. Essential Harmonica Equipment 1\. Harmonica Case: Protect your harmonicas from dust and damage with a sturdy harmonica case. Look for cases with individual compartments to keep your harmonicas organized and easily accessible during jam sessions. 2\. Microphones and Amplifiers: While harmonicas are inherently portable instruments, amplifying their sound can take your performances to the next level. Invest in a quality microphone and amplifier setup to ensure that your harmonica’s nuances are heard loud and clear. 3\. Harmonica Holder: If you’re looking to multitask during performances or jam sessions, a harmonica holder is a must-have accessory. This hands-free device allows you to play the harmonica while simultaneously playing another instrument like the guitar. 4\. Cleaning Tools: Proper maintenance is essential for prolonging the lifespan of your harmonicas. Invest in a harmonica cleaning kit, complete with brushes and cloths, to keep your instruments in top condition. [Harmonica Lessons](https://www.artistworks.com/harmonica-lessons-howard-levy): Your Path to Mastery While learning to play the harmonica can be a rewarding journey, guidance from experienced instructors can significantly accelerate your progress. Consider enrolling in [harmonica lessons](https://www.artistworks.com/harmonica-lessons-howard-levy), either in-person or online, to receive personalized instruction and feedback. [Online harmonica lessons](https://www.artistworks.com/harmonica-lessons-howard-levy) offer the flexibility to learn at your own pace, anytime and anywhere. Renowned harmonica virtuosos like [Howard Levy](https://www.artistworks.com/harmonica-lessons-howard-levy), known for his groundbreaking work with Béla Fleck & The Flecktones, offer comprehensive courses that cater to students of all skill levels. Explore Harmonica Mastery with Howard Levy As you embark on your harmonica journey, remember that patience and practice are key. Whether you’re a beginner or an experienced musician, there’s always room to grow and refine your skills. And if you’re looking for expert guidance along the way, consider [Howard Levy’s online harmonica course](https://www.artistworks.com/harmonica-lessons-howard-levy) at ArtistWorks. With Howard’s invaluable insights and expertise, you’ll be well on your way to mastering the harmonica and jamming with friends like never before. READ MORE: [Harmonica Lesson: Circular Breathing with Howard Levy](https://blog.artistworks.com/harmonica-lesson-circular-breathing) [ArtistWorks Music Roundtable Podcast—Episode 5: Howard Levy & Victor Wooten](https://blog.artistworks.com/artistworks-podcast-episode-5-howard-levy-victor-wooten) [Harmonica Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mastering Bluegrass & Old-Time Fiddle Bowing Techniques: A Guide to Enhance Your Performance](https://blog.artistworks.com/mastering-bluegrass-fiddle-bowing-techniques/) **Published:** May 8, 2024 **Author:** ArtistWorks **Excerpt:**

Are you looking to elevate your fiddle playing skills, particularly in the realm of bluegrass and old-time music? If so, refining your bowing techniques is crucial. The way you wield your bow can significantly impact the tone, rhythm, and overall feel of your music. Whether you're a beginner seeking to hone your skills or an experienced player aiming for mastery, these exercises tailored to bluegrass and old-time fiddle playing will help you sharpen your technique and bring your performance to new heights.

**Content:** ![]() Are you looking to elevate your fiddle playing skills, particularly in the realm of bluegrass and old-time music? If so, refining your bowing techniques is crucial. The way you wield your bow can significantly impact the tone, rhythm, and overall feel of your music. Whether you’re a beginner seeking to hone your skills or an experienced player aiming for mastery, these exercises tailored to bluegrass and old-time fiddle playing will help you sharpen your technique and bring your performance to new heights. LEARN MORE: [Have you always wanted to learn how to play the fiddle? Click here to access FREE sample online fiddle lessons from world-renowned musicians Darol Anger, Brittany Haas, and Alex Hargreaves!](https://artistworks.com/#freelessons) Understanding Bowing Techniques for Fiddle Before diving into specific exercises, let’s first understand the importance of bowing techniques in fiddle playing. The bow is not merely a tool to produce sound but a versatile instrument in itself. Proper bowing techniques dictate the dynamics, articulation, and expression of your music. In bluegrass and old-time fiddling, where lively rhythms and soulful melodies reign supreme, mastering bowing techniques is essential for capturing the authentic sound and feel of the genre. Essential Exercises for Bluegrass Fiddle Bowing Techniques ***1. The Shuffle:*** - Start by playing a simple scale or melody using a “shuffle” bowing pattern. - Alternate between short and long bow strokes, emphasizing the rhythmic bounce characteristic of bluegrass and old-time music. - Focus on maintaining a steady tempo and accentuating the downbeat for that infectious groove. ***2. Double Stops:*** - Practice playing double stops (two strings at once) while maintaining even pressure and tone across both strings. - Experiment with different finger placements to achieve harmonious intervals commonly found in bluegrass fiddling. ***3. Chopping:*** - Master the art of “chopping,” a percussive bowing technique often used in bluegrass rhythm playing. - Practice chopping on the off-beats to add syncopation and drive to your music. - Keep your bow hand loose but controlled, allowing the bow to bounce off the strings for a crisp, percussive sound. ***4. Slurs and Crossings:*** - Work on smooth string crossings and slurred passages to enhance fluidity and phrasing in your melodies. - Practice legato bowing while maintaining clarity and precision in each note. - Pay attention to bow distribution and weight to ensure seamless transitions between strings. Elevate Your Skills with [Online Fiddle Lessons](https://artistworks.com/fiddle-lessons) As you continue to refine your bowing techniques, consider seeking guidance from expert instructors to accelerate your progress. [Online fiddle lessons](https://artistworks.com/fiddle-lessons) offer convenience and flexibility, allowing you to learn at your own pace from anywhere in the world. At ArtistWorks, renowned fiddlers [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), [Alex Hargreaves](https://artistworks.com/fiddle-lessons-alex-hargreaves), and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) offer comprehensive fiddle courses tailored to all skill levels. Whether you’re a beginner eager to master the basics or an advanced player striving for virtuosity, these [online fiddle lessons](https://artistworks.com/fiddle-lessons) provide invaluable insights, personalized feedback, and a supportive learning community to help you reach your full potential. By incorporating these exercises into your practice routine and leveraging the resources available through [online fiddle lessons](https://artistworks.com/fiddle-lessons), you’ll be well on your way to mastering the art of bluegrass and old-time fiddle playing. So pick up your fiddle, rosin up your bow, and let the music take you on a journey through the rich traditions of Americana. Happy fiddling! READ MORE: [Fiddle Lesson: Learn to Play “Blackberry Blossom” with Alex Hargreaves](https://blog.artistworks.com/fiddle-lesson-blackberry-blossom-alex-hargreaves) [Fiddle with Darol Anger: Over 2 Hours of New Lessons Added!](https://blog.artistworks.com/fiddle-darol-anger-new-lessons-2023) [Fiddle Lesson: Bowing Patterns & Rhythms for Backup with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Classical Guitar Lesson: Trills and Ornamentation](https://blog.artistworks.com/classical-guitar-lesson-trills-and-ornamentation/) **Published:** May 10, 2024 **Author:** ArtistWorks **Excerpt:**

Melodic ornamentation in classical music refers to the embellishments, decorations, and flourishes added to a melody to enhance its expressiveness and beauty. These ornaments can include trills, grace notes, mordents, turns, and various other techniques that add richness and complexity to the music.

**Content:** ![]() Melodic ornamentation in classical music refers to the embellishments, decorations, and flourishes added to a melody to enhance its expressiveness and beauty. These ornaments can include trills, grace notes, mordents, turns, and various other techniques that add richness and complexity to the music. In the context of classical guitar, melodic ornamentation is crucial for bringing life and personality to the music. It allows the guitarist to imbue the melody with nuances of emotion and style, creating a more captivating and engaging performance. Through careful use of ornamentation, a guitarist can convey the subtleties of the composer’s intentions, adding depth and dimension to the musical interpretation. In essence, melodic ornamentation is an essential tool for classical guitarists to fully realize the expressive potential of the music they perform, enriching the listening experience for audiences and performers alike. In this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux), Grammy Award-winning guitarist and ArtistWorks classical instructor, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux) teaches critical methods for embellishing melodies, including the use of trills. These essential techniques not only add refinement and sophistication to a player’s performance but also allow players to perform the piece as the composer intended it to be heard. LEARN MORE: [Want to learn how to play classical guitar from a master musician like Jason Vieaux? Try some free online classical guitar lessons now!](https://go.artistworks.com/five-online-lessons-classical-guitar) “Ornamentation is something that we encounter on classical guitar, particularly in the context of 19th-century music,” explains Jason. “Composers like Fernando Sor and Mauro Giuliani frequently employed these techniques, and they can even be heard throughout baroque pieces by Bach.” What are trills, and how do you play them on guitar? Trills are a melodic ornamentation technique commonly used in classical music to embellish a note. They involve rapid alternation between the principal note and a neighboring note, usually a step or a half-step above or below, creating a fluttering, shimmering effect. On the classical guitar, trills are typically executed by rapidly alternating the fretting finger between the principal note and the neighboring note while maintaining a steady rhythm. This can be achieved through a combination of finger strength, control, and coordination. The key to a successful trill on the classical guitar lies in achieving clarity, evenness, and precision in the rapid movement of the fingers, allowing the ornamentation to seamlessly integrate into the melody and enhance its expressiveness. Mastery of trills adds a layer of sophistication and virtuosity to classical guitar performances, showcasing the guitarist’s technical prowess and musical sensitivity. To learn more about trills and other ornamentation techniques and how to incorporate them into your playing, dive into this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux) from [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux): Trills and Ornamentation with Jason Vieaux: LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [classical guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personal feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, iconic classical guitar works, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux](https://my.artistworks.com//blog/classical-guitar-lesson-carulli-andantino-g-major) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [Classical Guitar Lesson: Combing the Right & Left Hand with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-combining-right-left-hand) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mastering Blues Piano: A Step-by-Step Guide to Improvisation](https://blog.artistworks.com/mastering-blues-piano-improvisation/) **Published:** May 13, 2024 **Author:** ArtistWorks **Excerpt:**

Are you eager to unleash your inner blues maestro on the piano? Learning to improvise over a 12-bar blues progression is a fundamental skill for any aspiring pianist delving into the world of jazz and blues. In this comprehensive guide, we'll walk you through the essential steps to master soloing over a 12-bar blues on the piano, covering scales, techniques, and resources to help you unlock your improvisational potential.

**Content:** ![]() Are you eager to unleash your inner blues maestro on the piano? Learning to improvise over a 12-bar blues progression is a fundamental skill for any aspiring pianist delving into the world of jazz and blues. In this comprehensive guide, we’ll walk you through the essential steps to master soloing over a 12-bar blues on the piano, covering scales, techniques, and resources to help you unlock your improvisational potential. Step 1: Understand the 12-Bar Blues Progression Before diving into improvisation, it’s crucial to grasp the structure of the 12-bar blues. Typically, it follows a I-IV-V chord progression in a specific pattern across 12 bars. For instance, in the key of C, the chords would be C7, F7, and G7. Familiarize yourself with this progression to establish a solid foundation for your improvisation. Step 2: Learn the Essential Scales Two primary scales are essential for blues improvisation on the piano: the Mixolydian scale and the blues scale. - Mixolydian Scale: This scale is derived from the fifth mode of the major scale and works well over dominant seventh chords, which are prevalent in blues music. Practice playing the Mixolydian scale in various keys to internalize its sound and fingering on the piano. - **Blues Scale:** The blues scale adds a distinct flavor to your improvisation with its unique blend of major and minor elements. It typically includes the root, minor third, fourth, diminished fifth, fifth, and minor seventh. Experiment with different patterns and variations of the blues scale to infuse your improvisation with authenticity and expression. Step 3: Develop Phrasing and Articulation Effective improvisation goes beyond playing the right notes—it’s about conveying emotion and storytelling through your music. Experiment with different phrasing and melodic ornamentation techniques, such as grace notes, trills, and rhythmic embellishments, to add depth and character to your improvisation. Pay attention to dynamics, articulation, and the use of space to create contrast and interest in your playing. Step 4: Practice Improvisation Exercises Dedicate regular practice sessions to improvisation exercises tailored to the 12-bar blues progression. Start by improvising simple melodies using the Mixolydian and blues scales over the chord changes. Gradually increase the complexity of your improvisation by incorporating chromaticism, chord extensions, and harmonic variations. Step 5: Seek Guidance and Feedback While self-study is valuable, nothing beats personalized guidance and feedback from experienced instructors. Consider enrolling in [online jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty), such as those offered by [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) at ArtistWorks. With his expertise and comprehensive curriculum, you’ll receive expert guidance on soloing over a 12-bar blues and refining your improvisational skills. Jazz Piano Lesson: Approaches to Blues Soloing with George Whitty: Mastering the art of improvisation over a 12-bar blues progression on the piano requires patience, dedication, and a solid understanding of scales, techniques, and phrasing. By following the steps outlined in this guide and seeking guidance from experienced instructors like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) at ArtistWorks, you’ll be well on your way to becoming a proficient blues pianist. Embrace the journey, keep practicing, and let your creativity soar as you explore the rich and soulful world of blues piano improvisation. Remember, practice makes perfect, and with the right guidance, you can unlock your full potential as a blues pianist. Check out George Whitty’s [online jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty) at ArtistWorks to take your skills to the next level. Happy playing! READ MORE: [Jazz Piano Lesson: Adding Guide Tones with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-guide-tones) [Announcing “Piano with Zachary Deak!”](https://blog.artistworks.com/announcing-piano-zachary-deak) [Jazz Piano Lesson: The ii-V-I Progression with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Master Your Melodies: Daily Warm-Up Exercises for Jazz Saxophone](https://blog.artistworks.com/daily-warm-exercises-jazz-saxophone/) **Published:** May 15, 2024 **Author:** ArtistWorks **Excerpt:**

Are you ready to jazz up your saxophone skills? Whether you're a beginner or a seasoned player, mastering your instrument requires consistent practice and warm-up routines. Just like an athlete warms up before a game, saxophonists need to prepare their muscles and minds for the musical journey ahead. In this article, we'll explore some essential daily warm-up exercises specifically tailored for jazz saxophone players.

**Content:** ![]() Are you ready to jazz up your saxophone skills? Whether you’re a beginner or a seasoned player, mastering your instrument requires consistent practice and warm-up routines. Just like an athlete warms up before a game, saxophonists need to prepare their muscles and minds for the musical journey ahead. In this article, we’ll explore some essential daily warm-up exercises specifically tailored for jazz saxophone players. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) The Importance of Saxophone Warm-Ups Before diving into intricate melodies and complex improvisations, it’s crucial to ensure that your saxophone is in tune and your body is primed for performance. Warm-up exercises not only prepare your muscles but also enhance your tone, technique, and overall playing experience. Essential Saxophone Warm-Up Exercises 1\. Long Tones Start your warm-up session with long tones to focus on breath control, tone production, and intonation. Play each note slowly and evenly, holding it for as long as possible while maintaining a consistent sound. Experiment with dynamics and vibrato to add depth to your tone. 2\. Scales and Arpeggios Mastering scales and arpeggios is fundamental for any saxophonist, especially in jazz. Practice major, minor, and chromatic scales in all twelve keys, paying attention to articulation, phrasing, and finger technique. Incorporate arpeggios to improve your understanding of chord progressions and melodic improvisation. 3\. Articulation Exercises Refine your articulation skills by practicing various tonguing techniques such as legato, staccato, and accents. Use a metronome to maintain a steady rhythm and gradually increase the tempo as you become more comfortable with each articulation pattern. 4\. Jazz Etudes Challenge yourself with jazz etudes that incorporate different musical styles, rhythms, and phrasing. Focus on interpreting the nuances of each passage, including dynamics, articulation, and expression. Analyze the harmonic structure and improvisational possibilities within the etudes to expand your jazz vocabulary. Incorporating Saxophone Warm-Ups into Your Routine Consistency is key when it comes to saxophone warm-up exercises. Aim to incorporate these routines into your daily practice sessions, dedicating at least 10-15 minutes to warming up before delving into more advanced repertoire or improvisation. [Online Saxophone Lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) with Eric Marienthal For aspiring jazz saxophonists seeking comprehensive guidance and personalized instruction, look no further than [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal)‘s online saxophone course at ArtistWorks. As a world-renowned saxophonist and educator, Eric offers a wealth of knowledge and expertise to students of all levels. In his [online saxophone lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), Eric covers a wide range of topics including saxophone warm-ups, exercises, improvisation techniques, and performance tips. He provides detailed demonstrations and insightful feedback to help students refine their skills and reach their musical goals. By enrolling in Eric Marienthal’s online jazz saxophone course, you’ll gain access to the same exercises featured in this blog and much more. Whether you’re a beginner exploring the basics or an advanced player honing your craft, Eric’s guidance will inspire and empower you on your musical journey. Mastering the art of jazz saxophone requires dedication, discipline, and a commitment to continuous improvement. By incorporating daily warm-up exercises into your practice routine and seeking guidance from experienced mentors like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), you’ll elevate your playing to new heights. Embrace the journey, embrace the music, and let your saxophone sing with soulful melodies and improvisational brilliance. READ MORE: [Saxophone Lesson: Finding the Right Reed with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-finding-reed-eric-marienthal) [Saxophone Lesson: Producing a Great Tone with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-tone-eric-marienthal) [Saxophone Lesson: An Introduction to Modes with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-modes-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fingerstyle Guitar Lesson: Melodic Improvisation](https://blog.artistworks.com/fingerstyle-guitar-lesson-melodic-improvisation/) **Published:** May 17, 2024 **Author:** ArtistWorks **Excerpt:**

Improvisation in jazz music is a dynamic and spontaneous creative process where musicians compose and perform music in real-time, building on the structure of a piece while infusing it with personal expression and originality. This hallmark of jazz involves players taking turns to invent new melodies, harmonies, and rhythms over a given chord progression or framework, often using scales, motifs, and rhythmic patterns as foundational elements.

**Content:** ![]() Improvisation in jazz music is a dynamic and spontaneous creative process where musicians compose and perform music in real-time, building on the structure of a piece while infusing it with personal expression and originality. This hallmark of jazz involves players taking turns to invent new melodies, harmonies, and rhythms over a given chord progression or framework, often using scales, motifs, and rhythmic patterns as foundational elements. Improvisation allows musicians to communicate and respond to one another, creating a unique and interactive musical experience that can vary significantly with each performance. This practice not only showcases technical proficiency and creativity but also reflects the rich cultural and emotional depth inherent in jazz, making each rendition of a piece distinct and reflective of the moment. In this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor), Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) provides his unique approaches to improvisation—specifically his insights and techniques on melodic improvisation. LEARN MORE: [Want to learn how to play fingerstyle jazz guitar from a master musician like Martin Taylor? Try some free online guitar lessons now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) What is melodic improvisation in jazz? Melodic improvisation in jazz music refers to the art of spontaneously creating new melodies that fit within the harmonic framework of a piece. Unlike simply playing pre-composed notes, jazz musicians use scales, modes, and motifs to craft original melodic lines that complement and enhance the underlying chord progressions. This process involves both a deep understanding of music theory and a high level of creativity, allowing artists to express their individuality while maintaining the integrity of the piece. In jazz music, the concept of improvisation closely aligns with the classical idea of “theme and variation.” Musicians start with a main theme, typically a recognizable melody or a standard tune, and then embark on a journey of spontaneous creation by varying this theme. Through improvisation, they explore new rhythms, harmonies, and melodic lines, transforming the original material into something fresh and unique with each rendition. This process allows for endless creative possibilities, as artists infuse their personal style and emotional nuances into the variations, while still maintaining a connection to the initial theme. This dynamic interplay between stability and innovation is a cornerstone of jazz, showcasing both technical prowess and imaginative expression. To learn more about how to approach melodic improvisation and integrating different techniques into your fingerstyle guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor) from [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor): Melodic Improvisation with Martin Taylor: LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, and jazz standards. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fingerstyle guitar players and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) [Jazz Piano Lesson: Adding Guide Tones with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-guide-tones) [Jazz Guitar Lesson: Basic Jazz Scales with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-basic-jazz-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Exploring Modal Sounds on the Mandolin in Bluegrass Music](https://blog.artistworks.com/modal-sounds-mandolin-bluegrass/) **Published:** May 20, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass music is renowned for its fast tempos, intricate melodies, and virtuosic instrumentals. The mandolin, with its bright and percussive tone, plays a central role in shaping the sound of bluegrass. One of the most fascinating aspects of bluegrass mandolin playing is the use of modal sounds. In this blog, we'll delve into how mandolin players can explore modal sounds to add depth and variety to their music. Whether you're taking mandolin lessons or learning through online mandolin lessons, understanding modes can greatly enhance your playing.

**Content:** ![]() Bluegrass music is renowned for its fast tempos, intricate melodies, and virtuosic instrumentals. The [mandolin](https://artistworks.com/mandolin-lessons), with its bright and percussive tone, plays a central role in shaping the sound of bluegrass. One of the most fascinating aspects of bluegrass mandolin playing is the use of modal sounds. In this blog, we’ll delve into how mandolin players can explore modal sounds to add depth and variety to their music. Whether you’re taking mandolin lessons or learning through [online mandolin lessons](https://artistworks.com/mandolin-lessons), understanding modes can greatly enhance your playing. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall or Sierra Hull? Try some free online mandolin lessons now!](https://artistworks.com/#freelessons) What are Modes? Modes are scales derived from the major scale but starting on different scale degrees. Each mode has a distinct sound and emotional quality. For example, the Dorian mode (starting on the second degree of the major scale) has a minor, yet slightly hopeful sound, while the Mixolydian mode (starting on the fifth degree) has a major feel but with a bluesy twist due to its lowered seventh note. Common Modes in Bluegrass Mandolin - Ionian (Major Scale): The foundation of Western music, the Ionian mode is bright and happy. - **Dorian****:** A minor scale with a major sixth, offering a unique blend of melancholy and warmth. - **Mixolydian:** A major scale with a flattened seventh, perfect for that bluesy bluegrass feel. - **Aeolian (Natural Minor):** Darker and more somber, often used in minor key songs. Incorporating Modes into Your Mandolin Playing - Learning the Shapes: ?Begin by learning the different modal shapes up and down the neck of your mandolin. Focus on one mode at a time to understand its unique sound and feel. - **Modal Exercises:** Practice scales and arpeggios in each mode. Use a metronome to keep time and gradually increase your speed. Play through familiar tunes in different modes. This can help you internalize the sounds and how they change the character of the melody. - **Improvisation:** Improvisation is a key skill in bluegrass music. Experiment with modal improvisation over bluegrass chord progressions. For example, try using the Dorian mode over a minor chord progression to add a new flavor to your solos. - **Learning from the Masters:** Studying the work of bluegrass mandolin legends like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) can provide deep insights into modal playing. Listen to how they incorporate different modes into their solos and compositions. [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall): Modal Masters Sierra Hull and Mike Marshall are two contemporary bluegrass mandolinists known for their masterful use of modal sounds. Sierra Hull’s playing is marked by her fluid incorporation of modal scales, creating rich and expressive solos. Mike Marshall, on the other hand, blends classical, jazz, and bluegrass techniques, using modes to craft intricate and innovative mandolin lines. [Online Mandolin Lessons](https://artistworks.com/mandolin-lessons) at ArtistWorks For those looking to dive deeper into modal playing and other advanced techniques, [online mandolin lessons](https://artistworks.com/mandolin-lessons) are an excellent resource. ArtistWorks offers comprehensive courses taught by both [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). These courses provide detailed video lessons, personalized feedback, and a community of learners to support your journey. Whether you’re a beginner or an advanced player, these lessons can help you explore the full potential of your mandolin playing. Exploring modal sounds on the mandolin can open up a new world of musical possibilities in bluegrass music. By understanding and practicing different modes, you can add emotional depth and variety to your playing. For a structured approach to learning, consider taking [online mandolin lessons](https://artistworks.com/mandolin-lessons) with bluegrass masters [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks. Their expert guidance will help you master the art of modal playing and enhance your overall musicianship. Whether you’re just starting out or looking to refine your skills, these lessons are an invaluable resource for any aspiring mandolinist. READ MORE: [Innovative Strumming Patterns for the Modern Bluegrass Mandolin Player](https://blog.artistworks.com/strumming-patterns-bluegrass-mandolin) [Exploring the Roots of Bluegrass: A Deep Dive into Historical Mandolin Styles](https://blog.artistworks.com/bluegrass-historical-mandolin-styles) [Classical Mandolin Lesson: An Introduction to Tremolo with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-tremolo-caterina-lichtenberg) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-10/) **Published:** May 22, 2024 **Author:** ArtistWorks **Excerpt:**

New lessons have just been added! These lessons include a new beginner tune “Chicken Reel” and a new series called “Working with Limitations”. “Working with Limitations” revolve around the idea of giving yourself limitations to compose tunes or licks. You can find this series in the Advanced department or CLICK HERE to go to the first lesson in the series. You can also find “Chicken Reel” in the Beginner department or you can CLICK HERE to go to part one.

**Content:** ![]() New lessons have just been added! These lessons include a new beginner tune “Chicken Reel” and a new series called “Working with Limitations”. “Working with Limitations” revolve around the idea of giving yourself limitations to compose tunes or licks. You can find this series in the Advanced department or [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/217594) to go to the first lesson in the series. You can also find “Chicken Reel” in the Beginner department or you can [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/217595) to go to part one. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dave Isaacs' "Session Player Toolkit" Livestream Course Launch Party](https://blog.artistworks.com/dave-isaacs-livestream-course-launch-party/) **Published:** May 22, 2024 **Author:** ArtistWorks **Excerpt:**

On Tuesday, May 28, 2024, at 1:30 pm PT / 4:30 pm ET, ArtistWorks will host a free virtual live-streamed event featuring Nashville guitar master and our newest ArtistWorks instructor, Dave Isaacs.

**Content:** ![]() On Tuesday, May 28, 2024, at 1:30 pm PT / 4:30 pm ET, ArtistWorks will host a free virtual live-streamed event featuring Nashville guitar master and our newest ArtistWorks instructor, [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs). Through exclusive performances, live guitar lessons, musical and career-related discussions, and a real-time audience Q&A, we’ll be celebrating the release of Dave’s brand new ArtistWorks guitar course, “Session Player Toolkit.” So, if there’s a question that you’ve been dying to ask one of Nashville’s preeminent talents and educators, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/dave-isaacs-launch-party) to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to Dave Isaacs’ brand new ArtistWorks course: “Session Player Toolkit”! We will be awarding the free subscription to three lucky winners! Tune in here on May 28, 2024, at 1:30 pm PT / 4:30 pm ET to catch the event live: ABOUT THE LIVE-STREAM EVENT: [Dave Isaacs’ “Session Player Toolkit” Livestream Course Launch Party](https://go.artistworks.com/dave-isaacs-launch-party) promises an exciting and engaging experience for guitar players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/dave-isaacs-launch-party): Witness breathtaking guitar mastery as Dave showcases his unique skills, signature style, and some of the topics that he covers in his ArtistWorks course. [In-depth discussions](https://go.artistworks.com/dave-isaacs-launch-party): Learn from a pro as Dave delves into the secrets of his guitar techniques, shares stories from his career, and discusses the future of session guitar playing. [Q&A sessions](https://go.artistworks.com/dave-isaacs-launch-party): Have a burning question for Dave? This is your chance to get answers straight from the source during this interactive Q&A session. [Giveaway Prizes](https://go.artistworks.com/dave-isaacs-launch-party): Sign up to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to Dave Isaacs’ brand new ArtistWorks course: “Session Player Toolkit”! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) [Mastering Speed and Precision: Advanced Scale Exercises for Rock and Shred Guitarists](https://blog.artistworks.com/advanced-scale-exercises-rock-and-shred-guitarists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: An Introduction to Shuffles with Darol Anger](https://blog.artistworks.com/fiddle-lesson-shuffles-darol-anger/) **Published:** May 23, 2024 **Author:** ArtistWorks **Excerpt:**

The shuffle feel in music is a rhythmic pattern that creates a swinging, lopsided groove by emphasizing the first and third beats of a triplet. This distinct feel imparts a laid-back, swinging sensation that is central to genres like blues, jazz, and rock and roll. The origins of the shuffle feel trace back to African musical traditions, where complex, syncopated rhythms were prevalent. These rhythms were brought to America by enslaved Africans and later evolved in the context of African-American music, significantly shaping the rhythmic foundation of early 20th-century blues and jazz, and eventually influencing a wide range of popular music styles.

**Content:** ![]() The shuffle feel in music is a rhythmic pattern that creates a swinging, lopsided groove by emphasizing the first and third beats of a triplet. This distinct feel imparts a laid-back, swinging sensation that is central to genres like blues, jazz, and rock and roll. The origins of the shuffle feel trace back to African musical traditions, where complex, syncopated rhythms were prevalent. These rhythms were brought to America by enslaved Africans and later evolved in the context of African-American music, significantly shaping the rhythmic foundation of early 20th-century blues and jazz, and eventually influencing a wide range of popular music styles. In bluegrass music, the shuffle feel plays a crucial role in driving its energetic and lively sound. This rhythmic pattern, characterized by a swing-like triplet feel, adds a buoyant, danceable quality to the music, distinguishing it from other genres with its distinctive groove. The shuffle feel in bluegrass often underpins the fast-paced, virtuosic instrumental performances and tight vocal harmonies, enhancing the music’s dynamic and rhythmic complexity. It helps to create a forward momentum that is essential for the toe-tapping, high-energy atmosphere of bluegrass performances, reflecting its roots in Appalachian folk traditions and its evolution into a vibrant, contemporary genre. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons), master fiddler, ArtistWorks bluegrass instructor, and founding member of the David Grisman Quintet, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), outlines the approach to performing shuffle grooves on the fiddle and the corresponding bowing techniques required to perform this quintessential bluegrass feel. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) In bluegrass music, the fiddle bow technique is essential for effectively executing the shuffle feel, which imparts the genre’s characteristic swing and drive. The bowing pattern typically involves a combination of short, quick strokes and longer, fluid motions to emphasize the triplet-based rhythm, creating a bouncy, rhythmic pulse that propels the music forward. “In this lesson, we dive into one of the most critical elements that makes fiddling, fiddling,” explains Darol. “I’m referring, of course, to the bow shuffle. The shuffle is an essential part of bluegrass music because it’s a feel that conveys motion. It gets people up and dancing!” Mastery of this technique allows the fiddler to articulate each note with precision and clarity while maintaining the rhythmic lilt that defines the shuffle feel. This approach not only enhances the fiddle’s melodic lines but also adds to the overall groove and cohesiveness of the ensemble, making the music compelling and danceable. By skillfully manipulating bow pressure, speed, and direction, the fiddler can inject a lively, infectious energy into bluegrass tunes, contributing significantly to the genre’s vibrant and dynamic sound. To learn more about the shuffle feel, different patterns you can play over a shuffle, and how to implement them into your playing, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons) from [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger): An Introduction to Shuffles with Darol Anger: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mastering Bluegrass & Old-Time Fiddle Bowing Techniques: A Guide to Enhance Your Performance](https://blog.artistworks.com/mastering-bluegrass-fiddle-bowing-techniques) [Fiddle Lesson: Learn to Play “Blackberry Blossom” with Alex Hargreaves](https://blog.artistworks.com/fiddle-lesson-blackberry-blossom-alex-hargreaves) [Fiddle Lesson: Bowing Patterns & Rhythms for Backup with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-backup) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [“Session Player Toolkit with Dave Isaacs” is Now Open!](https://blog.artistworks.com/session-player-toolkit-dave-isaacs-open/) **Published:** May 28, 2024 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Session Player Toolkit with Dave Isaacs,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Session Player Toolkit with Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs),” is officially here! As of 9 am PT, the course is officially live and open to all students. There’s no shortage of guitar teachers in Music City USA… They don’t call Nashville “Guitar Town” for nothing. But, Dave Isaacs has earned a reputation as one of the best: not simply a guitar and piano teacher but as a musical mentor to performing artists, songwriters, and working musicians as well as beginners, weekend warriors, and perpetual beginners. Dave’s approach to teaching develops not only guitar playing but the whole musician, building real skills, confidence, and musical knowledge. Dave published his first book The Perpetual Beginner: A Musician’s Path to Lifelong Learning in 2019. Publishers Weekly called it “a delightful blend of memoir and music instruction” and featured it as a spotlight new release. As a speaker and workshop leader, Dave offers creative people—and those who want to be more creative—with an inspiring and practical perspective on music, methodology, and motivation. Dave’s students have included hit songwriters, internationally touring performers and the next generation of Nashville’s rising stars. A dynamic performing artist himself, Dave has played in venues across the US from small clubs to festivals and concert halls. He’s jammed with Les Paul on a Manhattan nightclub stage, rocked in the mud at Yasgur’s Farm, harmonized in Greenwich Village folk clubs, and chicken-picked hot licks on Nashville’s Lower Broadway. His twelve independent album releases run a wide stylistic range, from eclectic singer-songwriter to swampy groove-blues, bright country-rock, Southern soul, and lyrical jazz and classical guitar. On the academic side, Dave is an award-winning graduate of New York’s venerable Manhattan School of Music, with a Master of Music degree in classical guitar performance. He was a full-time instructor of music and music technology at Tennessee State University from 2009-2013 and taught music theory and listening skills in the audio production program at the Art Institute of Tennessee-Nashville from 2008-2016. Through his [online guitar lessons](https://go.artistworks.com/guitar-lessons-dave-isaacs) at ArtistWorks, you’ll learn the ins and outs of Dave’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Dave has drawn from his extensive knowledge as a professional guitarist and seasoned educator to create a comprehensive course of [guitar lessons online](https://go.artistworks.com/guitar-lessons-dave-isaacs) designed to teach players everything they need to know to become a well-rounded session guitarist. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Dave and get an intimate look into his unique approach and style. Grow as a guitar player while simultaneously furthering yourself as a musician, and get direct guidance from Dave at every step of your musical journey. [SIGN UP NOW](https://www.artistworks.com/guitar-lessons-dave-isaacs) to gain access to Dave’s library of [online guitar lessons](https://www.artistworks.com/guitar-lessons-dave-isaacs), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Dave reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Stu Hamm Bass Lessons Just Added!](https://blog.artistworks.com/new-stu-hamm-bass-lessons-just-added/) **Published:** May 30, 2024 **Author:** ArtistWorks **Excerpt:**

Greetings bass players! We are excited to announce the addition of 5 brand new lessons to the curriculum. Stu was in the ArtistWorks studios a few months back and banked a bunch of great new lessons for you here at ArtistWorks. Included in the lessons just added, Stu gets into minor blues pentatonics in multiple keys, an extended pentatonic exercise that incorporates different rhythms as a way to practice, and a lesson teaching the 6/8 groove rhythm parts to the song "Flotsam & Jetsam" from Stu's HOLD FAST album. Each lesson has accompanying backing tracks and tablature with notation, so you can follow the notes and get these under your fingers. The track for Flotsam & Jetsam is the board mix from the actual album with the bass removed, so you can play along with the real band. Click any of the links below to navigate right to the lesson page, or you can find them in the Lessons tab in the Basic section. More new lessons are headed to the site soon so keep an eye out for updates. Enjoy!

**Content:** ![]() Greetings bass players! We are excited to announce the addition of 5 brand new lessons to the curriculum. Stu was in the ArtistWorks studios a few months back and banked a bunch of great new lessons for you here at ArtistWorks. Included in the lessons just added, Stu gets into minor blues pentatonics in multiple keys, an extended pentatonic exercise that incorporates different rhythms as a way to practice, and a lesson teaching the 6/8 groove rhythm parts to the song “Flotsam & Jetsam” from Stu’s [HOLD FAST](https://stuhamm.com/store/p/holdfast) album. Each lesson has accompanying backing tracks and tablature with notation, so you can follow the notes and get these under your fingers. The track for Flotsam & Jetsam is the board mix from the actual album with the bass removed, so you can play along with the real band. Click any of the links below to navigate right to the lesson page, or you can find them in the Lessons tab in the Basic section. More new lessons are headed to the site soon so keep an eye out for updates. Enjoy! [A Minor Blues Pentatonic](https://my.artistworks.com/stu-hamm/learning/218828) [E Minor Blues Pentatonic](https://my.artistworks.com/stu-hamm/learning/218829) [G Pentatonic Extended – One Octave](https://my.artistworks.com/stu-hamm/learning/218830) [G Pentatonic Extended – Using Triplets & Quarter Notes](https://my.artistworks.com/stu-hamm/learning/218832) [“Flotsam & Jetsam” – Root Note 6/8 Groove Version](https://my.artistworks.com/stu-hamm/learning/218858) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Guitar Lesson: Melodic String Bending with Dave Isaacs](https://blog.artistworks.com/guitar-lesson-string-bending-dave-isaacs/) **Published:** May 30, 2024 **Author:** ArtistWorks **Excerpt:**

String bending is a pivotal technique in lead guitar playing, instrumental in infusing solos with a dynamic, expressive, and vocal-like quality. A guitarist can smoothly transition between pitches by bending a string, creating a sound reminiscent of the human voice. This technique allows for subtle nuances in pitch, which can convey a wide range of emotions, from soulful melancholy to ecstatic joy.

**Content:** ![]() String bending is a pivotal technique in lead guitar playing, instrumental in infusing solos with a dynamic, expressive, and vocal-like quality. A guitarist can smoothly transition between pitches by bending a string, creating a sound reminiscent of the human voice. This technique allows for subtle nuances in pitch, which can convey a wide range of emotions, from soulful melancholy to ecstatic joy. The microtonal shifts achieved through string bending mimic the inflections and phrasing of a singer, making the guitar sing and speak in ways that straight notes cannot. This expressive capability makes string bending indispensable for lead guitarists, enabling them to connect more deeply with their audience and elevate their musical storytelling. In this [online guitar lesson](https://www.artistworks.com/guitar-lessons), premier Nashville guitarist, lifelong music educator, and ArtistWorks multi-style guitar instructor, [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs), teaches how to execute string bends properly in order to remain in control and create moving, expressive melodic lines and solos. LEARN MORE: [Want to learn how to play guitar from a master musician like Dave Isaacs? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-dave-isaacs) Remaining in control when bending a string on the guitar is crucial for achieving the desired pitch and maintaining musical integrity. Precise control ensures that the bend reaches the exact pitch intended, preventing sour or off-key notes that can disrupt the musical flow. It also allows the guitarist to modulate the speed and intensity of the bend, adding emotional nuance and dynamic expression to their playing. Additionally, controlled string bending helps to preserve the guitarist’s technique and prevents unnecessary strain on the fingers and hands, reducing the risk of injury. Mastery of this skill demonstrates a guitarist’s technical proficiency and enhances the overall impact of their performance, making their music more compelling and resonant with listeners. “When you bend a string, you’re raising the pitch of the original note on the fret,” Dave explains. “Therefore, you have to have a clear sense of the target note that you’re bending up to in order to play accurately and in tune.” To learn more about how to properly bend strings, keep your bends in tune, and incorporate the technique into your lead playing, dive into this [online guitar lesson](https://www.artistworks.com/guitar-lessons) from [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs): Melodic String Bending with Dave Isaacs: LEARN MORE: Have you always wanted to learn how to play the guitar? Through our comprehensive [guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and music theory utilized by modern-day session musicians. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist fluent in a variety of styles. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Session Player Toolkit with Dave Isaacs” is Now Open!](https://blog.artistworks.com/session-player-toolkit-dave-isaacs-open) [Dave Isaacs’ “Session Player Toolkit” Livestream Course Launch Party](https://blog.artistworks.com/dave-isaacs-livestream-course-launch-party) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The ArtistWorks Virtual Rock & Blues Guitar Roundtable with Paul Gilbert & Jared James Nichols](https://blog.artistworks.com/guitar-roundtable-paul-gilbert-jared-james-nichols-2024/) **Published:** May 31, 2024 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() On Wednesday, June 5, 2024, at 1:30 pm PT / 4:30 pm ET, ArtistWorks will be hosting a free virtual live-streamed event featuring two of our world-renowned electric guitar instructors: [Paul Gilbert](https://www.artistworks.com/guitar-lessons-paul-gilbert) and [Jared James Nichols](https://www.artistworks.com/guitar-lessons-jared-james-nichols). Together, these two guitar titans will be discussing all things music, sharing exclusive performances, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask either of these guitar masters, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2024-paul-gilbert-jared-james-nichols-giveaway) to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a Paul Gilbert Signature Ibanez PGM50 Guitar OR a Seymour Duncan JJN Signature P90 Silencer Pickup Prize Pack! ![](https://blog.artistworks.com/wp-content/uploads/2024/01/Prizes-500x500.jpg) Tune in here on June 5, 2024, at 1:30 pm PT / 4:30 pm ET to catch the event live: ABOUT THE LIVE-STREAM EVENT: The Virtual Rock & Blues Guitar Roundtable promises an exciting and engaging experience for guitar players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2024-paul-gilbert-jared-james-nichols-giveaway): Witness breathtaking guitar mastery as both Paul and Jared showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2024-paul-gilbert-jared-james-nichols-giveaway): Learn from the pros as they delve into the secrets of their guitar techniques, share stories from their careers, and discuss the future of guitar playing. [Q&A sessions](https://go.artistworks.com/2024-paul-gilbert-jared-james-nichols-giveaway): Have a burning question for either one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2024-paul-gilbert-jared-james-nichols-giveaway): Sign up to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a Paul Gilbert Signature Ibanez PGM50 Guitar OR a Seymour Duncan JJN Signature P90 Silencer Pickup Prize Pack! Now, let’s get acquainted with our star-studded lineup: [Paul Gilbert](https://www.artistworks.com/guitar-lessons-paul-gilbert) Paul Gilbert is a renowned American guitarist celebrated for his technical prowess and versatility, co-founding influential hard rock bands Mr. Big and Racer X. He gained widespread recognition with hits like “To Be with You” and has released numerous solo albums showcasing his virtuosity across various musical styles. Gilbert is also a respected guitar instructor, contributing to the development of aspiring musicians through his instructional videos and clinics. His influence extends beyond his performances, making him a pivotal figure in the world of guitar music. [Jared James Nichols](https://www.artistworks.com/guitar-lessons-jared-james-nichols) Hailing from Wisconsin, Jared James Nichols is a powerful blues-rock guitarist known for his raw, emotive playing style. With his signature “Blue Power” technique, Nichols has captivated audiences worldwide and shared the stage with legends such as ZZ Top, Buddy Guy, and Lynyrd Skynyrd. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) [Rock Guitar Lesson: String Skipping with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-string-skipping) [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [39 New Lessons Added to Stu Hamm’s Electric Bass Course](https://blog.artistworks.com/39-new-lessons-stu-hamm-electric-bass/) **Published:** June 3, 2024 **Author:** ArtistWorks **Excerpt:**

Last week, we published thirty-nine brand new online bass lessons on Stu Hamm’s electric bass course at ArtistWorks.

**Content:** ![]() Last week, we published thirty-nine brand new [online bass lessons](https://artistworks.com/bass-lessons) on [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm)’s electric bass course at ArtistWorks. Stu’s new lessons cover five brand new concepts, detailing minor blues pentatonic scales in multiple keys, an extended pentatonic exercise that incorporates different rhythms as a way to practice, a lesson teaching the 6/8 groove rhythm parts to the song “Flotsam & Jetsam” from Stu’s album, [Hold Fast](https://stuhamm.com/store/p/holdfast), and more. These new lessons are designed with beginner bass players in mind, but they lay the groundwork for the techniques that make Stu’s style so unique. Players of all levels will benefit from diving into these lessons! LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) Alongside Stu’s video instruction, these new lessons include fresh learning materials to supplement Stu’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, the play-along backing track for “Flotsam & Jetsam” is the board mix from the actual album with the bass removed. So, you can play along with Stu’s real band! “This section of my tune, ‘Flotsem & Jetsem,’ gives you the chance to see what it feels like to be me and play with my band,” Stu explains. “We’re going to look at some easy parts, some slightly more challenging parts, and some very difficult parts for you to play along with. You can not only see exactly how I write songs and bass lines, with the play-along track, you’ll be able to experiment and add your own flair too.” If you’re a current student of Stu’s, dive in now and enjoy learning these brand-new tunes and techniques. If you’re just joining Stu’s amazing online bass community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR STU’S COURSE HERE!](https://artistworks.com/bass-lessons-stu-hamm) LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://www.artistworks.com/bass-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Slap Bass Guitar Lesson: Popping & Pull-Offs with Stu Hamm](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs) [Bass Guitar Lesson: Walking Bass Lines in Blues with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-walking-bass-lines-blues) [Bluegrass Bass Lesson: Using the Number System with Missy Raines](https://blog.artistworks.com/bluegrass-bass-lesson-number-system) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar/) **Published:** June 4, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published nine brand new online guitar lessons to Jared James Nichols’ blues rock guitar course at ArtistWorks.

**Content:** ![]() This morning, we published nine brand new [online guitar lessons](https://artistworks.com/guitar-lessons) to [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)’ blues rock guitar course at ArtistWorks. These lessons cover several critical new concepts and are designed specifically for intermediate and advanced players. Seven intermediate lessons outline fresh blues rock soloing techniques, detail major, minor, and dominant 7th chords across the fretboard, and offer a handful of B minor blues scale licks you can transpose across all keys. Two new advanced lessons will take your blues rock shred to the next level as methods on improvisation and soloing are expanded upon in further detail. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) Alongside Jared’s video instruction, these new lessons include fresh learning materials to supplement Jared’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, the performance lessons all feature backing tracks and guitar isolations and offer three different camera angles. Plus, the “Finding 7th Chords” lesson includes 36 pages of guitar chord diagrams detailing the CAGED system chord shapes for Major 7, Minor 7, and Dominant 7 harmonies in all 12 keys! “The goal of these new more advanced lessons is to apply everything we’ve learned up to this point in some new musical contexts,” Jared explains. “We’re going to be utilizing all the tools from our basic toolbox—bends, vibratos, hammer-ons, pull-offs, slides, slurs, double-stops—but also applying our more advanced techniques to really open up the fretboard and give you the freedom you need to truly express yourself when soloing.” If you’re a current student of Jared’s, dive in now and enjoy learning these brand-new blues rock techniques. If you’re just joining Jared’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JARED’S COURSE HERE!](https://artistworks.com/guitar-lessons-jared-james-nichols) LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, music theory, and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The ArtistWorks Virtual Rock & Blues Guitar Roundtable with Paul Gilbert & Jared James Nichols](https://blog.artistworks.com/guitar-roundtable-paul-gilbert-jared-james-nichols-2024) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) [Master Your Guitar Sound: 5 Must-Have Effects for Rock and Blues Players](https://blog.artistworks.com/5-must-have-effects-rock-and-blues-guitarists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New "Earl Jam" Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/earl-jam-lessons-tony-trischka-banjo-course/) **Published:** June 7, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, bluegrass icon and ArtistWorks banjo instructor, Tony Trischka, released his brand-new, long-anticipated album, Earl Jam: A Tribute to Earl Scruggs. To accompany this exciting album release, Tony has published a handful of new lessons on his online banjo course here at ArtistWorks teaching tunes and arrangements directly from the Earl Jam record.

**Content:** ![]() This morning, bluegrass icon and ArtistWorks banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), released his brand-new, long-anticipated album, [Earl Jam: A Tribute to Earl Scruggs](https://www.tonytrischka.com/earl-jam). To accompany this exciting album release, Tony has published a handful of new lessons on his online banjo course here at ArtistWorks teaching tunes and arrangements directly from the Earl Jam record. These new intermediate lessons highlight the Earl Jam renditions of two tunes specifically—the bluegrass classic, “Cripple Creek,” and the iconic Beatles hit, “Lady Madonna.” In addition to learning how to play these tunes, students will gain insight into the fundamental techniques that make both Tony and Earl’s banjo styles so unique and revered. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) These lessons walk students step-by-step through the necessary methods and techniques utilized to perform these fantastic pieces. Through detailed multi-angle lesson videos and performance isolation videos from 3 different vantage points, students will learn the ins and outs of these two iconic tunes and master the techniques that make Earl and Tony’s approach to them so special. Alongside Tony’s video instruction, these new lessons include fresh learning materials to supplement Tony’s teaching—including tablature and notation. About [Earl Jam: A Tribue to Earl Scruggs](https://www.tonytrischka.com/earl-jam) The inception of [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)‘s album Earl Jam is rooted in his deep admiration for Earl Scruggs, whose revolutionary three-finger banjo-picking style fundamentally transformed bluegrass music. Tony, a trailblazing banjoist himself, conceived the idea for this album as a way to honor Earl’s immense legacy and to share the profound impact Earl had on his own musical journey. The project emerged from Tony’s desire to not only pay homage to Earl but also to bring together a community of musicians who have been similarly influenced by the bluegrass legend. Earl Jam features an impressive lineup of guest artists, each contributing their unique talents to the album. Notable collaborators include Béla Fleck, a fellow banjo virtuoso known for his genre-defying contributions to music, and Vince Gill, the celebrated singer, songwriter, and guitarist. Other esteemed musicians featured on the album include prominent modern flatpick guitar players and vocalists, Billy Strings and Molly Tuttle, as well as internationally-renowned mandolin virtuoso, Sam Bush. The ensemble also includes fellow ArtistWorks instructors [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) (both on fiddle), as well as mandolinists Dominick Leslie and Ronnie McCoury, and fiddlers Stuart Duncan and Bronwyn Keith-Hynes, among others. Together, these artists create a rich tapestry of sound that both celebrates Earl Scruggs’ influence and showcases the dynamic evolution of bluegrass music. ![](https://blog.artistworks.com/wp-content/uploads/2024/01/TonyTrischka_EarlJamArt.jpeg) If you’re a current student of Tony’s, dive in now and enjoy learning these brand-new tunes from Tony’s album, Earl Jam. If you’re just joining Tony’s amazing online banjo community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR TONY’S COURSE HERE!](https://artistworks.com/banjo-lessons-tony-trischka) LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, improvisation, and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Banjo Player’s Roadmap to Mastering Traditional Bluegrass Rhythms](https://blog.artistworks.com/banjo-roadmap-traditional-bluegrass-rhythms) [Banjo Innovations: Blending Bluegrass with Other Musical Styles](https://blog.artistworks.com/banjo-innovations-blending-bluegrass-other-musical-styles) [Beginner Banjo Lesson: Learn to Play “Blackberry Blossom” Using Barre Positions with Tony Trischka](https://blog.artistworks.com/beginner-banjo-lesson-blackberry-blossom-barre-positions) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [The Banjoist’s Journey: Advanced Techniques for Soloing in Bluegrass](https://blog.artistworks.com/advanced-banjo-techniques-soloing-bluegrass/) **Published:** June 11, 2024 **Author:** ArtistWorks **Excerpt:**

The bluegrass banjo is a versatile and expressive instrument, capable of producing intricate melodies and captivating solos. Whether you're inspired by the legendary Tony Trischka, the innovative Alison Brown, or the virtuosic Noam Pikelny from Punch Brothers, mastering advanced soloing techniques can elevate your playing to new heights. In this blog, we'll explore some advanced techniques for soloing on the bluegrass banjo, along with insights on how to improve your skills through dedicated practice and online banjo lessons.

**Content:** ![]() The bluegrass banjo is a versatile and expressive instrument, capable of producing intricate melodies and captivating solos. Whether you’re inspired by the legendary [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), the innovative [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown), or the virtuosic [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) from Punch Brothers, mastering advanced soloing techniques can elevate your playing to new heights. In this blog, we’ll explore some advanced techniques for soloing on the bluegrass banjo, along with insights on how to improve your skills through dedicated practice and [online banjo lessons](https://www.artistworks.com/banjo-lessons). Embrace Melodic Style Playing One of the cornerstones of advanced banjo soloing is the melodic style. This technique allows you to play scales and melodic lines more fluidly, maintaining the rolling patterns characteristic of bluegrass. To start incorporating melodic style into your solos: Learn Scales and Arpeggios: Familiarize yourself with major and minor scales, as well as common arpeggios. Practice these in different keys to build finger strength and dexterity. Use Open Strings: Integrate open strings into your scales and melodies to maintain the rolling sound. This approach was popularized by players like Bill Keith and [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka). Explore Different Positions: Shift positions up and down the neck to find new melodic possibilities and expand your tonal palette. Mastering Scruggs Style Variations Earl Scruggs revolutionized banjo playing with his three-finger picking style, and adding variations to this technique can enhance your soloing: Roll Patterns: Experiment with different roll patterns (forward, backward, alternating thumb) to create rhythmic diversity in your solos. Slides, Pull-offs, and Hammer-ons: Use these embellishments to add texture and expressiveness to your playing. Syncopation: Introduce syncopated rhythms to make your solos more dynamic and engaging. Incorporate Single-String Technique The single-string technique is akin to flatpicking on a guitar and can add a fresh dimension to your banjo solos: Practice Alternate Picking: Work on alternate picking with your right hand to achieve clean, fast single-string runs. Chromatic Runs: Integrate chromatic scales and runs to add complexity and tension to your solos. Blending Techniques: Combine single-string passages with melodic and Scruggs-style playing for a well-rounded solo. Learn from the Masters The best way to refine your banjo soloing skills is to learn from those who have mastered the instrument. [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown), and [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) are renowned for their innovative approaches and technical prowess. Their contributions to the bluegrass banjo community are invaluable, and studying their techniques can provide a wealth of knowledge and inspiration. [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka) Tony Trischka is a trailblazer in the world of banjo, known for his inventive playing and teaching methods. His approach to the banjo blends traditional bluegrass with jazz, classical, and other genres, making his solos rich and diverse. [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown) Alison Brown’s smooth, melodic playing style has earned her a place among the banjo greats. Her ability to seamlessly blend bluegrass with jazz and Celtic influences offers a unique perspective on banjo soloing. [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) Noam Pikelny of Punch Brothers is celebrated for his technical brilliance and creativity. His solos are marked by their precision, complexity, and emotional depth, making him a standout figure in modern banjo playing. [Online Banjo Lessons](https://www.artistworks.com/banjo-lessons) To truly excel in banjo soloing, consider taking [online banjo lessons](https://www.artistworks.com/banjo-lessons) from these master musicians. Platforms like ArtistWorks offer comprehensive courses taught by Tony Trischka, Alison Brown, and Noam Pikelny. These courses provide: Structured Learning: Follow a well-organized curriculum that covers everything from basic techniques to advanced soloing. Personalized Feedback: Receive direct feedback from the instructors to help you improve and refine your playing. Community Support: Connect with other banjo enthusiasts, share your progress, and learn from each other. Advanced techniques for soloing on the bluegrass banjo require dedication, practice, and a willingness to explore new styles and approaches. By embracing melodic style playing, mastering Scruggs-style variations, incorporating single-string technique, and learning from master musicians like [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown), and [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny), you can transform your soloing abilities. Enrolling in [online banjo lessons](https://www.artistworks.com/banjo-lessons) with these legends at ArtistWorks can provide the guidance and inspiration you need to reach your full potential as a banjo player. So, pick up your banjo, dive into these advanced techniques, and let the music flow! READ MORE: [New “Earl Jam” Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/earl-jam-lessons-tony-trischka-banjo-course) [The Banjo Player’s Roadmap to Mastering Traditional Bluegrass Rhythms](https://blog.artistworks.com/banjo-roadmap-traditional-bluegrass-rhythms) [Banjo Innovations: Blending Bluegrass with Other Musical Styles](https://blog.artistworks.com/banjo-innovations-blending-bluegrass-other-musical-styles) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Essential Licks Every Advanced Bluegrass Guitarist Should Know](https://blog.artistworks.com/essential-licks-every-bluegrass-guitarist-should-know/) **Published:** June 13, 2024 **Author:** ArtistWorks **Excerpt:**

As an advanced bluegrass guitarist, mastering essential licks is crucial to elevate your playing and bring a distinctive flair to your performances. This blog will explore some must-know licks for flatpicking enthusiasts and how studying with master guitarists like Bryan Sutton, Chris Eldridge, and Tyler Grant at ArtistWorks can refine your technique and expand your repertoire.

**Content:** ![]() As an advanced bluegrass guitarist, mastering essential licks is crucial to elevate your playing and bring a distinctive flair to your performances. This blog will explore some must-know licks for flatpicking enthusiasts and how studying with master guitarists like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) at ArtistWorks can refine your technique and expand your repertoire. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) The Power of Flatpicking in Bluegrass Flatpicking, a technique where a flat pick is used to strike the strings, is a staple in bluegrass guitar playing. This method, renowned for its speed and precision, allows guitarists to articulate each note crisply, making it perfect for the genre’s fast-paced, energetic style. Lick 1: The G-Run The G-Run, a classic lick in bluegrass, is often used to end a phrase or song in the key of G. This lick is versatile and a favorite among players for its punchy and definitive sound. Here’s a basic version to get you started: Start on the 3rd fret of the low E string. Move to the open A string. Follow with the 2nd fret of the A string. Play the open D string. Hit the 2nd fret of the D string. Finish on the open G string. Bluegrass Guitar Lesson: The G-Run with Bryan Sutton: Lick 2: The Crosspicking Pattern Crosspicking involves alternating between strings to create a rolling, harp-like effect. This lick, used extensively by artists like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), can add a new texture to your playing: Start with the open G string. Pick the 2nd fret of the D string. Move to the open B string. Return to the 2nd fret of the D string. Repeat this pattern, focusing on even, fluid motion. Bluegrass Guitar Lesson: Rhythm with Crosspicking with Bryan Sutton: Flatpick Guitar Lesson: Modified Crosspicking Patterns with Tyler Grant: Lick 3: The Fiddle Tune Lick Inspired by traditional fiddle tunes, this lick is great for adding a melodic element to your solos. [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) of Punch Brothers often incorporates similar patterns in his playing: Start with the open G string. Hammer on to the 2nd fret. Play the open B string. Hammer on to the 1st fret of the B string. End with the 3rd fret of the high E string. Lick 4: The Bluesy Bend Incorporating bluesy bends into your bluegrass playing can give your solos a unique edge. [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) frequently uses such techniques to add expression and depth: Bend the 2nd fret of the G string up a half step. Hit the 3rd fret of the high E string. Return to the bent note on the G string and release the bend. End with the open G string. Learning from the Masters at ArtistWorks For those seeking to master these licks and more, studying with accomplished bluegrass guitarists is invaluable. ArtistWorks offers [online guitar lessons](https://artistworks.com/guitar-lessons) taught by legends like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). These courses provide an in-depth exploration of bluegrass guitar techniques, including the licks discussed above. Benefits of Learning Bluegrass Guitar Online at ArtistWorks Direct Feedback from Masters: Submit your practice videos and receive personalized feedback from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), or [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). This direct interaction ensures you’re learning correctly and efficiently. Comprehensive Lessons: Access a vast library of lessons covering fundamental techniques to advanced licks and solos. Flexible Learning: Study at your own pace, revisiting lessons as needed to master each technique fully. Community Support: Join a vibrant community of fellow bluegrass enthusiasts, share your progress, and gain inspiration from others. Connect with [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) Learning from these masters not only hones your technical skills but also provides insights into the nuances of bluegrass guitar playing. Their experiences and personal styles offer a wealth of knowledge that can transform your playing. In conclusion, mastering essential licks is key to advancing your bluegrass guitar skills. By learning from iconic guitarists like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) at ArtistWorks, you gain unparalleled access to expertise and personalized guidance. Embrace the opportunity to connect with these legends and elevate your flatpicking prowess to new heights. Whether through structured lessons or community engagement, the path to becoming a standout bluegrass guitarist is clear and accessible. Happy picking! READ MORE: [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar) [Mastering Fast-Paced Rhythm Techniques for Bluegrass Guitar](https://blog.artistworks.com/fast-paced-rhythm-techniques-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Finding the Right Ukulele for Beginners: A Comprehensive Guide](https://blog.artistworks.com/finding-right-ukulele-beginners-guide/) **Published:** June 17, 2024 **Author:** ArtistWorks **Excerpt:**

The ukulele, with its joyful tones and island vibes, has become a popular instrument for beginners and seasoned musicians alike. Whether you're inspired by Hawaiian music or simply want to explore a new hobby, finding the right ukulele is crucial to your musical journey. Here’s a detailed guide on what to look for in your first ukulele, the different body sizes, and the benefits of professional ukulele lessons from masters like Craig Chee and Sarah Maisel.

**Content:** ![]() The ukulele, with its joyful tones and island vibes, has become a popular instrument for beginners and seasoned musicians alike. Whether you’re inspired by Hawaiian music or simply want to explore a new hobby, finding the right ukulele is crucial to your musical journey. Here’s a detailed guide on what to look for in your first ukulele, the different body sizes, and the benefits of professional [ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah) from masters like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah). LEARN MORE: [Want to learn how to play the ukulele from master musicians like Craig Chee and Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) What to Look for in a Beginner Ukulele Size Ukuleles come in various sizes, each offering a unique sound and playability: Soprano Ukulele: The smallest and most traditional size, perfect for beginners with smaller hands or those looking for the classic, bright ukulele sound. Concert Ukulele: Slightly larger than the soprano, providing a bit more room on the fretboard and a fuller sound. Ideal for those who find the soprano too cramped. Tenor Ukulele: Larger still, with more volume and a deeper tone. Great for those who want to explore more advanced playing techniques and need more space on the fretboard. Baritone Ukulele: The largest size, with a sound closer to a classical guitar. Suitable for those who prefer a richer, more mellow tone. Bass Ukulele: Unique in its deep, resonant sound, similar to an acoustic bass guitar. It’s a good choice for those looking to expand their musical range. Build Quality A well-built ukulele is essential for good sound and durability. Look for: Wood Type: Solid wood ukuleles (like mahogany, koa, or spruce) offer better sound quality than laminate options. Construction: Ensure the ukulele is well-crafted with no visible glue, smooth fret edges, and sturdy tuning pegs. Brand Reputation: Opt for reputable brands known for quality beginner instruments, such as Kala, Lanikai, or Cordoba. Playability Comfort is key when learning to play the ukulele. Check for: Neck Width: Make sure it feels comfortable in your hand. String Action: The distance between the strings and the fretboard should be low enough to press easily but not so low that it causes buzzing. Weight: A lighter ukulele is often easier for beginners to handle. The Impact of Ukulele Size on Tone and Playability The size of the ukulele you choose will impact both its tone and how easy it is to play. Tone: Soprano ukuleles produce a bright, traditional sound, while concert and tenor sizes offer more volume and a richer tone. Baritone and bass ukuleles have a deeper, more guitar-like sound. Playability: Smaller ukuleles (soprano and concert) are generally easier for beginners, especially younger players or those with smaller hands. Larger ukuleles (tenor and baritone) provide more room on the fretboard, which can be helpful for more advanced techniques but may be challenging for absolute beginners. Why Are There Multiple Ukulele Sizes? Different sizes cater to different musical needs and player preferences. The variety allows musicians to choose an instrument that best fits their physical comfort, musical style, and desired sound. Whether you want the high-pitched charm of a soprano or the rich, deep tones of a baritone, there’s a ukulele size for you. The Importance of [Ukulele Lessons](https://artistworks.com/ukulele-lessons-craig-sarah) Learning the ukulele can be incredibly rewarding, and having the right guidance makes a significant difference. Online lessons offer flexibility and access to expert teachers. Benefits of Learning from Master Ukulele Players [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) are renowned ukulele artists known for their unique teaching methods. Their lessons provide: Structured Learning: A well-organized curriculum that progresses logically. Expert Tips: Insights and techniques from master players. Interactive Feedback: Opportunities to get personalized feedback on your playing. Community Support: Access to a community of fellow learners for support and motivation. Craig Chee and Sarah Maisel’s [Online Ukulele Lessons](https://artistworks.com/ukulele-lessons-craig-sarah) at ArtistWorks [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) offer comprehensive [online ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah) through ArtistWorks, catering to all levels from beginners to advanced players. Their approach combines traditional techniques with modern teaching tools, providing video lessons, sheet music, and interactive feedback. They emphasize building a strong foundation while also encouraging personal expression and creativity. Embark on your ukulele journey with confidence, knowing you have chosen the right instrument and the best guidance from experts like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah). Happy strumming! READ MORE: [Mastering Ukulele Chords: Essential Rhythm Exercises & Techniques](https://blog.artistworks.com/mastering-ukulele-chords) [Ukulele Lesson: An Introduction to Basic Strumming with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-strumming) [Ukulele Lesson: An Introduction to Chord Melody with Sarah Maisel](https://blog.artistworks.com/ukulele-lesson-chord-melody) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [How to Find the Right Saxophone Mouthpiece for Beginners](https://blog.artistworks.com/saxophone-mouthpieces-beginners/) **Published:** June 18, 2024 **Author:** ArtistWorks **Excerpt:**

When it comes to playing the saxophone, the mouthpiece is one of the most crucial components affecting your sound and playability. Choosing the right mouthpiece can significantly enhance your performance, making it essential to understand the factors involved in finding the perfect fit for you. In this blog, we'll explore what to look for in saxophone mouthpieces, including size, build quality, shape, material, and brand. We'll also explain the differences in mouthpieces for soprano, alto, tenor, and baritone saxophones. Additionally, we'll highlight the benefits of saxophone lessons from a master like Eric Marienthal, whose online lessons at ArtistWorks provide invaluable insights into jazz saxophone music.

**Content:** ![]() When it comes to playing the saxophone, the mouthpiece is one of the most crucial components affecting your sound and playability. Choosing the right mouthpiece can significantly enhance your performance, making it essential to understand the factors involved in finding the perfect fit for you. In this blog, we’ll explore what to look for in saxophone mouthpieces, including size, build quality, shape, material, and brand. We’ll also explain the differences in mouthpieces for soprano, alto, tenor, and baritone saxophones. Additionally, we’ll highlight the benefits of saxophone lessons from a master like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), whose online lessons at ArtistWorks provide invaluable insights into jazz saxophone music. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) What to Look for in Saxophone Mouthpieces Size Mouthpiece size is a critical factor that influences tone and playability. The size of the mouthpiece, including the tip opening and chamber, can affect how easy it is to produce sound and the quality of that sound. Tip Opening: This refers to the distance between the tip of the reed and the tip of the mouthpiece. A larger tip opening typically allows for a fuller, richer sound but may require more air and control. Smaller tip openings are easier to play but may produce a more focused tone. Chamber Size: The chamber is the interior space of the mouthpiece. Larger chambers generally produce a warmer, more mellow sound, while smaller chambers result in a brighter, more focused tone. Shape The shape of the mouthpiece also plays a significant role in tone production and playability. The most common shapes include: Round Chamber: Provides a rich, warm sound. Ideal for classical music and softer jazz tones. Square/Rectangular Chamber: Produces a brighter, more focused sound. Popular in contemporary and brighter jazz settings. Material Mouthpieces are made from various materials, each affecting the sound differently: Hard Rubber: Known for producing a warm, rich tone. It’s a popular choice among jazz musicians. Metal: Often used by professional players for its bright, powerful sound. It can be more challenging to play for beginners. Plastic: Affordable and durable, but may not produce as rich a sound as hard rubber or metal. Wood: Provides a unique, organic sound, though less common due to its susceptibility to wear and tear. Brand Several reputable brands produce high-quality saxophone mouthpieces. Some popular ones include: Selmer: Known for their consistency and quality. Vandoren: Offers a wide range of mouthpieces suitable for various playing styles. Meyer: Favored by jazz musicians for their versatility and rich sound. Otto Link: Renowned for their metal mouthpieces, producing a powerful, bright sound. How Mouthpiece Size Impacts Tone and Playability The size of the mouthpiece, particularly the tip opening, affects how easy it is to produce sound and the tonal characteristics of the saxophone. A larger tip opening requires more breath control and effort but can produce a fuller, richer sound. Conversely, a smaller tip opening is easier to play, making it suitable for beginners, but may produce a more focused, less dynamic sound. How Mouthpiece Shape Impacts Tone and Playability The shape of the mouthpiece chamber influences the resonance and tonal quality of the saxophone. Round chambers produce a warm, mellow sound, ideal for classical and traditional jazz music. Square or rectangular chambers provide a brighter, more focused tone, suitable for modern jazz and contemporary music. How Mouthpiece Material Impacts Tone and Playability The material of the mouthpiece significantly affects the saxophone’s tone and response. Hard rubber mouthpieces offer a rich, warm sound, making them popular among jazz musicians. Metal mouthpieces deliver a bright, powerful sound, preferred by many professional players for their projection and clarity. Plastic mouthpieces are durable and affordable, but they might not provide the same tonal depth as hard rubber or metal. Wood mouthpieces give a unique, organic sound but require more maintenance due to their susceptibility to moisture and wear. Differences in Mouthpieces for Soprano, Alto, Tenor, and Baritone Saxophones Mouthpieces vary across the different types of saxophones: Soprano Saxophone: Smaller mouthpieces with smaller tip openings and chambers to accommodate the higher pitch. Alto Saxophone: Medium-sized mouthpieces designed to balance between ease of play and sound richness. Tenor Saxophone: Larger mouthpieces with wider tip openings to support the deeper tone. Baritone Saxophone: The largest mouthpieces to handle the lowest pitch range, requiring more air and control. The Importance of [Saxophone Lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) with a Master Learning from a master saxophone player, such as [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), can be incredibly beneficial for beginners. Eric Marienthal’s [online saxophone lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) at ArtistWorks offer a structured and comprehensive approach to learning jazz saxophone music. His unique teaching method helps students understand the nuances of playing the saxophone, from choosing the right mouthpiece to mastering advanced techniques. Benefits of Learning from [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal): Expert Guidance: Learn from a professional with decades of experience in jazz music. Structured Lessons: Follow a step-by-step curriculum designed to build your skills progressively. Personalized Feedback: Receive feedback on your playing to help you improve quickly. Community Support: Join a community of fellow saxophone enthusiasts to share your progress and get support. Finding the right saxophone mouthpiece is essential for any saxophonist, especially beginners. Understanding the impact of size, shape, material, and brand can help you choose a mouthpiece that enhances your tone and playability. Coupled with expert lessons from a master like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), you’ll be well on your way to mastering the saxophone and enjoying the rich world of jazz music. For more information and to start your saxophone journey with Eric Marienthal, check out his [online saxophone lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) at ArtistWorks today. READ MORE: [Master Your Melodies: Daily Warm-Up Exercises for Jazz Saxophone](https://blog.artistworks.com/daily-warm-exercises-jazz-saxophone) [Saxophone Lesson: Finding the Right Reed with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-finding-reed-eric-marienthal) [Saxophone Lesson: Producing a Great Tone with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-tone-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [90 New Lessons Added to Howard Levy’s Harmonica Course](https://blog.artistworks.com/90-new-lessons-howard-levy-harmonica-course/) **Published:** June 21, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published ninety brand-new online harmonica lessons on Howard Levy’s course at ArtistWorks.

**Content:** ![]() This morning, we published ninety brand-new [online harmonica lessons](https://artistworks.com/harmonica-lessons-howard-levy) on [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy)’s course at ArtistWorks. Howard’s new lessons outline eighty-five different exercises to help improve both your foundational harmonica techniques and your rhythmic accuracy and time. Taken from his recently published harmonica instructional book Rhythms of the Breath, Vol. 1, these exercises teach classic drum rudiments and how to apply them to the harmonica using variations in both note selection and breathing. As you work your way through the exercises, the lesson path becomes increasingly more advanced as new techniques and methods are introduced alongside the progressions of rudiments. So, harmonica players of all levels will benefit from busting out their harp and diving into these lessons! LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Alongside Howard’s video instruction, these new lessons include fresh learning materials to supplement Howard’s teaching—including harmonica tablature and musical notation. About Howard’s Book: Rhythms of the Breath, Vol.1: A Revolutionary Way to Transform Your Harmonica Playing by Howard Levy is a comprehensive instructional book designed to revolutionize harmonica playing through an innovative focus on breathing techniques. Howard Levy, a renowned harmonica virtuoso, introduces unique methods that emphasize the importance of breath control and rhythmic precision. The book delves into various exercises and practical tips, aiming to enhance the player’s control over their instrument, expand their musical expression, and improve overall technical proficiency. It is tailored for harmonica players of all levels who seek to deepen their understanding and mastery of the instrument through the power of breath. If you’re a current student of Howard’s, dive in now and enjoy learning these brand-new exercises to take your rhythm and technique to the next level. If you’re just joining Howard’s amazing online harmonica community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR HOWARD’S COURSE HERE!](https://artistworks.com/harmonica-lessons-howard-levy) Plus, for a limited time, we’re offering a $100 savings on your 12-month subscription to the harmonica master’s online course at ArtistWorks when you use code BREATH12. And, the first 100 purchasers will get a FREE signed copy of his book, Rhythms of the Breath, Vol. 1, whether you’re extending your current membership by another 12 months or joining for the first time.\* \*Rhythm of the Breath, Vol. 1 book limited to customers in the continental US while supplies last. Visit our [Terms & Conditions](https://artistworks.com/gwp-harmonica-book-2024) page for more details. LEARN MORE: Have you always wanted to learn how to play harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [A Beginner’s Guide to Harmonicas and Essential Equipment for Jam Sessions](https://blog.artistworks.com/harmonica-equipment-guide) [Harmonica Lesson: Vibrations and Advice on Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-vibrations-note-bending) [Harmonica Lesson: Circular Breathing with Howard Levy](https://blog.artistworks.com/harmonica-lesson-circular-breathing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Guitar Tone Perfection: Achieving the Ultimate Bluegrass Sound](https://blog.artistworks.com/guitar-tone-bluegrass-sound/) **Published:** June 24, 2024 **Author:** ArtistWorks **Excerpt:**

When it comes to bluegrass, achieving the perfect guitar tone is crucial. Whether you're a seasoned player or just starting, mastering the distinct sound of bluegrass guitar can set you apart. This blog will explore essential techniques and tips to help you achieve that coveted bluegrass tone, drawing inspiration from the legends of the genre and expert guidance from world-class instructors.

**Content:** ![]() When it comes to bluegrass, achieving the perfect guitar tone is crucial. Whether you’re a seasoned player or just starting, mastering the distinct sound of bluegrass guitar can set you apart. This blog will explore essential techniques and tips to help you achieve that coveted bluegrass tone, drawing inspiration from the legends of the genre and expert guidance from world-class instructors. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) Understanding the Bluegrass Guitar Tone Bluegrass guitar tone is bright, punchy, and clear, cutting through the mix to complement the fast-paced, intricate melodies of the genre. Achieving this tone involves a combination of the right guitar, precise flatpicking techniques, and proper setup. Key Elements of Bluegrass Guitar Tone: Instrument Quality: A high-quality acoustic guitar is the foundation. Brands like Martin and Collings are favored for their resonant sound and build quality. Strings: Medium gauge strings are often preferred for their balance of volume and playability. Pick Choice: A thick, stiff flatpick is essential for delivering the sharp attack and clarity characteristic of bluegrass. Playing Technique: Flatpicking is at the heart of bluegrass guitar, demanding precision and speed. Mastering Flatpicking for Bluegrass Flatpicking involves using a pick to play individual notes and chords, creating a rhythmic and melodic texture. This technique is central to the bluegrass sound and can be mastered through dedicated practice and expert guidance. Tips for Effective Flatpicking: Start Slow: Begin at a comfortable tempo, gradually increasing speed as your technique improves. Focus on Accuracy: Precision is more important than speed. Clean, accurate notes contribute significantly to tone quality. Use a Metronome: Practice with a metronome to develop timing and consistency. Analyze the Masters: Study performances by bluegrass greats like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) to understand their approach to flatpicking. Learning from the Best: Bluegrass [Guitar Lessons](https://artistworks.com/guitar-lessons) at ArtistWorks For those serious about perfecting their bluegrass guitar tone, learning from the best in the business is invaluable. ArtistWorks offers comprehensive online bluegrass [guitar lessons](https://artistworks.com/guitar-lessons) from renowned musicians [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). Each of these master guitarists brings unique insights and techniques to help you achieve the ultimate bluegrass sound. Benefits of ArtistWorks Bluegrass Guitar Courses: Personalized Feedback: Submit videos of your playing and receive personalized feedback from your instructor. Extensive Library: Access a vast library of lessons, from beginner to advanced levels, covering all aspects of bluegrass guitar. Community Support: Join a community of fellow learners, share progress, and gain inspiration from others. Meet Your Instructors: [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) A Grammy-winning guitarist, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) is known for his exceptional flatpicking skills and contributions to modern bluegrass. His lessons cover everything from basic techniques to advanced improvisation. [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) As a member of the Punch Brothers, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) blends traditional bluegrass with contemporary influences. His teaching focuses on developing a strong foundational technique and exploring creative expression. [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) An acclaimed guitarist, [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant) offers lessons that emphasize precision and musicality. His approach is ideal for players looking to refine their tone and expand their repertoire. Bluegrass Guitar Licks: Adding Flair to Your Playing Incorporating bluegrass guitar licks into your playing can enhance your solos and add a touch of authenticity to your sound. These short, catchy phrases are a staple of the genre and can be learned and perfected through dedicated practice. Tips for Mastering Bluegrass Licks: Break Down the Licks: Practice licks slowly, breaking them into smaller sections if needed. Integrate with Scales: Understand the scales and positions that the licks are derived from to use them more effectively. Experiment with Variations: Once comfortable, experiment with variations to make the licks your own. The Advantages of Learning Bluegrass Guitar Online Learning bluegrass guitar online at ArtistWorks offers unparalleled access to expert instruction and a wealth of resources. By connecting directly with master guitarists like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), you can receive personalized guidance and feedback, accelerating your progress and helping you achieve the perfect bluegrass tone. Benefits of [Online Guitar Lessons](https://artistworks.com/guitar-lessons) at ArtistWorks: Flexible Learning: Learn at your own pace, on your schedule. Direct Interaction: Engage with instructors through video submissions and receive tailored advice. Comprehensive Content: From technique to theory, access a wide range of lessons to suit your needs. Embrace the journey to mastering bluegrass guitar and discover the joy of playing with the tone and precision of the greats. Whether you’re looking to refine your flatpicking skills, learn new licks, or simply enhance your overall playing, ArtistWorks provides the tools and expertise to help you succeed. READ MORE: [Essential Licks Every Advanced Bluegrass Guitarist Should Know](https://blog.artistworks.com/essential-licks-every-bluegrass-guitarist-should-know) [Elevate Your Bluegrass Sound: Mastering 5 Essential Guitar Effects Inspired by Billy Strings](https://blog.artistworks.com/bluegrass-guitar-effects-billy-strings) [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Expanding Your Mandolin Chord Vocabulary: Advanced Chords for Bluegrass](https://blog.artistworks.com/advanced-mandolin-chords-bluegrass/) **Published:** June 25, 2024 **Author:** ArtistWorks **Excerpt:**

When it comes to bluegrass mandolin, mastering advanced chords can take your playing from good to great. Whether you’re a seasoned player or just starting out, expanding your chord vocabulary is essential for achieving that authentic bluegrass sound. In this blog, we’ll dive into some advanced mandolin chords and techniques to enhance your bluegrass playing. Along the way, we’ll reference the incredible bluegrass mandolin courses available at ArtistWorks, taught by master mandolinists Sierra Hull and Mike Marshall.

**Content:** ![]() When it comes to bluegrass mandolin, mastering advanced chords can take your playing from good to great. Whether you’re a seasoned player or just starting out, expanding your chord vocabulary is essential for achieving that authentic bluegrass sound. In this blog, we’ll dive into some advanced mandolin chords and techniques to enhance your bluegrass playing. Along the way, we’ll reference the incredible bluegrass [mandolin courses](https://www.artistworks.com/mandolin-lessons) available at ArtistWorks, taught by master mandolinists [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall or Sierra Hull? Try some free online mandolin lessons now!](https://artistworks.com/#freelessons) The Importance of Advanced Mandolin Chords in Bluegrass Bluegrass music is known for its fast tempos, intricate melodies, and, most notably, its distinctive chop chords. Chop chords are essential in bluegrass for providing rhythmic support and creating that characteristic percussive “chop” sound. However, to truly excel in bluegrass mandolin, it’s crucial to go beyond the basics and incorporate advanced chords into your repertoire. Essential Advanced Chords for Bluegrass Mandolin Major 7th Chords: These chords add a lush, jazzy quality to your playing. For instance, to play a G major 7th chord, place your index finger on the second fret of the E string, your middle finger on the second fret of the A string, your ring finger on the fourth fret of the D string, and your pinky on the fifth fret of the G string. Minor 7th Chords: These chords are perfect for adding depth and emotion to your music. To play an A minor 7th chord, leave the E and A strings open, place your index finger on the second fret of the G string, and leave the D string open. Diminished Chords: Diminished chords can create tension and resolve beautifully in bluegrass tunes. For a B diminished chord, place your index finger on the first fret of the E string, your middle finger on the second fret of the A string, your ring finger on the first fret of the D string, and your pinky on the second fret of the G string. Augmented Chords: These chords add a unique, unexpected twist to your playing. To play a C augmented chord, place your index finger on the first fret of the E string, your middle finger on the second fret of the A string, your ring finger on the first fret of the D string, and leave the G string open. Advanced Techniques for Mastering Bluegrass Mandolin Chords Chord Inversions: Learning different inversions of chords allows you to play the same chord in various positions on the neck, adding versatility to your playing. This technique is extensively covered in the bluegrass [mandolin lessons](https://www.artistworks.com/mandolin-lessons) by [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) at ArtistWorks. Chord Substitutions: Substituting chords can make your playing more interesting and complex. For example, substituting a dominant 7th chord with a minor 7th flat five chord in a progression can add a new dimension to your music. [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall)’s [online mandolin lessons](https://www.artistworks.com/mandolin-lessons) at ArtistWorks delve into these advanced chord substitutions. Smooth Transitions: Practicing smooth transitions between chords is key to maintaining the flow of a song. This skill is crucial for live performances and recording sessions. Learning from the Masters: [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) are two of the most respected names in bluegrass mandolin. Their expertise and teaching methods can be accessed through their comprehensive [online mandolin lessons](https://www.artistworks.com/mandolin-lessons) at ArtistWorks. These courses cover everything from basic techniques to advanced chord progressions, ensuring that players at all levels can benefit. Why Learn Bluegrass Mandolin Online at ArtistWorks? Expert Guidance: Learning directly from renowned mandolinists like [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) means you’re getting top-tier instruction from musicians who have mastered the craft. Structured Learning: ArtistWorks offers a well-structured curriculum that takes you step-by-step through the learning process, making it easier to track your progress and build on your skills. Interactive Feedback: One of the unique features of ArtistWorks is the ability to submit videos of your playing and receive personalized feedback from your instructors. This direct interaction can significantly accelerate your learning process. Flexibility: Online lessons provide the flexibility to learn at your own pace, making it easier to fit practice into your busy schedule. Expanding your mandolin chord vocabulary is essential for anyone serious about bluegrass mandolin. Advanced chords and techniques not only enhance your playing but also enrich your overall musicality. By taking bluegrass [mandolin lessons](https://www.artistworks.com/mandolin-lessons) from masters like [Sierra Hull](https://www.artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks, you can gain invaluable insights and personalized instruction that will help you reach new heights in your mandolin journey. Start your [online mandolin lessons](https://www.artistworks.com/mandolin-lessons) today and experience the benefits of learning from the best in the field. Happy picking! READ MORE: [Exploring Modal Sounds on the Mandolin in Bluegrass Music](https://blog.artistworks.com/modal-sounds-mandolin-bluegrass) [Innovative Strumming Patterns for the Modern Bluegrass Mandolin Player](https://blog.artistworks.com/strumming-patterns-bluegrass-mandolin) [Exploring the Roots of Bluegrass: A Deep Dive into Historical Mandolin Styles](https://blog.artistworks.com/bluegrass-historical-mandolin-styles) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Darol & Bruce release a recording!](https://blog.artistworks.com/darol-bruce-release-recording/) **Published:** July 1, 2024 **Author:** ArtistWorks **Excerpt:**

Darol Anger & Bruce Molsky’s long-awaited recording, LOCKDOWN BREAKDOWN, is finally here.
Available as a digital download or physical CD, this recording focuses on Darol & Bruce’s legendary wild & wooly take-no-prisoners 2-fiddle blend, which often sounds like ten fiddlers.
Rounding out the program are 3 fantastic live-cut vocals, all with the double fiddle backup. Available on Darol's Bandcamp page.
Darol & Bruce will be appearing at a few music festivals this summer, such as Grey Fox in New York , Snowygrass in Colorado, and the Rockport Celtic Festival in Massachusetts. Find out about these festivals and other Darol shows at darolanger.com.

**Content:** [![]()](https://darolanger1.bandcamp.com/album/darol-bruce-lockdown-breakdown) **Darol Anger & Bruce Molsky**’s long-awaited recording, **[LOCKDOWN BREAKDOWN](https://darolanger1.bandcamp.com/album/darol-bruce-lockdown-breakdown)**[,](https://darolanger1.bandcamp.com/album/darol-bruce-lockdown-breakdown) is finally here. Available as a [digital download or physical CD,](https://darolanger1.bandcamp.com/album/darol-bruce-lockdown-breakdown) this recording focuses on Darol & Bruce’s legendary wild & wooly take-no-prisoners 2-fiddle blend, which often sounds like ten fiddlers. Rounding out the program are 3 fantastic live-cut vocals, all with the double fiddle backup. Available on [Darol’s Bandcamp page.](https://darolanger1.bandcamp.com/album/darol-bruce-lockdown-breakdown) Darol & Bruce will be appearing at a few music festivals this summer, such as Grey Fox in New York , Snowygrass in Colorado, and the Rockport Celtic Festival in Massachusetts. Find out about these festivals and other Darol shows at **d[arolanger.com.](https://darolanger.bandzoogle.com/home)** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Role of the Upright Bass in a Bluegrass String Ensemble](https://blog.artistworks.com/role-upright-bass-bluegrass-ensemble/) **Published:** July 1, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass music, known for its high-energy instrumentation and rich acoustic sounds, wouldn't be the same without the deep, resonant tones of the upright bass. This instrument, also known as the double bass, plays a crucial role in bluegrass bands, anchoring the rhythm and enhancing the overall musical texture. Whether you're a seasoned musician or a beginner looking for upright bass lessons, understanding the role of the bass in bluegrass is essential.

**Content:** ![]() Bluegrass music, known for its high-energy instrumentation and rich acoustic sounds, wouldn’t be the same without the deep, resonant tones of the upright bass. This instrument, also known as the double bass, plays a crucial role in bluegrass bands, anchoring the rhythm and enhancing the overall musical texture. Whether you’re a seasoned musician or a beginner looking for [upright bass lessons](https://artistworks.com/bass-lessons-missy-raines), understanding the role of the bass in bluegrass is essential. LEARN MORE: [Want to learn how to play bluegrass from an upright bass master like Missy Raines? Try some free online upright bass lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) The Heartbeat of Bluegrass: The Upright Bass The upright bass in a bluegrass string ensemble serves as the rhythmic and harmonic foundation. It provides the steady beat that keeps the band in sync, allowing other instruments like the mandolin, banjo, and fiddle to weave intricate melodies and solos. The bass’s deep, resonant sound helps create the driving force behind bluegrass music, making it impossible not to tap your feet along. In a typical bluegrass band, the bass plays a pivotal role in maintaining the tempo and adding depth to the music. Its presence is felt more than heard, subtly influencing the band’s dynamics and providing a solid base for the other instruments to build upon. The bassist’s ability to lock in with the rhythm guitar and create a seamless groove is essential for the distinctive bluegrass sound. The Importance of Walking Bass Lines in Bluegrass Music One of the defining features of bluegrass bass playing is the use of walking bass lines. A walking bass line involves playing a sequence of notes that outline the chords of a song, creating a smooth and continuous movement that propels the music forward. In bluegrass, these lines often follow a simple, yet effective, pattern that complements the driving rhythm and fast-paced melodies. Walking bass lines in bluegrass serve several important functions: Maintaining Rhythm: They keep the beat steady and consistent, allowing other musicians to play with confidence and freedom. Adding Harmonic Depth: By outlining the chord changes, walking bass lines enhance the harmonic richness of the music. Creating Forward Momentum: The continuous motion of walking bass lines adds a sense of drive and urgency, characteristic of bluegrass music. For those looking to master the art of walking bass lines in bluegrass, the upright bass course at ArtistWorks taught by [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) is an invaluable resource. [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), a renowned bassist in the bluegrass community, offers in-depth [bluegrass bass lessons](https://artistworks.com/bass-lessons-missy-raines) that cover everything from basic techniques to advanced walking bass lines. Bluegrass Bass Lesson: Walking Bluegrass Lines with Missy Raines Learning Bluegrass Upright Bass Online with [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) ArtistWorks provides a unique opportunity for aspiring bassists to learn from one of the best in the business. [Missy Raines](https://artistworks.com/bass-lessons-missy-raines)‘ bluegrass bass lessons are designed to cater to players of all levels, offering a structured approach to mastering the upright bass. Whether you’re looking for an [upright bass lesson](https://artistworks.com/bass-lessons-missy-raines) to get started or advanced techniques to refine your skills, Missy’s course has you covered. Here are some key benefits of learning bluegrass upright bass online at ArtistWorks: Flexible Learning: Access lessons anytime, anywhere, and learn at your own pace. Comprehensive Curriculum: From beginner basics to advanced walking bass lines, the course covers all aspects of bluegrass bass playing. Personalized Feedback: Submit videos of your playing and receive personalized feedback from Missy Raines herself. Community Support: Connect with fellow students and engage in discussions, fostering a sense of community and shared learning. The upright bass is an indispensable part of the bluegrass sound, providing the rhythmic and harmonic backbone that drives the music forward. Walking bass lines, a hallmark of bluegrass bass playing, add depth and momentum, enhancing the overall musical experience. By enrolling in the bluegrass upright bass course at ArtistWorks, taught by master bassist [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), you can gain the skills and knowledge needed to excel in this genre. Learning bluegrass upright bass online with a renowned instructor like [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) offers numerous benefits, from flexible learning schedules to personalized feedback. Whether you’re a beginner or an experienced player, these [online upright bass lessons](https://artistworks.com/bass-lessons-missy-raines) provide a comprehensive and engaging way to master the instrument. Embrace the opportunity to learn from a master, and let the rich, resonant tones of the upright bass elevate your bluegrass playing to new heights. READ MORE: [Missy Raines Releases New Album, Highlander](https://blog.artistworks.com/missy-raines-new-album-highlander) [Bluegrass Bass Lesson: Using the Number System with Missy Raines](https://blog.artistworks.com/bluegrass-bass-lesson-number-system) [Upright Bass Lesson: Walking Bass Lines Over Altered Chords with John Patitucci](https://blog.artistworks.com/bass-lesson-walking-bass-lines-altered-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Rhythms of the Breath: A Livestream Q&A with Harmonica Icon Howard Levy](https://blog.artistworks.com/2024-harmonica-livestream-howard-levy/) **Published:** July 3, 2024 **Author:** ArtistWorks **Excerpt:**

On Monday, July 8, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring Grammy-winning harmonica icon, co-founder of Béla Fleck & the Flecktones, and musical educator, Howard Levy.

**Content:** ![]() On Monday, July 8, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring Grammy-winning harmonica icon, co-founder of Béla Fleck & the Flecktones, and musical educator, [Howard Levy](https://www.artistworks.com/harmonica-lessons-howard-levy). Through exclusive performances, live harmonica lessons and instruction, musical and career-related discussions, and a real-time audience Q&A, we’ll be celebrating the recent expansion of Howard’s online harmonica course at ArtistWorks—which, as of June 21, 2024, features 90 new lessons highlighting exercises from Howard’s harmonica instructional book Rhythms of the Breath, Vol. 1. So, if there are any questions that you’ve been dying to ask one of the world’s preeminent harmonica talents and educators, now’s the perfect time to get them answered! [SIGN UP HERE](https://go.artistworks.com/2024-howard-levy-livestream) to RSVP for the event and receive FREE sample harmonica lessons delivered directly to your email. Plus, we’re presenting an EXCLUSIVE OFFER to accompany the celebratory event now through July 31, 2024. Students who sign up for Howard’s course have the opportunity to save $100 on a 12-month subscription using code BREATH12. In addition, the first 100 students to enroll in a 12-month plan will receive a FREE signed copy of Howard’s book, Rhythms of the Breath, Vol. 1!\* \*”Rhythms of the Breath, Vol. 1″ books limited to customers in the continental US while supplies last. Visit our [Terms & Conditions](https://artistworks.com/gwp-harmonica-book-2024) page for more details. ABOUT THE LIVE-STREAM EVENT: [Rhythms of the Breath: A Livestream Q&A with Harmonica Icon Howard Levy](https://go.artistworks.com/2024-howard-levy-livestream) promises an exciting and engaging experience for harmonica players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2024-howard-levy-livestream): Witness breathtaking harmonica mastery as Howard showcases his unique skills, signature style, and some of the exercises and topics that he covers in the new lessons on his ArtistWorks course. [In-depth discussions](https://go.artistworks.com/2024-howard-levy-livestream): Learn from a pro as Howard delves into the secrets of his innovative harmonica techniques, shares stories from his career, and discusses the future of harmonica playing. [Q&A sessions](https://go.artistworks.com/2024-howard-levy-livestream): Have a burning question for Howard? This is your chance to get answers straight from the source during this interactive Q&A session. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [90 New Lessons Added to Howard Levy’s Harmonica Course](https://blog.artistworks.com/90-new-lessons-howard-levy-harmonica-course) [A Beginner’s Guide to Harmonicas and Essential Equipment for Jam Sessions](https://blog.artistworks.com/harmonica-equipment-guide) [Harmonica Lesson: Vibrations and Advice on Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-vibrations-note-bending) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Critical Drum Exercises for Beginning Jazz Drummers](https://blog.artistworks.com/drum-exercises-beginning-jazz-drummers/) **Published:** July 8, 2024 **Author:** ArtistWorks **Excerpt:**

Learning jazz drumming is an exciting journey that introduces you to a world of rhythm, improvisation, and musical expression. As a beginner jazz drummer, focusing on foundational exercises is crucial for developing the skills necessary to master this intricate art form. This blog will highlight essential drum exercises every aspiring jazz drummer should learn and emphasize their importance within the context of jazz drumming.

**Content:** ![]() Learning jazz drumming is an exciting journey that introduces you to a world of rhythm, improvisation, and musical expression. As a beginner jazz drummer, focusing on foundational exercises is crucial for developing the skills necessary to master this intricate art form. This blog will highlight essential drum exercises every aspiring jazz drummer should learn and emphasize their importance within the context of jazz drumming. LEARN MORE: [Want to learn how to play jazz drums from a master musician like Peter Erskine? Try some free online drum lessons now! ](https://go.artistworks.com/free-music-lessons-peter-erskine) Stick Control and Rudiments Rudiments are the fundamental building blocks of drumming, and mastering them is essential for any jazz drummer. Begin with the basic rudiments such as single strokes, double strokes, and paradiddles. These exercises enhance hand coordination, speed, and control, which are vital for executing intricate jazz rhythms. Single Stroke Roll: Alternate strokes between the hands (R-L-R-L). This builds speed and fluidity. Double Stroke Roll: Play two consecutive strokes with each hand (R-R-L-L). This enhances control and evenness. Paradiddle: A combination of single and double strokes (R-L-R-R, L-R-L-L). This improves dexterity and hand independence. Jazz Swing Pattern The jazz swing pattern is the cornerstone of jazz drumming. It’s essential to practice this pattern on the ride cymbal, as it forms the rhythmic foundation of jazz music. The basic swing pattern involves playing a triplet feel with a distinctive emphasis on the second and fourth beats. Ride Cymbal Pattern: “1” – play the ride cymbal “2” – play the ride cymbal (slightly accentuated) “3” – play the ride cymbal “4” – play the ride cymbal (slightly accentuated) Mastering this pattern will help you maintain a steady pulse and groove, allowing other band members to lock in with your rhythm. Independence Exercises Jazz drumming requires a high level of coordination and independence between your limbs. Practicing independence exercises will enable you to play different rhythms with your hands and feet simultaneously. Four-Way Coordination: Practice playing the ride cymbal pattern with your right hand, and the hi-hat on beats 2 and 4 with your left foot, while incorporating different snare and bass drum patterns. This develops the ability to keep time with one limb while playing syncopated rhythms with another. Brush Techniques Brushes are a staple in jazz drumming, offering a softer, more subtle sound ideal for ballads and quieter sections. Learning various brush techniques can add a new dimension to your playing. Circular Motion: Practice making circular motions with the brushes on the snare drum. This creates a smooth, continuous sound. Sweeps and Stirs: Experiment with sweeping and stirring motions to produce different textures and dynamics. Transcribing and Playing Along Transcribing jazz drumming solos and comping patterns from great drummers is an invaluable exercise. It trains your ear, improves your rhythmic vocabulary, and helps you understand the context of different jazz drumming techniques. Transcription: Listen to solos and comping patterns by jazz drumming legends like [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), and write down what you hear. Play-Along: Play along with jazz recordings to internalize the feel and swing of different jazz styles. The Importance of Learning with [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine) at ArtistWorks Learning jazz drums can be significantly enhanced by studying with a master drummer. [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), a renowned jazz drummer, offers an exceptional online jazz drum course at ArtistWorks. His course covers everything from basic rudiments to advanced jazz drumming techniques, providing a structured and comprehensive learning experience. Mastering these critical drum exercises is essential for any beginning jazz drummer. They build a strong foundation, enhance your technical abilities, and prepare you for the nuanced world of jazz drumming. Enrolling in [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine)’s jazz drum course at ArtistWorks offers the unique benefit of learning directly from a jazz drumming legend. The online format provides flexibility, while the opportunity to connect with [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine) through video exchanges ensures personalized feedback and guidance. Embrace the journey of learning jazz drumming with ArtistWorks and take your skills to new heights by studying with a master drummer. Start your jazz drumming journey today and unlock your full potential with the guidance of [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine) at ArtistWorks. READ MORE: [Jazz Drum Lesson: Rudiment Warm-Ups with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-rudiment-warm-ups) [Jazz Drum Lesson: Learning ‘Elvin Triplets’ with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-learning-elvin-triplets-peter-erskine) [Jazz Drum Lesson: How to Hold the Drumsticks with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-how-hold-drumsticks-peter-erskine) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing “Fingerstyle Jazz Guitar with Sean McGowan”](https://blog.artistworks.com/new-course-fingerstyle-jazz-guitar-sean-mcgowan/) **Published:** July 9, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in late August 2024, “Fingerstyle Jazz Guitar with Sean McGowan.”

**Content:** ![]() We are excited to announce our newest course coming in late August 2024, “[Fingerstyle Jazz Guitar with Sean McGowan](https://go.artistworks.com/fingerstyle-jazz-guitar-lessons-sean-mcgowan).” [Sean McGowan](https://go.artistworks.com/fingerstyle-jazz-guitar-lessons-sean-mcgowan) is a fingerstyle jazz guitarist who combines many diverse musical influences with unconventional techniques to create a broad palette of textures within his compositions and arrangements for solo guitar. His first recording River Coffee won the Best Independent Release of the Year Award (2002) from Acoustic Guitar magazine and music from the recording has been published in Japan’s Acoustic Guitar magazine and Mel Bay’s Master Anthology of Fingerstyle Guitar, Vol. 3 (2005). Sean’s subsequent recordings Indigo (2008) and Sphere: the Music of Thelonious Monk (2011) offer compelling portraits of classic jazz standards performed on solo electric archtop guitar. Sphere was named one of Acoustic Guitar magazine’s “Essential Albums of 2011”, and Sean was recently featured on the cover of Fingerstyle 360 magazine (Summer 2012). His most recent solo guitar recordings include Thanksgiving & Christmas Tidings (2014) a collection of seasonal hymns and carols arranged for acoustic guitar, and My Fair Lady (2015) a collection of songs from Lerner & Loewe’s masterpiece. As a soloist, Sean has performed at several festivals including the Novi Sad International Jazz Festival in Serbia, the Healdsburg Guitar Festival in Napa Valley, Copper Mountain Guitar Town, the La Conner Guitar Festival, the Chet Atkins CAAS Convention, and the Artisan Guitar Show with Jimmy Bruno and Brent Mason. He has also collaborated with several dance and improv companies, as well as with jazz and acoustic musicians throughout the Rocky Mountain region. Sean is an avid arts educator and currently serves as an Associate Professor of Music at the [University of Colorado Denver](https://artsandmedia.ucdenver.edu/areas-of-study/music-entertainment-industry/about-music-entertainment-industry-studies). He earned a DMA in Guitar Performance from the University of Southern California in Los Angeles and has conducted workshops at colleges and guitar organizations throughout the country. He has also presented and performed at the Jazz Education Network conference in New Orleans, the International Symposium for the Performing Arts Medicine Association in Aspen, CO, and numerous College Music Society national and regional conferences. Sean is a strong advocate for injury prevention and health education for musicians, and his workshops incorporate a holistic approach to playing. He is also a contributing editor and educational advisor for Acoustic Guitar magazine. He is the author of Fingerstyle Jazz Guitar Solos (Hal Leonard) and the String Letter book/video instructional methods The Acoustic Jazz Guitarist, Fingerstyle Jazz Guitar Essentials, and Holiday Songs for Fingerstyle Guitar. Sean has also produced eight courses for ArtistWorks’ sister company, [TrueFire](https://truefire.com/educators/sean-mcgowan/e4416), covering the topics of fingerstyle jazz, improvisation, and comping. Through his [online jazz guitar lessons](https://go.artistworks.com/fingerstyle-jazz-guitar-lessons-sean-mcgowan) at ArtistWorks, you’ll learn the ins and outs of Sean’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Sean has drawn from his extensive knowledge as a professional guitarist and seasoned educator to create a comprehensive course of [jazz guitar lessons online](https://go.artistworks.com/fingerstyle-jazz-guitar-lessons-sean-mcgowan) designed to teach players everything they need to know to become a masterful fingerstyle jazz guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sean and get an intimate look into his unique approach and style. Grow as a guitar player while simultaneously furthering yourself as a musician, and get direct guidance from Sean at every step of your musical journey. [Sign up now](https://go.artistworks.com/fingerstyle-jazz-guitar-lessons-sean-mcgowan) for news updates from Sean and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Guitar Lesson: Melodic Improvisation with Martin Taylor](https://blog.artistworks.com/fingerstyle-guitar-lesson-melodic-improvisation) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) [Jazz Guitar Lesson: Basic Jazz Scales with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-basic-jazz-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Interview Added to the Lessons - Darol Talks with Emerald Rae!](https://blog.artistworks.com/new-interview-added-lessons-darol-talks-emerald-rae/) **Published:** July 10, 2024 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() We’re pleased to announce a new interview in the +Music / Special Guests section of the Lessons. Darol interviews fiddler, teacher, and songwriter Emerald Rae. Hailing from Gloucester, Massachusetts, Emerald Rae began her musical journey deep in the world of traditional Celtic music. She is an important member of the phenomenally influential group of fiddlers who have “graduated” out of the fiddling community of Alasdair Fraser. She has in the last fifteen years expanded both her performing and teaching powers as an extremely articulate, powerful, and funny presence. With her 2018 self-titled release, Rae expanded the boundaries of fiddle-singing with a wide palate of experimental techniques. With her powerhouse vocals, groovy percussive fiddle and eclectic songwriting style, she continues to delight audiences at legacy folk festivals, fiddle camps, and concert stages across North America. To go straight to part 1 of this 7 part interview series [CLICK HERE](https://my.artistworks.com/darol-anger/learning/220808). Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-11/) **Published:** July 11, 2024 **Author:** ArtistWorks **Excerpt:**

We're excited to announce another 6 new lessons to the Intermediate Lessons. In the new "Pentatonix" lesson series, Tony takes a deep dive into various uses of pentatonics in multiple keys, exploring chords, applied in an etude, and then putting it all together in an original tune "Wild Geese Fly Over the Bronx." To quickly find new lessons in whatever level of Lessons you're working in, you can type "new" in the search bar to sort the list to show all the newest lessons. Or to jump right to the first lesson in the series CLICK HERE

**Content:** ![]() We’re excited to announce another 6 new lessons to the Intermediate Lessons. In the new “Pentatonix” lesson series, Tony takes a deep dive into various uses of pentatonics in multiple keys, exploring chords, applied in an etude, and then putting it all together in an original tune “Wild Geese Fly Over the Bronx.” To quickly find new lessons in whatever level of Lessons you’re working in, you can type “new” in the search bar to sort the list to show all the newest lessons. Or to jump right to the first lesson in the series **[CLICK HERE](https://my.artistworks.com/tony-trischka/learning/217628)** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar-july-2024/) **Published:** July 12, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published three brand new online guitar lessons on Bryan Sutton’s bluegrass guitar course at ArtistWorks.

**Content:** ![]() This morning, we published three brand new [online guitar lessons](https://artistworks.com/guitar-lessons) on [Bryan Sutton](https://www.artistworks.com/guitar-lessons-bryan-sutton)’s bluegrass guitar course at ArtistWorks. In these new lessons, world-renowned flatpick guitar master and one of the longest-standing members of our premier ArtistWorks faculty, [Bryan Sutton](https://www.artistworks.com/guitar-lessons-bryan-sutton), teaches the classic bluegrass standard “Long Journey Home,” also commonly referred to in bluegrass jam sessions as “Two Dollar Bill” or “Lost All My Money.” Bryan created unique arrangements for all levels along with a breakdown of the rhythm for players to get familiar with the song form. So, regardless of your current skill level, you can learn this classic tune, incorporate it into your repertoire, and bring it to your next jam session with friends! For each lesson, Bryan demonstrates a play-through at a slow practice tempo, then breaks down the unique arrangement piece-by-piece, providing ideas along the way for students to try out and make the tune their own. Lastly, Bryan plays “Long Journey Home” again up to speed to establish a goal tempo that students can work up to. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) Bryan provides play-along backing tracks at 5 different tempos for each lesson, so students can start very slow and incrementally work up to faster playing speeds. Tablature and notation are provided for each arrangement, and performance isolation videos in full-screen views from 3 unique angles are available as well. Students can also adjust the playback speed of all the videos and backing tracks and set custom loops to fully tailor the practice experience to their needs. In the advanced lesson, Bryan performs 2 improvisations over the “Long Journey Home” chord progression. These solos are both tabbed out note-for-note and Bryan outlines his process for improvising each performance. This lesson provides an inside look at Bryan’s on-the-fly approach to improvisation and his thought process when soloing over a tune. If you’re a current student of Bryan’s, dive in now and enjoy learning this brand-new tune and accompanying techniques. If you’re just joining Bryan’s amazing online flatpick guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR BRYAN’S COURSE HERE!](https://www.artistworks.com/guitar-lessons-bryan-sutton) LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Guitar Tone Perfection: Achieving the Ultimate Bluegrass Sound](https://blog.artistworks.com/guitar-tone-bluegrass-sound) [Essential Licks Every Advanced Bluegrass Guitarist Should Know](https://blog.artistworks.com/essential-licks-every-bluegrass-guitarist-should-know) [Unlocking Advanced Harmonic Concepts for Bluegrass Guitarists](https://blog.artistworks.com/advanced-harmonic-concepts-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Stu Hamm’s Electric Bass Course](https://blog.artistworks.com/new-lessons-stu-hamm-electric-bass-july-2024/) **Published:** July 16, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published four brand new online bass lessons on Stu Hamm’s electric bass course at ArtistWorks.

**Content:** ![]() This morning, we published four brand new [online bass lessons](https://artistworks.com/bass-lessons) on [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm)’s electric bass course at ArtistWorks. In these new lessons, world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), expands on pentatonic scale topics he covered in the course’s introductory section and also teaches new tunes from his most recent album release, [Hold Fast](https://stuhamm.com/store/p/holdfast). LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) In Stu’s previous new lesson release, he published detailed instructional videos for beginner players outlining critical concepts connected to the pentatonic scale. The new lessons published today include the next installment in this series—moving into more intermediate-level instruction and looking specifically at pentatonic inversions. Stu also provides lessons on two tunes from his recent album release, [Hold Fast](https://stuhamm.com/store/p/holdfast)—“Flotsam & Jetsam” and “To Mainframe!” There have already been beginner lessons in Stu’s course outlining the primary 6/8 groove for “Flotsam & Jetsam” for some time. However, in these new intermediate lessons, Stu teaches students how to begin incorporating the same major and minor 10th voicings that he performs on the album to fill out the song’s harmonic flavor. “To Mainframe!” is taught in two installments—the first part covers the main slapping groove, which is an exciting workout for intermediate players, while the second installment covers the advanced tapping lines Stu plays on the album. Alongside Stu’s video instruction, these new lessons include fresh learning materials to supplement Stu’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, the play-along backing tracks for “Flotsam & Jetsam” and “To Mainframe!” are the board mixes from the actual [Hold Fast](https://stuhamm.com/store/p/holdfast) album with the bass removed. So, you can play along with the members of Stu’s real band—the legendary Alex Skolnick on guitar and Joel Taylor on drums! All the performances are offered in 3 camera angle isolations with tools to slow down and speed up the videos and a complete analysis from Stu. If you’re a current student of Stu’s, dive in now and enjoy learning these brand-new tunes and techniques. If you’re just joining Stu’s amazing online bass community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR STU’S COURSE HERE!](https://artistworks.com/bass-lessons-stu-hamm) LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://www.artistworks.com/bass-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [39 New Lessons Added to Stu Hamm’s Electric Bass Course](https://blog.artistworks.com/39-new-lessons-stu-hamm-electric-bass) [Slap Bass Guitar Lesson: Popping & Pull-Offs with Stu Hamm](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs) [Upright Bass Lesson: Walking Bass Lines Over Altered Chords with John Patitucci](https://blog.artistworks.com/bass-lesson-walking-bass-lines-altered-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Celebrating the 2024 IBMA Award Nominees: Spotlight on ArtistWorks Instructors](https://blog.artistworks.com/2024-ibma-award-nominees-artistworks/) **Published:** July 17, 2024 **Author:** ArtistWorks **Excerpt:**

The International Bluegrass Music Association (IBMA) Awards are the pinnacle of recognition in the bluegrass community, celebrating the finest talents in the genre. The 2024 nominees list showcases a dazzling array of artists, and we're thrilled to see several ArtistWorks instructors among the honorees. These exceptional musicians have not only shaped the landscape of bluegrass music but have also dedicated themselves to teaching and inspiring the next generation of players. Let's take a closer look at these talented individuals and their respective nominations.

**Content:** ![]() The International Bluegrass Music Association (IBMA) Awards are the pinnacle of recognition in the bluegrass community, celebrating the finest talents in the genre. The 2024 nominees list showcases a dazzling array of artists, and we’re thrilled to see several ArtistWorks instructors among the honorees. These exceptional musicians have not only shaped the landscape of bluegrass music but have also dedicated themselves to teaching and inspiring the next generation of players. Let’s take a closer look at these talented individuals and their respective nominations. LEARN MORE: [Click here to access FREE sample music lessons from any of our world-class bluegrass masters!](https://artistworks.com/#freelessons) [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) – Mandolin Player of the Year: [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull)‘s virtuosity on the mandolin has earned her a well-deserved nomination for Mandolin Player of the Year. Known for her intricate playing style and expressive performances, Hull has been a beacon of inspiration in the bluegrass world. Her technical proficiency and innovative approach to the mandolin continue to push the boundaries of the genre. [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) – Guitar Player of the Year: [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton)‘s masterful guitar playing has made him a staple in the bluegrass community. His nomination for Guitar Player of the Year highlights his extraordinary skill and versatility. Sutton’s contributions to bluegrass, both as a performer and an educator, have solidified his reputation as one of the finest guitarists in the field. [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) – Banjo Player of the Year: [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown)‘s innovative banjo techniques and genre-blending style have earned her a nomination for Banjo Player of the Year. Brown’s ability to seamlessly merge bluegrass with jazz and other genres showcases her as a trailblazer in the music world. Her work continues to inspire banjo players and music enthusiasts alike. [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) – Bass Player of the Year: [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), a powerhouse on the bass, is nominated for Bass Player of the Year. Her dynamic playing and solid rhythm have made her an essential figure in bluegrass music. Raines’ nomination is a testament to her exceptional talent and her influence on the bluegrass bass tradition. [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) – Dobro Player of the Year: [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall)‘s exquisite dobro playing has garnered him a nomination for Dobro Player of the Year. Hall’s ability to convey deep emotion and technical brilliance through his instrument has made him a standout performer in the bluegrass community. His nomination reflects his dedication to the craft and his impact on dobro players worldwide. Collaborative and Instrumental Recordings: In addition to individual categories, several ArtistWorks instructors are also recognized in collaborative and instrumental recordings: [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and Billy Strings are nominated for Collaborative Recording of the Year with “Browns Ferry Blues.” This track from Tony’s recent album release, Earl Jam: A Tribute to Earl Scruggs exemplifies the synergy between Trischka’s masterful banjo playing and Strings’ energetic guitar work. [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) and Steve Martin are also nominated for Collaborative Recording of the Year with “Bluegrass Radio,” a piece that highlights the remarkable interplay between Brown’s banjo and Martin’s distinctive style. [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) & Allegheny have earned a nomination for Instrumental Recording of the Year with “Panhandle Country,” showcasing Raines’ exceptional bass playing alongside her band’s musical prowess. Instrumental Group of the Year: Billy Strings (featuring [Alex Hargreaves](https://artistworks.com/fiddle-lessons-alex-hargreaves) on fiddle) is nominated for Instrumental Group of the Year. This group, led by the phenomenal Billy Strings, continues to push the envelope with their innovative approach to bluegrass music, earning accolades and admiration from fans and peers alike. The 2024 IBMA Award nominations shine a well-deserved spotlight on these incredible ArtistWorks instructors. Their contributions to bluegrass music, both as performers and educators, are invaluable. As we eagerly await the award ceremony, we celebrate their achievements and the indelible mark they’ve left on the bluegrass community. READ MORE: [New Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar-july-2024) [The Role of the Upright Bass in a Bluegrass String Ensemble](https://blog.artistworks.com/role-upright-bass-bluegrass-ensemble) [Expanding Your Mandolin Chord Vocabulary: Advanced Chords for Bluegrass](https://blog.artistworks.com/advanced-mandolin-chords-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide/) **Published:** July 19, 2024 **Author:** ArtistWorks **Excerpt:**

Bluegrass jam sessions are a wonderful way to connect with fellow musicians, hone your skills, and immerse yourself in the rich traditions of bluegrass music. Whether you're a seasoned player or a beginner, organizing and participating in a jam session can be an enriching experience. This guide will walk you through the steps of organizing a jam session, common tunes to know, proper etiquette, and the benefits of learning from master musicians online.

**Content:** ![]() Bluegrass jam sessions are a wonderful way to connect with fellow musicians, hone your skills, and immerse yourself in the rich traditions of bluegrass music. Whether you’re a seasoned player or a beginner, organizing and participating in a jam session can be an enriching experience. This guide will walk you through the steps of organizing a jam session, common tunes to know, proper etiquette, and the benefits of learning from master musicians online. Organizing a Bluegrass Jam Session Find a Suitable Location Space: Ensure there’s enough room for musicians to comfortably sit or stand with their instruments. Acoustics: A location with good acoustics, such as a community hall, coffee shop, or a living room, enhances the experience. Noise: Choose a place where noise levels won’t interfere with the music. Invite Musicians Network: Reach out to local musicians, music schools, or online forums. Diversity: Encourage a mix of instruments (guitar, banjo, mandolin, fiddle, bass) to cover the full bluegrass sound. Prepare the Setup Seating: Arrange seats in a circle or semi-circle to facilitate interaction. Music Stands: Provide stands for those who read sheet music or lyrics. Recording Equipment: Optional, but useful for reviewing performances and progress. Conducting the Jam Session Set Ground Rules Rotation: Decide how to rotate the lead for calling and starting tunes. Volume: Ensure everyone can hear each other; louder instruments might need to play softer. Respect: Maintain a respectful environment where everyone feels comfortable to play and learn. Start with Common Tunes Familiar tunes help everyone get in sync and warm up. Some common bluegrass standards include: “Foggy Mountain Breakdown” “Blue Moon of Kentucky” “Will the Circle Be Unbroken” “Man of Constant Sorrow” “Rocky Top” Encourage Participation Solos: Give each musician a chance to take a solo. Harmony: Practice singing harmonies and backing vocals. Improvisation: Encourage players to improvise, respecting the song’s structure. Executing the Jam Session Proper Etiquette and Best Practices: Soloing and Improvising Take Turns: Solo when it’s your turn and pass the spotlight politely. Stay in Key: Ensure your improvisation fits the key and chord progression of the song. Be Creative: Experiment within the structure of the tune, but avoid overshadowing others. Accompanying Listen: Pay attention to the lead player and blend your playing. Support: Use your instrument to support the soloist and rhythm section. Dynamic Control: Adjust your volume to maintain balance within the group. Learning Opportunities Jam sessions are excellent for: Skill Development: Practice and refine your playing and improvisation skills. Feedback: Receive constructive feedback from fellow musicians. Networking: Build connections with other musicians and learn new tunes and techniques. Online Learning with ArtistWorks Enhance your jam session experience by learning from master musicians online. ArtistWorks offers comprehensive courses that cater to bluegrass enthusiasts: Guitar Courses [Bryan Sutton:](https://artistworks.com/guitar-lessons-bryan-sutton) Learn flatpicking techniques and bluegrass fundamentals. [Chris Eldridge:](https://artistworks.com/guitar-lessons-chris-eldridge) Explore advanced techniques and musicality. [Tyler Grant:](https://artistworks.com/guitar-lessons-tyler-grant) Master bluegrass guitar styles and improvisation. Banjo Courses [Tony Trischka:](https://artistworks.com/banjo-lessons-tony-trischka) Dive into bluegrass and progressive banjo techniques. [Noam Pikelny:](https://artistworks.com/banjo-lessons-noam-pikelny) Learn innovative styles and complex arrangements. [Alison Brown:](https://artistworks.com/banjo-lessons-alison-brown) Focus on melodic and three-finger banjo styles. Mandolin Courses [Sierra Hull:](https://artistworks.com/mandolin-lessons-sierra-hull) Study mandolin techniques and bluegrass repertoire. [Mike Marshall:](https://artistworks.com/mandolin-lessons-mike-marshall) Explore classical, jazz, and bluegrass mandolin. Vocal Course [Michael Daves:](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Improve your vocal techniques and harmony singing. Fiddle Courses [Darol Anger:](https://artistworks.com/fiddle-lessons-darol-anger) Learn from a fiddling legend with diverse styles. [Brittany Haas:](https://artistworks.com/fiddle-lessons-brittany-haas) Focus on old-time and contemporary fiddle techniques. [Alex Hargreaves:](https://artistworks.com/fiddle-lessons-alex-hargreaves) Master modern fiddle playing and improvisation. Upright Bass Course [Missy Raines:](https://artistworks.com/bass-lessons-missy-raines) Develop your skills in bluegrass bass and beyond. Organizing and participating in bluegrass jam sessions is a fulfilling way to immerse yourself in the music and community. By preparing with common tunes, practicing proper etiquette, and learning from master musicians online, you can make the most of these sessions and grow as a bluegrass musician. Happy jamming! READ MORE: [Celebrating the 2024 IBMA Award Nominees: Spotlight on ArtistWorks Instructors](https://blog.artistworks.com/2024-ibma-award-nominees-artistworks) [New Lessons Added to Bryan Sutton’s Bluegrass Guitar Course](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar-july-2024) [Expanding Your Mandolin Chord Vocabulary: Advanced Chords for Bluegrass](https://blog.artistworks.com/advanced-mandolin-chords-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques/) **Published:** July 25, 2024 **Author:** ArtistWorks **Excerpt:**

Jazz guitar is an art form that thrives on creativity and spontaneity. Whether you're a seasoned player or just starting your journey, mastering improvisation is key to becoming a proficient jazz guitarist. In this blog, we'll explore the top five essential improvisation techniques that every jazz guitarist should know. We'll also highlight the excellent jazz guitar lessons available at ArtistWorks, taught by master guitarists Dave Stryker, Sean McGowan, and Martin Taylor.

**Content:** ![]() Jazz guitar is an art form that thrives on creativity and spontaneity. Whether you’re a seasoned player or just starting your journey, mastering improvisation is key to becoming a proficient jazz guitarist. In this blog, we’ll explore the top five essential improvisation techniques that every jazz guitarist should know. We’ll also highlight the excellent [jazz guitar lessons](https://www.artistworks.com/guitar-lessons) available at ArtistWorks, taught by master guitarists [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker), [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), and [Martin Taylor](https://www.artistworks.com/guitar-lessons-martin-taylor). LEARN MORE: [Click here to access FREE sample guitar lessons from jazz masters Dave Stryker, Sean McGowan, and Martin Taylor!](https://artistworks.com/#freelessons) 1\. Chord Tone Soloing Understanding and using chord tones is fundamental to jazz improvisation. Chord tones are the notes that make up each chord and provide a strong foundation for your solos. By focusing on chord tones, you can create harmonically rich solos that sound cohesive over chord changes. Jazz Guitar Lesson Tip: In [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker)‘s jazz guitar course at ArtistWorks, he emphasizes the importance of chord tone soloing. His lessons are designed to help you internalize chord tones and use them effectively in your improvisation. 2\. Scales and Modes Scales and modes are the building blocks of jazz improvisation. They provide a palette of notes that you can draw from to create melodies. Familiarizing yourself with major, minor, and modal scales will give you the tools to navigate complex chord progressions. Jazz Guitar Lesson Tip: [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan)‘s online jazz guitar lessons at ArtistWorks cover a wide range of scales and modes. His step-by-step approach makes it easy to understand how to apply these scales in a musical context. 3\. Arpeggios Arpeggios are another essential tool for jazz guitarists. They are broken-down chords played in sequence, which can add a lot of interest to your solos. Practicing arpeggios helps you target chord tones and can make your solos sound more structured. Jazz Guitar Lesson Tip: [Martin Taylor](https://www.artistworks.com/guitar-lessons-martin-taylor)’s jazz guitar lessons at ArtistWorks delve deeply into arpeggios. His unique teaching style helps you incorporate arpeggios seamlessly into your improvisation. 4\. Bebop Vocabulary Bebop is a style of jazz characterized by fast tempos and intricate melodies. Learning bebop vocabulary—such as specific licks and phrases—can greatly enhance your improvisational skills. Bebop lines are often chromatic and filled with syncopation, adding a dynamic quality to your solos. Jazz Guitar Lesson Tip: [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker)’s course at ArtistWorks includes extensive bebop vocabulary. He breaks down classic bebop licks and shows you how to integrate them into your playing. 5\. Rhythmic Variation Improvisation isn’t just about the notes you play—it’s also about how you play them. Rhythmic variation is crucial for keeping your solos interesting. Experiment with different rhythms, syncopation, and phrasing to add variety to your improvisation. Jazz Guitar Lesson Tip: [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan)‘s lessons at ArtistWorks emphasize the importance of rhythmic variation. He provides exercises and examples to help you develop a strong sense of rhythm in your solos. Learning jazz guitar is a rewarding journey, and mastering improvisation is a significant milestone. [Online jazz guitar lessons](https://www.artistworks.com/guitar-lessons) at ArtistWorks, taught by master guitarists [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker), [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), and [Martin Taylor](https://www.artistworks.com/guitar-lessons-martin-taylor), offer an unparalleled opportunity to elevate your playing. Dave and Sean’s courses, in particular, allow you to interact directly with these renowned musicians and receive personalized feedback on your progress, all while learning at your own pace. Whether you’re looking to master chord tone soloing, scales and modes, arpeggios, bebop vocabulary, or rhythmic variation, ArtistWorks has you covered. Start your jazz guitar journey today and unlock your full potential as a jazz guitarist! READ MORE: [Pre-Sale VIP Memberships for “Fingerstyle Jazz Guitar with Sean McGowan” Now Available!](https://blog.artistworks.com/pre-sale-fingerstyle-jazz-guitar-sean-mcgowan) [Fingerstyle Guitar Lesson: Melodic Improvisation with Martin Taylor](https://blog.artistworks.com/fingerstyle-guitar-lesson-melodic-improvisation) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Jason Vieaux’s Classical Guitar Course](https://blog.artistworks.com/new-lessons-jason-vieaux-classical-guitar-july-2024/) **Published:** July 26, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published nine brand new online guitar lessons to Jason Vieaux’s classical guitar course at ArtistWorks.

**Content:** ![]() This morning, we published nine brand new [online guitar lessons](https://artistworks.com/guitar-lessons) to [Jason Vieaux](https://www.artistworks.com/guitar-lessons-jason-vieaux)’s classical guitar course at ArtistWorks. In these new lessons, Grammy Award-winning guitar master and ArtistWorks classical instructor, [Jason Vieaux](https://www.artistworks.com/guitar-lessons-jason-vieaux), teaches essential étudies and studies from pillars of the classical guitar canon—Fernando Sor, Mauro Giuliani, Francisco Tárrega, and Matteo Carcassi—as well as a few composed by Jason himself. There are lessons outlining two studies composed by Jason and two by Tárrega designed for Jason’s basic curriculum with more introductory players in mind. For more intermediate to advanced players, there are lessons teaching two études from Carcassi, one from Sor, and one from Giuliani—plus, an intermediate bonus lesson detailing one of the most popular classical guitar pieces of all time, “Spanish Romance.” LEARN MORE: [Want to learn how to play classical guitar from a master musician like Jason Vieaux? Try some free online classical guitar lessons now!](https://go.artistworks.com/five-online-lessons-classical-guitar) Alongside Jason’s video instruction, these new lessons include fresh learning materials to supplement Jason’s teaching—including written notation and more. Performance isolation videos in full-screen views from 3 unique angles are available as well, and students can also adjust the playback speed of all the videos and set custom loops to fully tailor the practice experience to their needs. If you’re a current student of Jason’s, dive in now and enjoy learning these brand-new études and studies. If you’re just joining Jason’s amazing online classical guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JASON’S COURSE HERE!](https://www.artistworks.com/guitar-lessons-jason-vieaux) LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [classical guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personal feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, iconic classical guitar works, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Guitar Lesson: Trills and Ornamentation with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-trills-and-ornamentation) [Pre-Sale VIP Memberships for “Fingerstyle Jazz Guitar with Sean McGowan” Now Available!](https://blog.artistworks.com/pre-sale-fingerstyle-jazz-guitar-sean-mcgowan) [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-carulli-andantino-g-major) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Top Five Essential Improvisation Techniques for Bluegrass Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-bluegrass-guitar/) **Published:** July 29, 2024 **Author:** ArtistWorks **Excerpt:**

Learning to improvise on the guitar is a thrilling journey, especially in the vibrant world of bluegrass music. For those looking to enhance their skills, here are the top five essential improvisation techniques every bluegrass guitarist should master. Whether you're a fan of Bryan Sutton, Chris Eldridge, or Tyler Grant, these techniques will help you craft impressive solos and add your unique flair to any jam session.

**Content:** ![]() Learning to improvise on the guitar is a thrilling journey, especially in the vibrant world of bluegrass music. For those looking to enhance their skills, here are the top five essential improvisation techniques every bluegrass guitarist should master. Whether you’re a fan of [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), or [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), these techniques will help you craft impressive solos and add your unique flair to any jam session. LEARN MORE: [Click here to access FREE sample flatpick guitar lessons from bluegrass masters Bryan Sutton, Chris Eldridge, and Tyler Grant!](https://artistworks.com/#freelessons) 1\. Master Flatpicking Flatpicking is the cornerstone of bluegrass guitar. This technique involves using a flat pick to strike individual notes on the guitar strings, creating a clear, crisp sound that’s essential for bluegrass music. To get started, focus on these key elements: Down-Up Picking: Maintain a consistent down-up picking motion to achieve smooth, fluid lines. Economy of Motion: Minimize hand movements to increase speed and accuracy. Accentuation: Emphasize certain notes to add dynamics to your playing. 2\. Utilize the CAGED System The CAGED system is a powerful framework for understanding the fretboard. It allows you to play any chord or scale across the entire neck of the guitar. Here’s how it helps in improvisation: Chord Shapes: Learn the five basic chord shapes (C, A, G, E, D) and their variations. Scales and Arpeggios: Integrate scales and arpeggios within these shapes to create melodic solos. Position Shifts: Seamlessly shift between different positions to extend your soloing range. 3\. Incorporate Bluegrass Licks Bluegrass licks are short, recognizable phrases that you can incorporate into your solos. These licks often feature: Hammer-ons and Pull-offs: These add fluidity and speed to your phrases. Slides and Bends: These techniques bring expressiveness and emotion to your playing. Common Phrases: Learn and adapt classic licks from masters like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). 4\. Develop Your Ear A great improviser has a well-developed ear. Training your ear will help you recognize chord changes, pick up melodies quickly, and stay in tune with your fellow musicians. Here’s how to develop it: Transcribe Solos: Listen to recordings by artists like Punch Brothers and transcribe their solos. Interval Training: Practice recognizing different intervals by ear. Play by Ear: Try to play melodies and solos by ear without relying on tablature or sheet music. 5\. Practice Rhythmic Variation Rhythm is a crucial element in bluegrass improvisation. Varying your rhythmic patterns can make your solos more engaging and dynamic. Focus on: Syncopation: Play notes off the beat to create interesting rhythmic tension. Triplets and Sixteenth Notes: Use these to add complexity to your solos. Timing: Practice with a metronome to improve your sense of timing and groove. Learning with the Masters at ArtistWorks One of the best ways to learn these techniques is through online bluegrass guitar lessons with masters like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant). ArtistWorks offers comprehensive courses that cover these essential techniques and more. Here are some benefits of learning online at ArtistWorks: Personalized Feedback: Receive direct feedback from renowned guitarists. Community Support: Connect with a community of fellow learners. Flexible Learning: Access lessons anytime, anywhere, at your own pace. By learning directly from masters like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), you get insights and techniques that are invaluable in your journey as a bluegrass guitarist. Their courses at ArtistWorks are designed to help you master improvisation and elevate your playing to new heights. Embark on your bluegrass guitar journey today and discover the joy of improvisation with guidance from the best in the field. Whether you’re a beginner or an advanced player, these techniques and lessons will transform your playing and deepen your love for bluegrass music. READ MORE: [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [Guitar Tone Perfection: Achieving the Ultimate Bluegrass Sound](https://blog.artistworks.com/guitar-tone-bluegrass-sound) [Essential Licks Every Advanced Bluegrass Guitarist Should Know](https://blog.artistworks.com/essential-licks-every-bluegrass-guitarist-should-know) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar/) **Published:** July 30, 2024 **Author:** ArtistWorks **Excerpt:**

Blues guitar is a genre that thrives on emotion, expression, and improvisation. Whether you're a budding guitarist or a seasoned player looking to refine your skills, mastering the art of improvisation is crucial. In this blog, we'll explore the top five essential improvisation techniques for blues guitarists, with insights from the esteemed blues guitar and blues rock guitar courses at ArtistWorks, taught by master guitarists Keith Wyatt and Jared James Nichols.

**Content:** Blues guitar is a genre that thrives on emotion, expression, and improvisation. Whether you’re a budding guitarist or a seasoned player looking to refine your skills, mastering the art of improvisation is crucial. In this blog, we’ll explore the top five essential improvisation techniques for blues guitarists, with insights from the esteemed blues guitar and blues rock guitar courses at ArtistWorks, taught by master guitarists [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and [Jared James Nichols](https://artistworks.com/jaredjames-nichols). 1\. Pentatonic Scales and Their Variations The pentatonic scale is the foundation of blues improvisation. It consists of five notes per octave and is versatile, making it a staple in blues guitar. Techniques: Minor Pentatonic Scale: This scale is widely used in blues music. For instance, in the key of A, the notes would be A, C, D, E, and G. Major Pentatonic Scale: Slightly brighter in sound, it can add a different flavor to your solos. Blues Scale: Adding the flat fifth (the “blue note”) to the minor pentatonic scale creates the blues scale, providing an even richer palette for improvisation. Learning with ArtistWorks: [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt)‘s blues guitar lessons delve deep into these scales, providing comprehensive guidance on how to use them effectively. Similarly, [Jared James Nichols](https://artistworks.com/jaredjames-nichols)‘ blues rock guitar lessons offer insights into how these scales can be adapted for a more rock-oriented sound. 2\. Bending and Vibrato Bending and vibrato are techniques that can give your playing a vocal-like quality, which is essential in blues music. Techniques: String Bending: Bending a note up to a target pitch creates a dynamic and expressive sound. Practice bending up a whole step, half step, and micro-bends for varied expression. Vibrato: Adding vibrato at the end of a note can make it sing. Practice different types of vibrato, such as wide, narrow, slow, and fast. Learning with ArtistWorks: [Keith Wyatt](https://artistworks.com/keith-wyatt)’s lessons focus on perfecting these techniques, ensuring that each bend and vibrato you play is expressive and precise. [Jared James Nichols](https://artistworks.com/jaredjames-nichols) also emphasizes these techniques, particularly in the context of blues rock, where aggressive bends and wide vibrato are prominent. 3\. Using Dynamics and Phrasing Dynamics and phrasing play a critical role in conveying emotion in your solos. They involve varying your playing intensity and structuring your solos into coherent, musical statements. Techniques: Volume Control: Varying your picking attack and using the guitar’s volume knob to create dynamic contrasts. Phrasing: Think of your solo as a conversation, with pauses and emphasis on certain notes to tell a story. Blues Rock Guitar Lesson: Phrasing with Jared James Nichols Learning with ArtistWorks: Both [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and [Jared James Nichols](https://artistworks.com/jaredjames-nichols) teach how to effectively use dynamics and phrasing to create impactful solos. Their courses at ArtistWorks include exercises that help you develop a keen sense of musical storytelling. 4\. Call and Response Call and response is a fundamental concept in blues music, originating from African musical traditions. It involves playing a phrase (the call) and then answering it with another phrase (the response). Techniques: Simple Phrases: Start with simple call phrases and then create complementary response phrases. Interactive Playing: Practice call and response with backing tracks or with another musician to develop your improvisational dialogue. Blues Guitar Lesson: Soloing Over the 12 Bar Blues Changes with Keith Wyatt Learning with ArtistWorks: [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt)’s lessons include exercises that help you practice call and response, while [Jared James Nichols](https://artistworks.com/jaredjames-nichols)‘ lessons offer tips on integrating this technique into a more high-energy blues rock context. 5\. Incorporating Blues Guitar Licks Learning and incorporating classic blues guitar licks into your playing can significantly enhance your improvisational vocabulary. Techniques: Lick Library: Build a repertoire of licks by learning from blues legends like B.B. King, Albert King, and Stevie Ray Vaughan. Lick Adaptation: Modify these licks to fit different keys, tempos, and styles to make them your own. Learning with ArtistWorks: [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and [Jared James Nichols](https://artistworks.com/jaredjames-nichols) provide a wealth of blues guitar licks in their ArtistWorks courses, teaching you not only how to play them but also how to adapt and integrate them into your improvisations. Learning blues guitar online at ArtistWorks offers unparalleled benefits. The platform provides structured lessons that cover all the essential techniques for blues improvisation, with personalized feedback from master guitarists. [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and [Jared James Nichols](https://artistworks.com/jaredjames-nichols) bring decades of experience and a deep passion for blues music, helping you to connect directly with the heart of blues guitar. By enrolling in their courses, you gain access to a rich library of lessons, exercises, and personalized guidance, ensuring your journey to mastering blues improvisation is both effective and enjoyable. Start your blues guitar journey today with [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and [Jared James Nichols](https://artistworks.com/jaredjames-nichols) at ArtistWorks, and unlock the true potential of your improvisational skills. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Creative Banjo: Incorporating Non-Traditional Techniques into Bluegrass](https://blog.artistworks.com/creative-banjo-non-traditional-techniques-bluegrass/) **Published:** August 5, 2024 **Author:** ArtistWorks **Excerpt:**

Embracing the Evolution of Bluegrass Banjo

Bluegrass banjo is known for its high-energy, driving rhythms and intricate fingerpicking patterns. While traditional techniques and songs form the backbone of bluegrass music, modern players are increasingly incorporating non-traditional techniques to add a fresh, creative edge to their playing. In this blog, we’ll explore how you can expand your bluegrass banjo repertoire with innovative approaches, and we’ll highlight some of the best resources available to learn from the masters, such as Tony Trischka, Noam Pikelny, and Alison Brown.

**Content:** ![]() Embracing the Evolution of Bluegrass Banjo Bluegrass banjo is known for its high-energy, driving rhythms and intricate fingerpicking patterns. While traditional techniques and songs form the backbone of bluegrass music, modern players are increasingly incorporating non-traditional techniques to add a fresh, creative edge to their playing. In this blog, we’ll explore how you can expand your bluegrass banjo repertoire with innovative approaches, and we’ll highlight some of the best resources available to learn from the masters, such as [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown). LEARN MORE: [Click here to access FREE sample banjo lessons from bluegrass masters Tony Trischka, Noam Pikelny, and Alison Brown!](https://artistworks.com/#freelessons) Exploring Non-Traditional Techniques 1\. Single-String and Melodic Styles While the three-finger Scruggs style is the most iconic in bluegrass, single-string and melodic styles offer a wealth of new possibilities. The single-string technique, often associated with jazz guitar, allows for fast, linear runs that can add complexity and excitement to your solos. The melodic style, popularized by banjo virtuoso Bill Keith, focuses on playing scales and arpeggios with a smooth, flowing sound, enabling intricate melodies that would be difficult to achieve with traditional fingerpicking alone. 2\. Chordal and Percussive Approaches Adding chordal strumming and percussive elements can give your banjo playing a distinctive edge. Techniques such as clawhammer and frailing, often found in old-time music, can be integrated into bluegrass for a rhythmic and textural variety. Percussive techniques, like slapping the head of the banjo or incorporating body percussion, can bring a dynamic, almost drum-like quality to your performances. 3\. Alternate Tunings Experimenting with alternate tunings opens up new sonic landscapes and inspires creative chord voicings and melodies. Tunings like open D or double C can lead to unique harmonic possibilities that are difficult to achieve in standard G tuning. These alternate tunings can also make certain passages easier to play, providing a fresh perspective on familiar tunes. Learning from the Masters For those looking to dive deeper into these non-traditional techniques, there’s no better way than learning directly from the masters. [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) are three of the most innovative banjo players in the bluegrass world today. Their courses on ArtistWorks offer a unique opportunity to learn from these legends. [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) Tony Trischka is a pioneer in progressive bluegrass and has a knack for blending traditional and contemporary styles. His [online bluegrass banjo lessons](https://artistworks.com/banjo-lessons) at ArtistWorks cover a wide range of techniques, from Scruggs-style fundamentals to advanced improvisational concepts. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) Known for his work with Punch Brothers, Noam Pikelny brings a modern, genre-defying approach to the banjo. His lessons on ArtistWorks emphasize technical precision and musicality, making them perfect for players looking to push the boundaries of bluegrass banjo. [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) Alison Brown’s banjo playing seamlessly integrates elements of jazz, Celtic, and classical music. Her ArtistWorks course offers a unique perspective on incorporating non-traditional influences into bluegrass, with a focus on musicality and expression. The Benefits of [Online Bluegrass Banjo Lessons](https://artistworks.com/banjo-lessons) Learning bluegrass banjo online at ArtistWorks offers several key benefits: Access to Master Teachers: Studying with renowned banjoists like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) provides invaluable insights and techniques that can take your playing to the next level. Flexible Learning: Online lessons allow you to learn at your own pace, revisit challenging sections, and practice on your own schedule. Interactive Feedback: ArtistWorks offers a unique video exchange feature, where you can submit videos of your playing and receive personalized feedback from your instructor. This direct interaction with master banjoists helps to refine your technique and musicality. Comprehensive Curriculum: The structured lessons at ArtistWorks cover everything from foundational skills to advanced improvisation and non-traditional techniques, ensuring a well-rounded musical education. Incorporating non-traditional techniques into your bluegrass banjo playing can open up new creative possibilities and enhance your overall musicianship. By learning from master players like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown) through ArtistWorks, you gain access to a wealth of knowledge and inspiration. Whether you’re looking to expand your improvisational skills, explore new styles, or simply add a unique twist to your playing, [online bluegrass banjo lessons](https://artistworks.com/banjo-lessons) at ArtistWorks offer an unparalleled opportunity to connect directly with some of the best banjoists in the world. Embrace the evolution of bluegrass banjo and let your creativity shine! READ MORE: [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [The Banjoist’s Journey: Advanced Techniques for Soloing in Bluegrass](https://blog.artistworks.com/advanced-banjo-techniques-soloing-bluegrass) [The Banjo Player’s Roadmap to Mastering Traditional Bluegrass Rhythms](https://blog.artistworks.com/banjo-roadmap-traditional-bluegrass-rhythms) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Mandolin Dynamics: Playing with Expression in Bluegrass Music](https://blog.artistworks.com/mandolin-dynamics-bluegrass-music/) **Published:** August 12, 2024 **Author:** ArtistWorks **Excerpt:**

The mandolin is a staple in bluegrass music, known for its bright, punchy tone and rapid, percussive strumming. But beyond its technical brilliance, what truly brings the mandolin to life in bluegrass is the dynamic expression a player can infuse into their playing. Mastering mandolin dynamics allows you to convey emotion, build intensity, and create engaging musical narratives, making your playing resonate with listeners. In this blog, we'll explore key techniques to play with expression on the mandolin, especially within the bluegrass genre, and why learning from masters like Sierra Hull and Mike Marshall can elevate your skills.

**Content:** ![]() The mandolin is a staple in bluegrass music, known for its bright, punchy tone and rapid, percussive strumming. But beyond its technical brilliance, what truly brings the mandolin to life in bluegrass is the dynamic expression a player can infuse into their playing. Mastering mandolin dynamics allows you to convey emotion, build intensity, and create engaging musical narratives, making your playing resonate with listeners. In this blog, we’ll explore key techniques to play with expression on the mandolin, especially within the bluegrass genre, and why learning from masters like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) can elevate your skills. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall or Sierra Hull? Try some free online mandolin lessons now!](https://artistworks.com/#freelessons) Understanding Mandolin Dynamics Mandolin dynamics refer to the variations in volume, intensity, and articulation that a player uses to add texture and emotion to their music. In bluegrass, where the mandolin often alternates between rhythm and lead roles, understanding dynamics is crucial for creating compelling solos, effective accompaniment, and memorable licks. 1\. Varying Pick Attack One of the most direct ways to control dynamics on the mandolin is through your pick attack. A lighter touch produces a softer, more delicate sound while digging in with more force can generate a louder, more aggressive tone. In bluegrass, this technique is essential for distinguishing between different sections of a tune, such as playing softly during a verse and then building up power for the chorus. For example, in a driving bluegrass tune, you might start with a subtle, lighter strum on the verses to create a sense of anticipation. Then, as the tune progresses, gradually increase the intensity of your pick attack to heighten the excitement. 2\. Utilizing Tremolo Tremolo is a quintessential mandolin technique, particularly in bluegrass. By rapidly alternating pick strokes on a single note, you can sustain notes longer, which adds a lyrical quality to your playing. The key to using tremolo expressively lies in controlling its speed and volume. Slower, softer tremolos can create a haunting, mournful sound, while faster, louder tremolos can inject energy and drama into a piece. [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), a master of mandolin dynamics, often uses tremolo to great effect in her playing. Her course on ArtistWorks provides in-depth lessons on developing a controlled, expressive tremolo technique that can elevate your bluegrass mandolin improvisation. 3\. Dynamics in Chord Playing Bluegrass mandolinists often employ chop chords—a percussive, muted strumming technique that mimics the sound of a snare drum. While chop chords are typically played with a consistent volume to drive the rhythm, experimenting with dynamics can add nuance. For instance, slightly easing up on the chop during certain beats can create a syncopated feel, adding complexity to your rhythm playing. [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), another mandolin icon and educator, teaches these subtle variations in his ArtistWorks courses. His lessons delve into how to maintain a solid rhythmic foundation while introducing dynamic variations to keep your playing interesting. 4\. Emotional Phrasing in Solos When improvising on the mandolin, particularly in a bluegrass context, phrasing with emotion is key to connecting with your audience. This involves more than just playing the right notes; it’s about how you play them. You can achieve this by incorporating dynamic contrasts—starting a phrase softly and gradually building to a peak, or conversely, beginning with a strong statement and tapering off for effect. [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull)‘s [mandolin lessons](https://artistworks.com/mandolin-lessons) on ArtistWorks emphasize the importance of emotional phrasing. She demonstrates how to shape your solos by using dynamics to create tension and release, making your improvisations more compelling. The Benefits of Learning Bluegrass Mandolin Online with ArtistWorks For aspiring mandolinists looking to deepen their understanding of dynamics and other essential techniques, online lessons offer unparalleled convenience and access to expert instruction. ArtistWorks provides a unique opportunity to learn directly from masters like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), who bring years of professional experience and a passion for teaching. Through ArtistWorks, you can access comprehensive [bluegrass mandolin lessons](https://artistworks.com/mandolin-lessons) tailored to all skill levels. Whether you’re a beginner looking to build a solid foundation or an advanced player seeking to refine your dynamics and improvisation, these courses cover everything you need. Additionally, the video exchange feature allows you to submit your playing for personalized feedback from your instructor, ensuring that you receive guidance tailored to your specific needs. Mastering mandolin dynamics is crucial for any bluegrass player who wants to move beyond playing the notes and start telling a story through music. By varying your pick attack, utilizing tremolo, experimenting with chord dynamics, and phrasing your solos with emotion, you can bring greater expression and impact to your playing. Learning these techniques from accomplished mandolinists like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks gives you a direct connection to the expertise that can transform your playing. The interactive nature of the platform, combined with the depth of knowledge provided, makes it an invaluable resource for anyone serious about advancing their bluegrass mandolin skills. Whether you’re aiming to master mandolin licks or explore new avenues in mandolin improvisation, ArtistWorks offers the guidance and inspiration you need to grow as a musician. By incorporating these dynamic techniques into your practice, you’ll not only enhance your bluegrass mandolin playing but also discover the joy of expressing yourself more fully through this versatile and vibrant instrument. READ MORE: [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [Expanding Your Mandolin Chord Vocabulary: Advanced Chords for Bluegrass](https://blog.artistworks.com/advanced-mandolin-chords-bluegrass) [Exploring Modal Sounds on the Mandolin in Bluegrass Music](https://blog.artistworks.com/modal-sounds-mandolin-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Banjo Tuning Mastery: Exploring Alternate Tunings in Bluegrass Music](https://blog.artistworks.com/banjo-tuning-alternate-tunings-bluegrass/) **Published:** August 19, 2024 **Author:** ArtistWorks **Excerpt:**

The banjo is an iconic instrument in bluegrass music, and mastering its unique sound often begins with understanding its tuning. While the standard G tuning is widely used, exploring alternate banjo tunings can open up a world of new sounds and creative possibilities. In this blog, we’ll delve into the various banjo tunings that are popular in bluegrass music, how they influence the sound of your playing, and how you can incorporate them into your practice routine.

**Content:** ![]() The banjo is an iconic instrument in bluegrass music, and mastering its unique sound often begins with understanding its tuning. While the standard G tuning is widely used, exploring alternate banjo tunings can open up a world of new sounds and creative possibilities. In this blog, we’ll delve into the various banjo tunings that are popular in bluegrass music, how they influence the sound of your playing, and how you can incorporate them into your practice routine. LEARN MORE: [Click here to access FREE sample banjo lessons from bluegrass masters Tony Trischka, Noam Pikelny, and Alison Brown!](https://artistworks.com/#freelessons) The Foundation: Standard G Tuning Before we dive into alternate tunings, it’s important to establish a solid foundation with the standard G tuning, often written as Open G tuning. This tuning (gDGBD) is the starting point for most bluegrass banjo players and is favored for its bright, resonant tone. It’s versatile, allowing for easy access to the most common bluegrass chords and licks. Mastery of the standard G tuning is essential for any aspiring bluegrass banjo player. Exploring Alternate Banjo Tunings Once you’re comfortable with standard G tuning, experimenting with alternate tunings can greatly expand your sonic palette. Here are some popular alternate tunings in bluegrass banjo: 1\. Double C Tuning (gCGCD): This tuning is perfect for old-timey tunes and can give your playing a rich, modal sound. It’s especially effective for songs in the key of C, offering a haunting quality that’s perfect for traditional ballads. 2\. D Tuning (f#DF#AD): Also known as Reuben tuning, this is favored for the classic bluegrass tune “Reuben.” This tuning lowers the banjo’s pitch, giving it a deep, resonant sound that stands out in solo performances. 3\. C Tuning (gCGBD): C tuning is often used in bluegrass and old-time music to achieve a lower, more mellow tone. It’s particularly useful for playing in the key of C without the need for a capo. 4\. Open D Tuning (f#DF#AD): Popularized by bluegrass legends like Earl Scruggs, Open D tuning is ideal for slide playing and gives the banjo a soulful, bluesy sound. Incorporating Alternate Tunings into Your Practice Switching between tunings can be a bit daunting at first, but it’s a skill that can greatly enhance your versatility as a banjo player. Start by learning a few tunes in each tuning, and practice transitioning between them. [Online bluegrass banjo lessons](https://artistworks.com/banjo-lessons) can be incredibly helpful in this regard, as they often provide step-by-step guidance on how to navigate these tunings. Learning from the Masters To truly master alternate banjo tunings, consider learning directly from some of the top banjo players in the world. [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), all offer comprehensive [online bluegrass banjo lessons](https://artistworks.com/banjo-lessons) at ArtistWorks. These courses cover everything from basic techniques to advanced concepts, including the use of alternate tunings in bluegrass music. [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka): Known for his innovative approach to banjo, Tony Trischka’s lessons are perfect for those looking to push the boundaries of their playing. His detailed explanations of alternate tunings and how to apply them in bluegrass and beyond are invaluable. [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown): A trailblazer in progressive bluegrass, Alison Brown’s lessons emphasize the musicality of the banjo. She offers insights into how alternate tunings can be used to create unique textures and harmonies in your playing. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny): A member of Punch Brothers and a master of modern bluegrass, Noam Pikelny’s lessons focus on the technical aspects of banjo playing, including the effective use of alternate tunings to achieve his signature sound. The Benefits of [Online Bluegrass Banjo Lessons](https://artistworks.com/banjo-lessons) Learning bluegrass banjo online at ArtistWorks offers unparalleled access to master banjoists like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown), and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). These courses allow you to learn at your own pace, revisit lessons as needed, and directly connect with the instructors for personalized feedback. Whether you’re looking to master alternate tunings, develop your banjo techniques, or simply expand your repertoire, these lessons provide a comprehensive and flexible way to achieve your goals. Exploring alternate tunings on the banjo can unlock new creative possibilities and deepen your understanding of bluegrass music. By learning from the best, you’ll gain the skills and confidence needed to incorporate these tunings into your playing, making your banjo truly sing. READ MORE: [Creative Banjo: Incorporating Non-Traditional Techniques into Bluegrass](https://blog.artistworks.com/creative-banjo-non-traditional-techniques-bluegrass) [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [The Banjoist’s Journey: Advanced Techniques for Soloing in Bluegrass](https://blog.artistworks.com/advanced-banjo-techniques-soloing-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [“Fingerstyle Jazz Guitar with Sean McGowan” is Now Open!](https://blog.artistworks.com/fingerstyle-jazz-guitar-sean-mcgowan-now-open/) **Published:** August 27, 2024 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Fingerstyle Jazz Guitar with Sean McGowan,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Fingerstyle Jazz Guitar with Sean McGowan](https://artistworks.com/guitar-lessons-sean-mcgowan),” is officially here! As of 9 am PT, the course is officially live and open to all students. [Sean McGowan](https://artistworks.com/guitar-lessons-sean-mcgowan) is a fingerstyle jazz guitarist who combines many diverse musical influences with unconventional techniques to create a broad palette of textures within his compositions and arrangements for solo guitar. His first recording River Coffee won the Best Independent Release of the Year Award (2002) from Acoustic Guitar magazine and music from the recording has been published in Japan’s Acoustic Guitar magazine and Mel Bay’s Master Anthology of Fingerstyle Guitar, Vol. 3 (2005). Sean’s subsequent recordings Indigo (2008) and Sphere: the Music of Thelonious Monk (2011) offer compelling portraits of classic jazz standards performed on solo electric archtop guitar. Sphere was named one of Acoustic Guitar magazine’s “Essential Albums of 2011”, and Sean was recently featured on the cover of Fingerstyle 360 magazine (Summer 2012). His most recent solo guitar recordings include Thanksgiving & Christmas Tidings (2014) a collection of seasonal hymns and carols arranged for acoustic guitar, and My Fair Lady (2015) a collection of songs from Lerner & Loewe’s masterpiece. As a soloist, Sean has performed at several festivals including the Novi Sad International Jazz Festival in Serbia, the Healdsburg Guitar Festival in Napa Valley, Copper Mountain Guitar Town, the La Conner Guitar Festival, the Chet Atkins CAAS Convention, and the Artisan Guitar Show with Jimmy Bruno and Brent Mason. He has also collaborated with several dance and improv companies, as well as with jazz and acoustic musicians throughout the Rocky Mountain region. Sean is an avid arts educator and currently serves as an Associate Professor of Music at the [University of Colorado Denver](https://artsandmedia.ucdenver.edu/areas-of-study/music-entertainment-industry/about-music-entertainment-industry-studies). He earned a DMA in Guitar Performance from the University of Southern California in Los Angeles and has conducted workshops at colleges and guitar organizations throughout the country. He has also presented and performed at the Jazz Education Network conference in New Orleans, the International Symposium for the Performing Arts Medicine Association in Aspen, CO, and numerous College Music Society national and regional conferences. Sean is a strong advocate for injury prevention and health education for musicians, and his workshops incorporate a holistic approach to playing. He is also a contributing editor and educational advisor for Acoustic Guitar magazine. He is the author of Fingerstyle Jazz Guitar Solos (Hal Leonard) and the String Letter book/video instructional methods The Acoustic Jazz Guitarist, Fingerstyle Jazz Guitar Essentials, and Holiday Songs for Fingerstyle Guitar. Sean has also produced eight courses for ArtistWorks’ sister company, [TrueFire](https://truefire.com/educators/sean-mcgowan/e4416), covering the topics of fingerstyle jazz, improvisation, and comping. Through his [online jazz guitar lessons](https://artistworks.com/guitar-lessons-sean-mcgowan) at ArtistWorks, you’ll learn the ins and outs of Sean’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Sean has drawn from his extensive knowledge as a professional guitarist and seasoned educator to create a comprehensive course of [jazz guitar lessons online](https://artistworks.com/guitar-lessons-sean-mcgowan) designed to teach players everything they need to know to become a masterful fingerstyle jazz guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sean and get an intimate look into his unique approach and style. Grow as a guitar player while simultaneously furthering yourself as a musician, and get direct guidance from Sean at every step of your musical journey. [SIGN UP NOW](https://artistworks.com/guitar-lessons-sean-mcgowan) to gain access to Sean’s library of [online guitar lessons](https://artistworks.com/guitar-lessons-sean-mcgowan), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Sean reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Sean McGowan’s "Fingerstyle Jazz Guitar" Livestream Course Launch Party](https://blog.artistworks.com/sean-mcgowan-fingerstyle-jazz-guitar-course-launch-livestream/) **Published:** August 28, 2024 **Author:** ArtistWorks **Excerpt:**

On Thursday, September 5, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring fingerstyle jazz guitar master and our newest ArtistWorks instructor, Sean McGowan.

**Content:** ![]() On Thursday, September 5, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring fingerstyle jazz guitar master and our newest ArtistWorks instructor, [Sean McGowan](https://artistworks.com/guitar-lessons-sean-mcgowan). Through exclusive performances, live guitar lessons, musical and career-related discussions, and a real-time audience Q&A, we’ll be celebrating the release of Sean’s brand new ArtistWorks guitar course, “[Fingerstyle Jazz Guitar](https://artistworks.com/guitar-lessons-sean-mcgowan).” So, if there’s a question that you’ve been dying to ask one of Nashville’s preeminent talents and educators, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/sean-mcgowan-launch-party) to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a Henriksen Blu 6 Amplifier, Vidami Blue Pedal, 12”x18” Archtop Guitar Metal Print to AEA Gallery, a set of Sean’s signature fingerstyle jazz guitar strings, & a free subscription to his new ArtistWorks course! ABOUT THE LIVE-STREAM EVENT: [Sean McGowan’s “Fingerstyle Jazz Guitar” Livestream Course Launch Party](https://go.artistworks.com/sean-mcgowan-launch-party) promises an exciting and engaging experience for guitar players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/sean-mcgowan-launch-party): Witness breathtaking guitar mastery as Sean showcases his unique skills, signature style, and some of the topics that he covers in his ArtistWorks course. [In-depth discussions](https://go.artistworks.com/sean-mcgowan-launch-party): Learn from a pro as Sean delves into the secrets of his guitar techniques, shares stories from his career, and discusses the future of fingerstyle jazz guitar playing. [Q&A sessions](https://go.artistworks.com/sean-mcgowan-launch-party): Have a burning question for Sean? This is your chance to get answers straight from the source during this interactive Q&A session. [Giveaway Prizes](https://go.artistworks.com/sean-mcgowan-launch-party): Sign up to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a Henriksen Blu 6 Amplifier, Vidami Blue Pedal, 12”x18” Archtop Guitar Metal Print to AEA Gallery, a set of Sean’s signature fingerstyle jazz guitar strings, & a free subscription to his new ArtistWorks course! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Fingerstyle Jazz Guitar with Sean McGowan” is Now Open!](https://blog.artistworks.com/fingerstyle-jazz-guitar-sean-mcgowan-now-open) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-12/) **Published:** September 5, 2024 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has just been added! In this lesson, Dave dives into the tune “Solar” as well as some solo ideas for it. You can find the lesson in the Bonus Lessons department. Or CLICK HERE to go to the first part.

**Content:** ![]() We’re excited to announce a new lesson has just been added! In this lesson, Dave dives into the tune “Solar” as well as some solo ideas for it. You can find the lesson in the Bonus Lessons department. Or [CLICK HERE](https://my.artistworks.com/dave-stryker/learning/222098) to go to the first part. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Top 5 Essential Improvisation Techniques for Jazz Pianists](https://blog.artistworks.com/top-5-jazz-piano-improvisation-techniques/) **Published:** September 6, 2024 **Author:** ArtistWorks **Excerpt:**

Improvisation is at the heart of jazz piano, allowing pianists to express their individuality and creativity in real time. But for many jazz pianists, mastering improvisation can feel like a daunting task. With the right approach and practice, however, any pianist can unlock their improvisational potential. Whether you’re a beginner or a seasoned musician, here are the top five essential improvisation techniques every jazz pianist should know.

**Content:** ![]() Improvisation is at the heart of jazz piano, allowing pianists to express their individuality and creativity in real time. But for many jazz pianists, mastering improvisation can feel like a daunting task. With the right approach and practice, however, any pianist can unlock their improvisational potential. Whether you’re a beginner or a seasoned musician, here are the top five essential improvisation techniques every jazz pianist should know. LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) 1\. Mastering the 12-Bar Blues Progression The 12-bar blues is a foundational structure in jazz, making it an excellent starting point for any jazz pianist looking to improve their improvisation skills. This progression not only helps you understand how to build solos around a repetitive chord structure but also serves as a springboard for experimenting with new ideas. Focus on playing around with the I, IV, and V chords, and work to develop phrases that feel natural. Learning from a seasoned pro like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) in his jazz piano course at ArtistWorks can help you dive deep into this progression. He provides insightful jazz piano lessons that demonstrate how to seamlessly integrate the blues into your improvisation toolkit. 2\. Developing Strong Left-Hand Comping Patterns While much of the attention in jazz piano is placed on the right hand, the left-hand plays a crucial role in defining the harmony and rhythm of a piece. Effective comping (accompanying) with your left hand gives you the freedom to focus on improvising melodies with your right hand. In [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty)’s [jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty) at ArtistWorks, you’ll explore various left-hand voicings and rhythmic patterns that will enhance your improvisation. By learning how to use different chord inversions and patterns, you’ll create more space for creative solos. 3\. Building Melodic Phrasing through Scales and Modes Improvisation is about storytelling, and just as a good story has a beginning, middle, and end, so should your improvised phrases. Developing strong melodic phrasing comes from understanding scales and modes. The major scale, minor scale, and modal systems (like Dorian, Mixolydian, and Lydian) are key tools for jazz pianists. In [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty)‘s [online jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty), he breaks down the theory behind these scales and modes, showing you how to craft expressive, engaging melodic lines. His approach helps you internalize these scales so you can use them intuitively during live performances. 4\. Utilizing Chord Substitutions One of the most exciting aspects of jazz piano improvisation is the ability to incorporate chord substitutions. Instead of playing the expected chords, you can replace them with more colorful, harmonically complex choices. Techniques like tritone substitutions, diminished passing chords, and secondary dominants allow you to add depth to your improvisation. Through ArtistWorks’ [online jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty), [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) explains these advanced harmonic concepts in an easy-to-digest way. His lessons on chord substitutions will help you take your improvisational skills to the next level, adding new layers of sophistication to your playing. 5\. Practicing Rhythmic Variation Jazz is as much about rhythm as it is about harmony and melody. A key technique for jazz pianists is learning to vary your rhythmic patterns during improvisation. This means not just sticking to straight eighth notes or swing rhythms but incorporating syncopation, triplets, and rests to keep your solos dynamic and unpredictable. [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty)’s online jazz piano course emphasizes rhythmic improvisation, helping students understand how to “play the spaces” and use rhythm to create excitement in their solos. His lessons provide practical exercises to improve your rhythmic versatility and feel. Why Learn [Jazz Piano Online](https://artistworks.com/jazz-piano-lessons-george-whitty) with [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) at ArtistWorks? Improvisation is a journey that requires both practice and guidance. Learning jazz piano online with ArtistWorks gives you direct access to master pianist [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), who can help you develop your skills at your own pace. His comprehensive [jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty) cover everything from foundational techniques to advanced improvisational concepts. One of the biggest advantages of this online platform is the ability to receive personalized feedback from George himself. By uploading your playing videos, you can get detailed responses from a true jazz legend, helping you fine-tune your approach and grow as a musician. Whether you’re just starting your jazz piano journey or looking to take your improvisation to the next level, ArtistWorks offers an unparalleled opportunity to learn directly from one of the best. Sign up for [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty)’s jazz piano course today and unlock the door to endless improvisational possibilities! READ MORE: [Mastering Blues Piano: A Step-by-Step Guide to Improvisation](https://blog.artistworks.com/mastering-blues-piano-improvisation) [Announcing “Piano with Zachary Deak!”](https://blog.artistworks.com/announcing-piano-zachary-deak) [Jazz Piano Lesson: Adding Guide Tones with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-guide-tones) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [September 2024: New Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/new-lessons-tony-trischka-banjo-course-sept-2024/) **Published:** September 12, 2024 **Author:** ArtistWorks **Excerpt:**

Last week, we published two brand new online banjo lessons to Tony Trischka’s bluegrass banjo course at ArtistWorks.

**Content:** ![]() Last week, we published two brand new [online banjo lessons](https://artistworks.com/banjo-lessons) to [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)’s bluegrass banjo course at ArtistWorks. In these new lessons, bluegrass icon and ArtistWorks banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), teaches two new tunes—the bluegrass classic, “Groundhog,” and one of his original compositions, “Sunrise Expansion.” The lesson outlining “Groundhog” is designed specifically for beginner banjoists, and joins the assortment of tunes Tony covers in the introductory section of his course. These tunes are a great launching point for first-time banjo players and will get beginners playing their favorite bluegrass classics quickly. Tony’s lesson outlining his original piece, “Sunrise Expansion,” is crafted with intermediate players in mind, and is a perfect tune for students to tackle as they progress through Tony’s curriculum. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Alongside Tony’s video instruction, these new lessons include fresh learning materials to supplement Tony’s teaching—including written tablature and more. Performance isolation videos in full-screen views from 3 unique angles are available as well, and students can also adjust the playback speed of all the videos and set custom loops to fully tailor the practice experience to their needs. If you’re a current student of Tony’s, dive in now and enjoy learning these brand-new tunes. If you’re just joining Tony’s amazing online banjo community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR TONY’S COURSE HERE!](https://artistworks.com/banjo-lessons-tony-trischka) LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, improvisation, and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Banjo Tuning Mastery: Exploring Alternate Tunings in Bluegrass Music](https://blog.artistworks.com/banjo-tuning-alternate-tunings-bluegrass) [Creative Banjo: Incorporating Non-Traditional Techniques into Bluegrass](https://blog.artistworks.com/creative-banjo-non-traditional-techniques-bluegrass) [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [September 2024: New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-sept-2024/) **Published:** September 13, 2024 **Author:** ArtistWorks **Excerpt:**

Yesterday, we published nine brand new online guitar lessons to Jared James Nichols’ blues rock guitar course at ArtistWorks.

**Content:** ![]() Yesterday, we published nine brand new [online guitar lessons](https://artistworks.com/guitar-lessons) to [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)’ blues rock guitar course at ArtistWorks. These lessons cover several critical new concepts and are designed specifically for intermediate players. Jared outlines fresh blues rock soloing techniques, and details licks and improvisation methods focused on major, minor, and pentatonic CAGED fingerboard patterns. While these lessons outline licks and approaches to soloing in E major and minor key centers specifically, the beauty of the CAGED system is that transposition to other keys becomes easy and fluid. Working through these lessons will not only teach you new major, minor, and pentatonic licks in the key of E, but they will also improve your vocabulary and abilities as a blues rock soloist. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) Alongside Jared’s video instruction, these new lessons include fresh learning materials to supplement Jared’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, the performance lessons all feature backing tracks and guitar isolations and offer three different camera angles. “One of the best things about the CAGED system is the fact that there are no holes across the neck once you learn it,” Jared explains. “In these lessons, we’re going to go over E major, E minor, and E blues scale licks. We’ll learn these licks in every CAGED position, and I want to challenge you to expand on them and make them your own.” If you’re a current student of Jared’s, dive in now and enjoy learning these brand-new blues rock techniques. If you’re just joining Jared’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JARED’S COURSE HERE!](https://artistworks.com/guitar-lessons-jared-james-nichols) LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, music theory, and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) [The ArtistWorks Virtual Rock & Blues Guitar Roundtable with Paul Gilbert & Jared James Nichols](https://blog.artistworks.com/guitar-roundtable-paul-gilbert-jared-james-nichols-2024) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [September 2024: New Lessons Added to Alex Hargreaves’ Fiddle Course!](https://blog.artistworks.com/new-lessons-alex-hargreaves-fiddle-sept-2024/) **Published:** September 18, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce the release of 10 brand-new fiddle lessons on Alex Hargreaves' online fiddle course at ArtistWorks! Designed for players of all levels—beginner, intermediate, and advanced—these lessons are seamlessly integrated throughout the curriculum to ensure well-rounded growth for every student. Whether you're just starting out or have years of experience, you'll find fresh, inspiring content that will help you improve your technique and musicality.

**Content:** ![]() We are excited to announce the release of 10 brand-new [fiddle lessons](https://www.artistworks.com/fiddle-lessons) on [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves)‘ online fiddle course at ArtistWorks! Designed for players of all levels—beginner, intermediate, and advanced—these lessons are seamlessly integrated throughout the curriculum to ensure well-rounded growth for every student. Whether you’re just starting out or have years of experience, you’ll find fresh, inspiring content that will help you improve your technique and musicality. The new lessons delve into essential concepts like mastering the Modes for improvisation, strengthening the left-hand pinky, and improvising over a 12-bar blues. You’ll also explore playing in the style of the legendary Paul Warren and deepen your understanding of dominant chords, learning both their functions and how to play them effectively. In addition to these invaluable skills, Alex introduces several exciting new tunes to expand your repertoire and challenge your creativity. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Alex Hargreaves? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) Alongside Alex’s video instruction, these new lessons include fresh learning materials to supplement Alex’s teaching—including written notation, song charts, and more. Performance isolation videos in full-screen views from 3 unique angles are available as well, and students can also adjust the playback speed of all the videos and set custom loops to fully tailor the practice experience to their needs. If you’re a current student of Alex’s, dive in now and enjoy learning these brand-new techniques, exercises, and tunes. If you’re just joining Alex’s amazing online fiddle community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR ALEX’S COURSE HERE!](https://www.artistworks.com/fiddle-lessons-alex-hargreaves) LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://www.artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves), and get personal feedback on your playing. Alex’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation, and classic tunes in a variety of styles including bluegrass, jazz, swing, and Texas fiddle. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [Fiddle Lesson: An Introduction to Shuffles with Darol Anger](https://blog.artistworks.com/fiddle-lesson-shuffles-darol-anger) [Mastering Bluegrass & Old-Time Fiddle Bowing Techniques: A Guide to Enhance Your Performance](https://blog.artistworks.com/mastering-bluegrass-fiddle-bowing-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Course: Announcing “Clawhammer Banjo with Allison de Groot”](https://blog.artistworks.com/new-course-clawhammer-banjo-allison-de-groot/) **Published:** September 23, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in mid-November 2024, “Clawhammer Banjo with Allison de Groot.”

**Content:** ![]() We are excited to announce our newest course coming in mid-November 2024, “[Clawhammer Banjo with Allison de Groot](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot).” On clawhammer banjo, [Allison de Groot](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) has become a significant voice in the North American traditional, Americana, and roots music scenes. Her style is adventurous and grounded, and No Depression writes it “transports the listener to a different plane”. Starting out on banjo in her hometown of Winnipeg, MB, Allison’s grown into a career of exciting collaborations and continued musical exploration. She has performed and recorded alongside some of the most renowned traditional musicians in North America and Europe and was nominated by the Americana Music Association for 2023 ‘Instrumentalist of the Year’. Collaboration is at the center of Allison’s music. Her duo with fiddler Tatiana Hargreaves has been described by Bandcamp Daily as “one living, breathing organism”. Allison and Tatiana create a sound that is adventurous, masterful, and original. They expand on the eccentricities of old songs, while never losing sight of what makes them endure. Their latest release ‘Hurricane Clarice’ won two Canadian Folk Music Awards and was nominated for ‘Traditional Album of the Year’ at the Juno Awards. Alongside bandmates Tatiana Hargreaves, percussive dancer Nic Gareiss, and legendary fiddler Bruce Molsky, Allison has performed at festivals such as Newport Folk Festival, Pickathon, Red Wing Roots, Winnipeg Folk Festival, Hardly Strictly and Celtic Connections. For a second year in a row, Allison and Tatiana are working in the Celtic Connections Transatlantic Sessions house band led by Jerry Douglas. Through her [online clawhammer banjo lessons](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) at ArtistWorks, you’ll learn the ins and outs of Allison’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Allison has drawn from her extensive knowledge as a professional banjoist and seasoned educator to create a comprehensive course of [clawhammer banjo lessons online](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) designed to teach players everything they need to know to become a masterful clawhammer banjoist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Allison and get an intimate look into her unique approach and style. Grow as a banjo player while simultaneously furthering yourself as a musician, and get direct guidance from Allison at every step of your musical journey. [Sign up now](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) for news updates from Allison and ArtistWorks, exclusive presale opportunities, invitations to live events, free sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [September 2024: New Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/new-lessons-tony-trischka-banjo-course-sept-2024) [Banjo Tuning Mastery: Exploring Alternate Tunings in Bluegrass Music](https://blog.artistworks.com/banjo-tuning-alternate-tunings-bluegrass) [Creative Banjo: Incorporating Non-Traditional Techniques into Bluegrass](https://blog.artistworks.com/creative-banjo-non-traditional-techniques-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Fingerstyle Jazz Guitar Lesson: Question & Answer Improvisation Approach with Sean McGowan](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-question-answer-improvisation-sean-mcgowan/) **Published:** September 26, 2024 **Author:** ArtistWorks **Excerpt:**

The concept of "question and answer" or "call and response" musical phrasing in solo jazz guitar improvisation is a way to create a musical dialogue within a performance. The "question" is a phrase that opens an idea, while the "answer" resolves or responds to that idea. This conversational approach helps to establish structure, tension, and release, mimicking human speech patterns, which makes the music more engaging and relatable to the listener.

**Content:** ![]() The concept of “question and answer” or “call and response” musical phrasing in solo jazz guitar improvisation is a way to create a musical dialogue within a performance. The “question” is a phrase that opens an idea, while the “answer” resolves or responds to that idea. This conversational approach helps to establish structure, tension, and release, mimicking human speech patterns, which makes the music more engaging and relatable to the listener. In this [online jazz guitar lesson](https://www.artistworks.com/guitar-lessons), fingerstyle guitar master and ArtistWorks jazz instructor, [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), introduces the concept of “question and answer” phrasing in the context of a solo fingerstyle jazz guitar performance, and outlines some of his favorite techniques for creating a dynamic musical dialogue. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Sean McGowan? Try some free online jazz guitar lessons now!](https://go.artistworks.com/guitar-lessons-sean-mcgowan) In solo jazz guitar, this technique is especially important because it allows a single performer to create the illusion of multiple musical voices interacting. The improviser can use contrasting elements such as phrasing, dynamics, and rhythm to differentiate the “question” and “answer” phrases. For example, a bright, staccato melodic line could serve as the “question,” while a more relaxed and legato phrase functions as the “answer.” Varying between single-note melodic lines, chordal comping, and bass lines adds depth and variety to this conversational dynamic. A melodic “question” can be followed by a chordal “answer” to simulate the interaction between a soloist and an accompanist. Alternating these techniques can help the improvisation feel like a complete and multi-layered performance, even when played by a solo musician. Incorporating bass lines into the call-and-response framework not only reinforces the harmonic foundation but also adds rhythmic complexity. A player can weave in a bassline response to a melodic statement, further enhancing the perception of two voices in dialogue. This interplay between melody and bass can maintain momentum while anchoring the improvisation harmonically. By blending these elements—melody, chords, and bass—into question-and-answer phrasing, a solo guitarist can keep their improvisation dynamic and engaging. This approach mimics the give-and-take of a conversation, offering musical resolution and variety while maintaining a cohesive structure throughout the performance. Question & Answer Improvisation Approach with Sean McGowan: LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [jazz guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), and get personal feedback on your playing. Sean’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, and music theory utilized by modern-day jazz guitarists. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist and musician. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Fingerstyle Jazz Guitar with Sean McGowan” is Now Open!](https://blog.artistworks.com/fingerstyle-jazz-guitar-sean-mcgowan-now-open) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [the tunebooks](https://blog.artistworks.com/tunebooks/) **Published:** October 2, 2024 **Author:** ArtistWorks **Excerpt:**

I've got physical copies of the Bluegrass tunebook again now, and you can dounload a PDF of the Jazz book at this point. Go to my BandCamp page to see these.

**Content:** ![]() I’ve got physical copies of the Bluegrass tunebook again now, and you can dounload a PDF of the Jazz book at this point. Go to my [**BandCamp** ](https://darolanger1.bandcamp.com/merch)page to see these. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [a big event in Westford, Massachussetts](https://blog.artistworks.com/big-event-westford-massachussetts/) **Published:** October 2, 2024 **Author:** ArtistWorks **Excerpt:**

Just to remind everyone in the New England area about this terrific event coming up in November. Just the thing to get our minds off the election.

**Content:** ![]() Just to remind everyone in the New England area about this terrific event coming up in November. Just the thing to get our minds off the election. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mr Sun plays the Ellington Nutcracker this December](https://blog.artistworks.com/mr-sun-plays-ellington-nutcracker-december/) **Published:** October 2, 2024 **Author:** ArtistWorks **Excerpt:**

OK, folks, I'mjust gonna pretend that everything's gonna be normal this December and we're going to do this wonderful tour! Hope to see you somewhere!

**Content:** **OK, folks, I’mjust gonna pretend that everything’s gonna be normal this December and we’re going to do this wonderful tour! Hope to see you somewhere!** ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [October 2024: New Lessons Added to Stu Hamm’s Electric Bass Course](https://blog.artistworks.com/new-lessons-stu-hamm-electric-bass-oct-2024/) **Published:** October 2, 2024 **Author:** ArtistWorks **Excerpt:**

This morning, we published three brand new online bass lessons on Stu Hamm’s electric bass course at ArtistWorks.

**Content:** ![]() This morning, we published three brand new [online bass lessons](https://artistworks.com/bass-lessons) on [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm)’s electric bass course at ArtistWorks. In these new lessons, world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), expands on pentatonic scale topics he covered in the course’s introductory and intermediate sections and also teaches two new tunes from his most recent album release, [Hold Fast](https://stuhamm.com/store/p/holdfast). LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) In Stu’s previous new lesson releases, he published detailed instructional videos for beginner and intermediate players outlining critical concepts connected to the pentatonic scale. The new lessons published today include the final installment in this series—moving into more advanced-level instruction focused on utilizing the pentatonic scale in improvisations and solos. Stu also provides lessons on two tunes from his recent album release, [Hold Fast](https://stuhamm.com/store/p/holdfast)—“Tales of My Midwestern Youth” and “When This is Over”. In addition to teaching his fingerstyle bass lines from these two songs, Stu also uses this opportunity to outline his funky slap bass techniques exemplified in “When This is Over”. Alongside Stu’s video instruction, these new lessons include fresh learning materials to supplement Stu’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, the play-along backing tracks for “Tales of My Midwestern Youth” and “When This is Over” are the board mixes from the actual [Hold Fast](https://stuhamm.com/store/p/holdfast) album with the bass removed. So, you can play along with the members of Stu’s real band—the legendary Alex Skolnick on guitar and Joel Taylor on drums! All the performances are offered in 3 camera angle isolations with tools to slow down and speed up the videos and a complete analysis from Stu. If you’re a current student of Stu’s, dive in now and enjoy learning these brand-new tunes and techniques. If you’re just joining Stu’s amazing online bass community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR STU’S COURSE HERE!](https://artistworks.com/bass-lessons-stu-hamm) LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://www.artistworks.com/bass-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [39 New Lessons Added to Stu Hamm’s Electric Bass Course](https://blog.artistworks.com/39-new-lessons-stu-hamm-electric-bass) [Slap Bass Guitar Lesson: Popping & Pull-Offs with Stu Hamm](https://blog.artistworks.com/slap-bass-guitar-lesson-popping-pull-offs) [Upright Bass Lesson: Walking Bass Lines Over Altered Chords with John Patitucci](https://blog.artistworks.com/bass-lesson-walking-bass-lines-altered-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Top 5 Benefits of Learning Piano as a Second Instrument](https://blog.artistworks.com/top-5-benefits-learning-piano-second-instrument/) **Published:** October 19, 2024 **Author:** ArtistWorks **Excerpt:**

Learning to play the piano is a rewarding and enriching experience, whether you’re an absolute beginner or a seasoned musician looking to add another instrument to your repertoire. If you already play an instrument and are considering learning piano, you're in for an incredible journey. Here are the top five reasons why learning the piano as a second instrument can elevate your musicianship to new heights.

**Content:** ![]() Learning to play the piano is a rewarding and enriching experience, whether you’re an absolute beginner or a seasoned musician looking to add another instrument to your repertoire. If you already play an instrument and are considering learning piano, you’re in for an incredible journey. Here are the top five reasons why learning the piano as a second instrument can elevate your musicianship to new heights. 1\. Enhance Your Music Theory Understanding The piano is a visual representation of music theory. Its layout makes it easier to grasp the relationships between notes, chords, and scales. Whether you’re diving into classical piano or exploring jazz improvisation, the piano’s structure offers a unique clarity in understanding harmonic relationships. Playing piano helps you internalize music theory concepts like chord progressions, key signatures, and intervals, which you can apply to any instrument. For those wanting a deeper dive into classical techniques, the [Classical Piano](https://www.artistworks.com/piano-lessons-christie-peery) Course taught by [Christie Peery](https://www.artistworks.com/piano-lessons-christie-peery) at ArtistWorks offers invaluable insights. Christie’s methodical approach ensures you understand the fundamentals of music theory while building your technique, making it easier to connect theory with practice. 2\. Develop Your Improvisation Skills Improvisation is a core element in many genres, especially jazz, and learning piano opens up new possibilities for creative exploration. Unlike other instruments, the piano allows you to simultaneously play melody, harmony, and rhythm, which significantly enhances your ability to improvise across various musical contexts. Taking [online piano lessons](https://www.artistworks.com/piano-lessons) with [George Whitty](https://www.artistworks.com/jazz-piano-lessons-george-whitty), a Grammy-winning jazz pianist, at ArtistWorks can sharpen your jazz piano improvisation skills. His lessons delve into essential techniques like voicings, modes, and playing by ear, helping you confidently experiment with improvisation. 3\. Improve Your Sight-Reading Piano sheet music often includes multiple lines of music, giving pianists the chance to practice reading complex notations. Learning to sight-read piano music can improve your overall sight-reading skills, which transfers to other instruments. Being able to read and interpret music efficiently opens doors to more musical opportunities and collaborations. The [Essential Piano](https://www.artistworks.com/beginner-piano-lessons) Course by [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons) at ArtistWorks is perfect for those who want to improve their sight-reading while learning the basics of piano. Zachary’s detailed approach ensures that even those with limited piano experience can advance quickly and accurately, providing a strong foundation for sight-reading across all instruments. 4\. Expand Your Musical Versatility The piano is one of the most versatile instruments across genres. Whether you enjoy classical music, jazz, rock, or pop, the piano fits seamlessly into almost any musical style. Learning piano will enable you to explore diverse genres more freely, making you a more adaptable and versatile musician. By taking [online piano lessons](https://www.artistworks.com/piano-lessons) at ArtistWorks, you can explore both classical and jazz piano techniques under the guidance of renowned pianists like [Christie Peery](https://www.artistworks.com/piano-lessons-christie-peery) and [George Whitty](https://www.artistworks.com/jazz-piano-lessons-george-whitty). Their courses not only teach you technical skills but also open the door to exploring a wide range of musical genres. 5\. Enhance Your Composition and Arrangement Abilities If you’re interested in composing or arranging music, the piano is an invaluable tool. Its ability to cover both melody and harmony makes it ideal for sketching out compositions or arranging music. You can experiment with different chord progressions, melodies, and structures all at once on the piano, enhancing your creativity as a composer or arranger. With [Christie Peery](https://www.artistworks.com/piano-lessons-christie-peery)‘s [Classical Piano](https://www.artistworks.com/piano-lessons-christie-peery) Course and [George Whitty](https://www.artistworks.com/jazz-piano-lessons-george-whitty)‘s [Jazz Piano](https://www.artistworks.com/jazz-piano-lessons-george-whitty) Course, you’ll learn to approach composition from both a classical and improvisational perspective. Understanding these two key elements will greatly improve your composition skills. Conclusion: Why Learn Piano Online at ArtistWorks? Learning to play piano as a second instrument brings endless benefits, from improving your theoretical knowledge and sight-reading to enhancing your versatility and composition skills. Taking piano lessons online at ArtistWorks is the perfect way to accelerate your learning, offering the convenience of on-demand lessons taught by master pianists. With the [Classical Piano](https://www.artistworks.com/piano-lessons-christie-peery) Course by [Christie Peery](https://www.artistworks.com/piano-lessons-christie-peery), [Jazz Piano](https://www.artistworks.com/jazz-piano-lessons-george-whitty) Course by [George Whitty](https://www.artistworks.com/jazz-piano-lessons-george-whitty), and [Essential Piano](https://www.artistworks.com/beginner-piano-lessons) Course by [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons), you have direct access to some of the world’s best instructors. These courses provide personal feedback and support, ensuring your progress on the piano is both guided and enriching. By connecting with a master pianist through online lessons at ArtistWorks, you’ll be able to elevate your musical abilities to new levels—whether you’re looking to master classical piano, sharpen your jazz improvisation, or build a solid foundation with essential piano skills. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [October 2024: New Lessons Added to Dave Isaacs’ Guitar Course, Session Player Toolkit](https://blog.artistworks.com/new-lessons-dave-isaacs-oct-2024/) **Published:** October 25, 2024 **Author:** ArtistWorks **Excerpt:**

Yesterday, we published a brand new unit on Dave Isaacs’ guitar course at ArtistWorks, Session Player Toolkit, comprised of ten fresh online guitar lessons.

**Content:** ![]() Yesterday, we published a brand new unit on [Dave Isaacs](https://artistworks.com/guitar-lessons-dave-isaacs)’ guitar course at ArtistWorks, [Session Player Toolkit](https://artistworks.com/guitar-lessons-dave-isaacs), comprised of ten fresh [online guitar lessons](https://artistworks.com/guitar-lessons-dave-isaacs). Through this brand new section of material, premier Nashville guitarist, lifelong music educator, and ArtistWorks multi-style guitar instructor [Dave Isaacs](https://artistworks.com/guitar-lessons-dave-isaacs) teaches everything from rhythm techniques and comping to scales, music theory, melodic concepts, and improvisation methods all in the key of F# minor. Previously comprised of eight sections of material, Dave’s course outlines all of the essential techniques listed above in the context of an original composition that Dave crafted specifically for this course with the addition of this new ninth section, aptly named “Struttin’ Funky Blues-Rock — Key of F#Minor”. LEARN MORE: [Want to learn how to play guitar from a master musician like Dave Isaacs? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-dave-isaacs) Alongside Dave’s video instruction, these new lessons include fresh learning materials to supplement Dave’s teaching—including tablature, notation, play-along backing tracks, and more. In fact, each lesson features accompanying backing tracks, guitar isolations, and three different camera angles, allowing you to translate these musical concepts onto the fretboard quickly! If you’re a current student of Dave’s, dive in now and enjoy learning these brand-new F# minor blues-rock techniques. If you’re just joining Dave’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR DAVE’S COURSE HERE!](https://artistworks.com/guitar-lessons-dave-isaacs) LEARN MORE: Have you always wanted to learn how to play the guitar? Through our comprehensive [guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and music theory utilized by modern-day session musicians. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist fluent in a variety of styles. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) [Guitar Lesson: Melodic String Bending with Dave Isaacs](https://blog.artistworks.com/guitar-lesson-string-bending-dave-isaacs) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [October 2024: New Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/new-lessons-tony-trischka-banjo-course-oct-2024/) **Published:** October 29, 2024 **Author:** ArtistWorks **Excerpt:**

Exciting news for bluegrass banjo enthusiasts! Two brand-new lessons have just been added to Tony Trischka’s comprehensive banjo course at ArtistWorks, bringing even more depth to the learning experience. These new lessons, crafted by the legendary banjo player and educator, are perfect for both advancing your technical skills and expanding your musical versatility.

**Content:** ![]() Exciting news for bluegrass banjo enthusiasts! Two brand-new lessons have just been added to [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)’s comprehensive banjo course at ArtistWorks, bringing even more depth to the learning experience. These new lessons, crafted by the legendary banjo player and educator, are perfect for both advancing your technical skills and expanding your musical versatility. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) The first lesson, Pentatonic Arpeggiated Chords, dives into using arpeggios creatively across the neck. In this session, Tony explores how to apply pentatonic arpeggios to classic tunes like “Blackberry Blossom,” teaching you techniques to effortlessly move up and down the fretboard and even skip positions for added flair. Each exercise and example is provided in detailed tablature, making it easy to follow along and practice at your own pace. The second addition, D Tuning: You Know More Than You Think You Know, is designed to demystify the process of transposing tunes from G to D tuning. Tony shows how simply shifting familiar licks down a string can open up a whole new world in D, making it accessible to players who may feel daunted by the tuning change. This lesson empowers students to broaden their repertoire by transferring familiar sounds and shapes, proving that you might already know more than you think! Both lessons come with a rich selection of supplemental materials, including full tablature and a unique practice experience with Tony’s performance isolation videos. With three different camera angles and adjustable playback speed, students can now tailor their learning experience more closely than ever. The ability to loop specific sections makes mastering complex passages easier, ensuring that every student can progress confidently at their own pace. If you’re a current student of Tony’s, dive in now and enjoy learning these brand-new tunes. If you’re just joining Tony’s amazing online banjo community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR TONY’S COURSE HERE!](https://artistworks.com/banjo-lessons-tony-trischka) LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, improvisation, and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-sale VIP Memberships for “Clawhammer Banjo with Allison de Groot” Now Available!](https://blog.artistworks.com/pre-sale-clawhammer-banjo-allison-de-groot) [Banjo Tuning Mastery: Exploring Alternate Tunings in Bluegrass Music](https://blog.artistworks.com/banjo-tuning-alternate-tunings-bluegrass) [Creative Banjo: Incorporating Non-Traditional Techniques into Bluegrass](https://blog.artistworks.com/creative-banjo-non-traditional-techniques-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [November 2024: New Lessons Added to Jared James Nichols' Blues Rock Guitar Course](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-nov-2024/) **Published:** November 1, 2024 **Author:** ArtistWorks **Excerpt:**

Exciting news for blues rock guitar enthusiasts! ArtistWorks has just added four brand-new lessons to Jared James Nichols' popular guitar course. In these new lessons, Jared dives into the versatile Dorian scale, teaching students how he uses this distinctive mode to add depth and flavor to his soloing. Through his step-by-step instruction, players of all levels can learn to incorporate the Dorian mode into their own playing and enhance their improvisational skills.

**Content:** ![]() Exciting news for blues rock guitar enthusiasts! ArtistWorks has just added four brand-new lessons to [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)‘ popular guitar course. In these new lessons, Jared dives into the versatile Dorian scale, teaching students how he uses this distinctive mode to add depth and flavor to his soloing. Through his step-by-step instruction, players of all levels can learn to incorporate the Dorian mode into their own playing and enhance their improvisational skills. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) The new lessons also include a comprehensive look at F# Dorian licks across all five CAGED positions on the fretboard. Jared takes the time to break down a few licks in each position, allowing students to get familiar with how F# Dorian licks sound and feel in different areas of the neck. This CAGED system approach helps students navigate the fretboard more fluidly and explore fresh, creative possibilities for soloing. In addition to Jared’s clear video instruction, each lesson includes a robust set of learning materials designed to help students get the most out of their practice time. Written tablature accompanies each lick and scale position, and there are play-along backing tracks to support jam practice and improve timing and improvisational flow. To make learning even easier, the lessons also feature performance isolation videos with full-screen views from three unique angles, allowing students to follow Jared’s finger placements and techniques closely. Plus, ArtistWorks offers a range of helpful practice tools, including adjustable playback speed and custom looping, allowing students to slow down the material, repeat tricky sections, and build confidence at their own pace. Whether you’re new to the Dorian scale or looking to master F# licks in every CAGED position, these new lessons add a wealth of resources to [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)’ blues rock course. Check them out today and elevate your blues rock guitar playing! If you’re a current student of Jared’s, dive in now and enjoy learning these brand-new blues rock techniques. If you’re just joining Jared’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JARED’S COURSE HERE!](https://artistworks.com/guitar-lessons-jared-james-nichols) LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, music theory, and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [September 2024: New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-sept-2024) [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing “Flamenco Guitar with Noa Drezner”](https://blog.artistworks.com/new-course-flamenco-guitar-noa-drezner/) **Published:** November 5, 2024 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in mid-December 2024, “Flamenco Guitar with Noa Drezner.”

**Content:** ![]() We are excited to announce our newest course coming in mid-December 2024, “[Flamenco Guitar with Noa Drezner](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner).” [Noa Drezner](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner) is a virtuoso flamenco guitarist celebrated for her captivating performances and deep mastery of traditional and modern flamenco styles. Born in Israel, Noa was drawn to music at a young age and initially explored various instruments before dedicating herself entirely to the guitar. Her passion for flamenco emerged early, inspiring her to pursue formal training in Spain under the guidance of renowned flamenco masters. Immersing herself in the rich cultural heritage of Andalusia, Noa honed her technique, mastering the intricate rhythms, fingerpicking, and percussive elements that define flamenco guitar. Over time, she developed a unique voice within the genre, blending authenticity with innovative phrasing and compositions that resonate with audiences worldwide. Noa’s career has been marked by a series of high-profile performances and collaborations with leading flamenco artists, as well as jazz and world musicians. Her style is recognized for its emotional depth, technical precision, and ability to convey the essence of flamenco while exploring new musical territories. Noa’s performances often include traditional flamenco forms, such as the bulería, soleá, and tangos, which she interprets with a personal flair that respects tradition yet allows for creative expression. She has appeared on stages across Europe, North America, and Latin America, where her performances are praised for their passion and intensity, leaving a lasting impact on audiences and critics alike. In addition to her performance career, [Noa Drezner](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner) is dedicated to teaching flamenco guitar to a new generation of musicians. She regularly conducts workshops and masterclasses, sharing her knowledge of flamenco techniques and its cultural significance. Her teaching philosophy emphasizes the importance of both technical skill and emotional expression, encouraging students to develop their own unique styles while staying grounded in flamenco traditions. As a trailblazing figure in the flamenco world, Noa continues to expand her repertoire, compose new works, and inspire audiences with her dedication to one of Spain’s most beloved art forms. Through her [online flamenco guitar lessons](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner) at ArtistWorks, you’ll learn the ins and outs of Noa’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Noa has drawn from her extensive knowledge as a professional flamenco guitarist and seasoned educator to create a comprehensive course of [flamenco guitar lessons online](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner) designed to teach players everything they need to know to become a masterful flamenco guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Noa and get an intimate look into her unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Noa at every step of your musical journey. [Sign up now](https://go.artistworks.com/flamenco-guitar-lessons-noa-drezner) for news updates from Noa and ArtistWorks, exclusive presale opportunities, invitations to live events, free sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The Virtual Bluegrass Roundtable with Alex Hargreaves & Michael Daves](https://blog.artistworks.com/virtual-bluegrass-roundtable-2024/) **Published:** November 8, 2024 **Author:** ArtistWorks **Excerpt:**

On Wednesday, November 13, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring world-renowned bluegrass vocal master and multi-instrumentalist Michael Daves and fiddle icon and member of Billy Strings' touring band Alex Hargreaves.

**Content:** ![]() On Wednesday, November 13, 2024, at 1:00 pm PT / 4:00 pm ET, ArtistWorks will host a free virtual live-streamed event featuring world-renowned bluegrass vocal master and multi-instrumentalist [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and fiddle icon and member of Billy Strings’ touring band [Alex Hargreaves](https://artistworks.com/fiddle-lessons-alex-hargreaves). Together, these two master musicians will discuss all things bluegrass and music, share exclusive performances, and answer viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing artists, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2024-virtual-bluegrass-roundtable) to RSVP for the event, receive FREE sample lessons from any of our world-renowned bluegrass instructors, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! We will be awarding the free subscription to three lucky winners! ABOUT THE LIVE-STREAM EVENT: [The Virtual Bluegrass Roundtable](https://go.artistworks.com/2024-virtual-bluegrass-roundtable) promises an exciting and engaging experience for musicians of any instrument and bluegrass lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2024-virtual-bluegrass-roundtable): Witness breathtaking bluegrass mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2024-virtual-bluegrass-roundtable): Learn from the pros as they delve into the secrets of their unique techniques on their respective instruments, share stories from their careers, and discuss the future of bluegrass music. [Q&A sessions](https://go.artistworks.com/2024-virtual-bluegrass-roundtable): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2024-virtual-bluegrass-roundtable): Sign up to RSVP for the event, receive FREE sample lessons from any of our world-renowned bluegrass instructors, and enter for your chance to WIN a 12-month subscription to the ArtistWorks course of your choice! Now, let’s get acquainted with our star-studded lineup: [ALEX HARGREAVES](https://www.artistworks.com/fiddle-lessons-alex-hargreaves) Alex Hargreaves is a renowned fiddle virtuoso and a key member of Billy Strings’ touring band, where his innovative playing brings new depth to the bluegrass soundscape. Born with a natural talent for music, Hargreaves began his journey with the fiddle at an early age, quickly establishing himself as one of the most promising young talents in acoustic and bluegrass music. Over the years, he’s gained a reputation for his extraordinary technical prowess, improvisational creativity, and genre-blending style, drawing from bluegrass, jazz, and classical influences. His dynamic performances with Billy Strings have elevated him to a high standing in the bluegrass community, where he’s recognized not only as a skilled musician but as a boundary-pushing artist. Throughout his career, Hargreaves has collaborated with a host of celebrated musicians, including David Grisman, Jerry Douglas, and Chris Thile, each collaboration further enriching his musical expertise. He’s also won several prestigious awards, including the Grand Champion title at the National Oldtime Fiddlers’ Contest in Weiser, Idaho. His versatility and passion for improvisation have made him a sought-after fiddler in both live and studio settings, and his influence is evident across a range of modern bluegrass recordings. Known for blending traditional and progressive styles, Hargreaves has managed to create a signature sound that appeals to both bluegrass purists and newer fans of the genre. In March 2024, Hargreaves expanded his influence on the fiddle community by launching an online fiddle course with ArtistWorks. Through this interactive platform, he offers personalized lessons, feedback, and a structured curriculum designed to help players at all skill levels improve their technique and develop their own voice on the instrument. His course covers fundamentals, advanced techniques, and improvisational skills, with a focus on the unique challenges and styles within bluegrass. Hargreaves’s teaching style is approachable and thorough, making his lessons accessible for beginners while still providing valuable insights for seasoned fiddlers. His expertise and passion for sharing knowledge have already garnered a loyal following among students eager to learn from one of today’s bluegrass greats. Hargreaves’s contributions to bluegrass go beyond performance and teaching; he’s also an ambassador for the genre, helping to bridge generations of fiddle players. Through both his work with Billy Strings and his online course, he has inspired countless musicians to push their limits, embrace new ideas, and keep the bluegrass tradition vibrant and evolving. As Hargreaves continues to make his mark, his influence will undoubtedly shape the future of bluegrass fiddle for years to come. [MICHAEL DAVES](https://www.artistworks.com/bluegrass-vocal-lessons-michael-daves) Michael Daves is a renowned bluegrass musician and educator celebrated for his soulful voice, unique style, and masterful command of multiple instruments. Born and raised in Atlanta, Georgia, Daves honed his bluegrass skills in the rich musical traditions of the South. His early exposure to bluegrass and roots music sparked a deep-seated passion that led him to a lifelong career as a performer and teacher. Known for his collaborations with artists like Chris Thile, [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), and Steve Martin, Daves has made a name for himself both as a powerful solo artist and an indispensable sideman. Daves’ distinctive approach blends traditional bluegrass elements with modern influences, infusing his music with energy and authenticity. His collaborations with Chris Thile, particularly on their Grammy-nominated album Sleep With One Eye Open, showcased his versatility and innovative edge, further cementing his reputation as a bluegrass icon. Whether playing guitar, mandolin, or singing, Daves brings a raw, emotional quality to his performances that resonates with audiences worldwide. His style, often described as both respectful of tradition and refreshingly modern, has drawn acclaim from critics and fans alike. Since 2016, Daves has been sharing his expertise through an online bluegrass vocal course at ArtistWorks. In his course, Daves breaks down bluegrass vocal techniques, offering students a chance to learn harmony, phrasing, and stylistic elements unique to bluegrass singing. The course provides a structured curriculum, allowing students to submit videos, receive feedback directly from Daves, and join a community of bluegrass enthusiasts. His teaching style is engaging and accessible, making it easier for students of all skill levels to develop their voices and understanding of bluegrass. Through his work on ArtistWorks and his active career as a performer, Michael Daves continues to inspire the next generation of bluegrass musicians. His dedication to both preserving and evolving bluegrass music has solidified his place in the genre’s contemporary landscape. Daves’ contributions have not only kept traditional bluegrass alive but have also paved the way for fresh, innovative interpretations that appeal to new audiences around the world. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mandolin Dynamics: Playing with Expression in Bluegrass Music](https://blog.artistworks.com/mandolin-dynamics-bluegrass-music) [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [Mastering Bluegrass & Old-Time Fiddle Bowing Techniques: A Guide to Enhance Your Performance](https://blog.artistworks.com/mastering-bluegrass-fiddle-bowing-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [November 2024: New Lessons Added to Jason Vieaux’s Classical Guitar Course](https://blog.artistworks.com/new-lessons-jason-vieaux-classical-guitar-nov-2024/) **Published:** November 11, 2024 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce nine brand-new lessons in Jason Vieaux’s classical guitar course on ArtistWorks! These carefully crafted lessons span beginner, intermediate, and advanced levels, expanding on Jason’s already comprehensive curriculum for guitarists of all stages. Through his expert guidance, you can now dive into foundational études and iconic compositions by some of the classical guitar’s greatest composers, gaining both technical skills and expressive control as you go.

**Content:** ![]() We’re excited to announce nine brand-new lessons in [Jason Vieaux](https://www.artistworks.com/guitar-lessons-jason-vieaux)’s classical guitar course on ArtistWorks! These carefully crafted lessons span beginner, intermediate, and advanced levels, expanding on Jason’s already comprehensive curriculum for guitarists of all stages. Through his expert guidance, you can now dive into foundational études and iconic compositions by some of the classical guitar’s greatest composers, gaining both technical skills and expressive control as you go. LEARN MORE: [Want to learn how to play classical guitar from a master musician like Jason Vieaux? Try some free online classical guitar lessons now!](https://go.artistworks.com/five-online-lessons-classical-guitar) Starting with the basics, the new lessons include Jason’s original Simple Study No. 3—a unique étude created to help beginners build a solid technical foundation. Also included are Fernando Sor’s Opus 60 No. 5 and Mauro Giuliani’s Opus 60 No. 6 and Opus 60 No. 13, all ideal for early-stage players eager to develop precision and tone. For intermediate students, Jason’s instruction explores Mauro Giuliani’s Opus 51 No. 15, Opus 1 Part 3 No. 7, and Opus 51 No. 5, which add complexity with advanced finger patterns and increased expressive depth. Advanced guitarists will be thrilled to study Matteo Carcassi’s Opus 60 No. 15 and Fernando Sor’s Opus 31 No. 21 in F Major, both of which demand refined technique and nuanced interpretation. Jason’s meticulous, step-by-step guidance helps students master these pieces, offering strategies for difficult passages and insight into each composer’s style. Each lesson comes with written notation, ensuring that students have the resources they need to learn the material thoroughly. Plus, full-screen performance videos from three unique angles allow students to observe Jason’s hand positions and movements in detail. With adjustable playback speed and custom loop settings, learners can tailor their practice sessions to suit their pace, reinforcing their understanding and technique every step of the way. Whether you’re just starting out or refining advanced skills, these new lessons from Jason Vieaux open up exciting opportunities for growth in your classical guitar journey. If you’re a current student of Jason’s, dive in now and enjoy learning these brand-new études and studies. If you’re just joining Jason’s amazing online classical guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JASON’S COURSE HERE!](https://www.artistworks.com/guitar-lessons-jason-vieaux) LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [classical guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personal feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, iconic classical guitar works, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Top 5 Benefits of Learning Piano as a Second Instrument](https://blog.artistworks.com/top-5-benefits-learning-piano-second-instrument) [July 2024: New Lessons Added to Jason Vieaux’s Classical Guitar Course](https://blog.artistworks.com/new-lessons-jason-vieaux-classical-guitar-july-2024) [Classical Guitar Lesson: Trills and Ornamentation with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-trills-and-ornamentation) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [“Clawhammer Banjo with Allison de Groot” is Now Open!](https://blog.artistworks.com/clawhammer-banjo-allison-de-groot-now-open/) **Published:** November 12, 2024 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Clawhammer Banjo with Allison de Groot,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Clawhammer Banjo with Allison de Groot](https://www.artistworks.com/banjo-lessons-allison-degroot),” is officially here! As of 9 am PT, the course is officially live and open to all students. On clawhammer banjo, [Allison de Groot](https://www.artistworks.com/banjo-lessons-allison-degroot) has become a significant voice in the North American traditional, Americana, and roots music scenes. Her style is adventurous and grounded, and No Depression writes it “transports the listener to a different plane”. Starting out on banjo in her hometown of Winnipeg, MB, Allison’s grown into a career of exciting collaborations and continued musical exploration. She has performed and recorded alongside some of the most renowned traditional musicians in North America and Europe and was nominated by the Americana Music Association for 2023 ‘Instrumentalist of the Year’. Collaboration is at the center of Allison’s music. Her duo with fiddler Tatiana Hargreaves has been described by Bandcamp Daily as “one living, breathing organism”. Allison and Tatiana create a sound that is adventurous, masterful, and original. They expand on the eccentricities of old songs, while never losing sight of what makes them endure. Their latest release ‘Hurricane Clarice’ won two Canadian Folk Music Awards and was nominated for ‘Traditional Album of the Year’ at the Juno Awards. Alongside bandmates Tatiana Hargreaves, percussive dancer Nic Gareiss, and legendary fiddler Bruce Molsky, Allison has performed at festivals such as Newport Folk Festival, Pickathon, Red Wing Roots, Winnipeg Folk Festival, Hardly Strictly and Celtic Connections. For a second year in a row, Allison and Tatiana are working in the Celtic Connections Transatlantic Sessions house band led by Jerry Douglas. Through her [online clawhammer banjo lessons](https://www.artistworks.com/banjo-lessons-allison-degroot) at ArtistWorks, you’ll learn the ins and outs of Allison’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Allison has drawn from her extensive knowledge as a professional banjoist and seasoned educator to create a comprehensive course of [clawhammer banjo lessons online](https://www.artistworks.com/banjo-lessons-allison-degroot) designed to teach players everything they need to know to become a masterful clawhammer banjoist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Allison and get an intimate look into her unique approach and style. Grow as a banjo player while simultaneously furthering yourself as a musician, and get direct guidance from Allison at every step of your musical journey. [SIGN UP NOW](https://www.artistworks.com/banjo-lessons-allison-degroot) to gain access to Allison’s library of [online clawhammer banjo lessons](https://www.artistworks.com/banjo-lessons-allison-degroot), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Allison reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [November 2024: 7 New Lessons Added to Michael Daves’ Bluegrass Vocal Course!](https://blog.artistworks.com/new-lessons-michael-daves-bluegrass-vocals-nov-2024/) **Published:** November 15, 2024 **Author:** ArtistWorks **Excerpt:**

We’re thrilled to announce that Michael Daves has expanded his popular bluegrass vocal course at ArtistWorks with seven brand-new lessons! Perfect for singers of all skill levels, these lessons bring classic bluegrass tunes to life with detailed instruction across beginner, intermediate, and advanced levels. Whether you’re just starting your journey or looking to refine your skills, these new additions offer something for everyone.

**Content:** ![]() We’re thrilled to announce that [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) has expanded his popular bluegrass vocal course at ArtistWorks with seven brand-new lessons! Perfect for singers of all skill levels, these lessons bring classic bluegrass tunes to life with detailed instruction across beginner, intermediate, and advanced levels. Whether you’re just starting your journey or looking to refine your skills, these new additions offer something for everyone. LEARN MORE: [Want to learn how to sing in the bluegrass style from a master vocalist like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-bluegrass-vocals-lessons-michael-daves) Each lesson is packed with multiple backing tracks in various keys, allowing you to practice singing lead, tenor, or baritone harmonies. You’ll also receive lead sheets and lyrics to guide your practice and help you get comfortable with the music. With these tools, you can dive into the heart of bluegrass singing and develop your voice alongside Michael’s expert guidance. But that’s not all—Michael has gone a step further by providing individual stems for all recorded tracks, including instruments and vocal parts. This means you can download and mix your own versions of each song! Whether you want to isolate a harmony part or experiment with the instrumental mix, these customizable stems let you practice and explore the music in a way that’s uniquely yours. If you’re ready to take your bluegrass singing to the next level, there’s never been a better time to join [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)’ course. Dive into these new lessons [HERE](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and bring your voice to life with the soulful sounds of bluegrass tradition! LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned musicians, like [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), and get personal feedback on your singing. Michael’s course starts with the basics and teaches everything from beginner vocal methods to advanced performance techniques, classical bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Virtual Bluegrass Roundtable with Alex Hargreaves & Michael Daves](https://blog.artistworks.com/virtual-bluegrass-roundtable-2024) [Bluegrass Vocal Lesson: Microphone Technique with Michael Daves](https://blog.artistworks.com/bluegrass-vocal-lesson-microphone-technique) [Bluegrass Vocal Lesson: An Introduction to Vocal Harmony with Michael Daves](https://blog.artistworks.com/bluegrass-vocal-lesson-harmony) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Duets Section Added to Alex Hargreaves' Fiddle Course on ArtistWorks!](https://blog.artistworks.com/duets-section-alex-hargreaves-fiddle-nov-2024/) **Published:** November 15, 2024 **Author:** ArtistWorks **Excerpt:**

We’re thrilled to announce a brand-new addition to Alex Hargreaves’ fiddle course on ArtistWorks: a Duets section! This exciting feature kicks off with ten incredible duets featuring Alex and renowned flatpick guitarist Jim Nunally. Together, they bring fresh insights and inspiration to the tunes already taught in the curriculum, making this a must-see for fiddle enthusiasts and musicians looking to deepen their understanding of collaboration and improvisation.

**Content:** ![]() We’re thrilled to announce a brand-new addition to [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves)’ fiddle course on ArtistWorks: a Duets section! This exciting feature kicks off with ten incredible duets featuring Alex and renowned flatpick guitarist Jim Nunally. Together, they bring fresh insights and inspiration to the tunes already taught in the curriculum, making this a must-see for fiddle enthusiasts and musicians looking to deepen their understanding of collaboration and improvisation. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Alex Hargreaves? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) Each duet begins with Alex and Jim performing and improvising together on a well-loved tune. Afterward, they sit down for an engaging discussion, dissecting what they played, how they listened to one another, and how they reacted musically in the moment. It’s an invaluable opportunity to learn not only the mechanics of playing but also the nuances of musical communication and interplay. The initial ten duets feature a mix of bluegrass and traditional favorites, such as “Sittin’ On Top of the World” in both A and E, “Handsome Molly” in B and G, and classics like “Shady Grove” in D minor and “Lonesome Road Blues” in G. These tunes span a variety of keys and moods, offering students an in-depth look at different approaches to harmony, rhythm, and improvisation. Best of all, the Duets section will continue to grow, so you can look forward to even more collaborative gems in the future. Whether you’re a seasoned fiddler or just starting out, this new addition is an inspiring resource for expanding your skills. Don’t miss the chance to learn from two masters as they share their musical dialogue and techniques—head over to [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves)’ ArtistWorks course [HERE](https://www.artistworks.com/fiddle-lessons-alex-hargreaves) and dive into the Duets section today! LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://www.artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves), and get personal feedback on your playing. Alex’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation, and classic tunes in a variety of styles including bluegrass, jazz, swing, and Texas fiddle. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Virtual Bluegrass Roundtable with Alex Hargreaves & Michael Daves](https://blog.artistworks.com/virtual-bluegrass-roundtable-2024) [September 2024: New Lessons Added to Alex Hargreaves’ Fiddle Course!](https://blog.artistworks.com/new-lessons-alex-hargreaves-fiddle-sept-2024) [Fiddle Lesson: An Introduction to Shuffles with Darol Anger](https://blog.artistworks.com/fiddle-lesson-shuffles-darol-anger) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Mastering Triad Inversions on the Clawhammer Banjo](https://blog.artistworks.com/mastering-triad-inversions-clawhammer-banjo/) **Published:** November 20, 2024 **Author:** ArtistWorks **Excerpt:**

When it comes to playing the clawhammer banjo, understanding chord inversions and triad inversions can elevate your playing to a whole new level. Whether you're exploring backup techniques, arranging tunes, or adding melodic variations, triad inversions are a must-know skill for any banjo enthusiast. This blog will break down the basics, and we’ll also recommend exploring Allison de Groot’s online clawhammer banjo course at ArtistWorks for a deeper dive into these concepts.
**Content:** ![]() When it comes to playing the [clawhammer banjo](https://www.artistworks.com/banjo-lessons-allison-degroot), understanding chord inversions and triad inversions can elevate your playing to a whole new level. Whether you’re exploring backup techniques, arranging tunes, or adding melodic variations, triad inversions are a must-know skill for any banjo enthusiast. This blog will break down the basics, and we’ll also recommend exploring [Allison de Groot](https://www.artistworks.com/banjo-lessons-allison-degroot)’s online clawhammer banjo course at ArtistWorks for a deeper dive into these concepts. LEARN MORE: [Want to learn how to play clawhammer banjo from a master musician like Allison de Groot? Try some free online banjo lessons now!](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) What Are Triad Inversions? At their core, triads are three-note chords that serve as the building blocks for most banjo chords. A triad consists of three notes: *Root:* The base note of the chord (e.g., G in a G chord). *Third:* Adds color and tonality (B in a G chord). *Fifth:* Completes the harmony (D in a G chord). Inversions occur when you rearrange these notes, so the root, third, or fifth is in the bass (lowest note). Here are the three types: *Root Position:* Root is the lowest note (G-B-D). *F**irst Inversion:* Third is the lowest note (B-D-G). *Second Inversion:* Fifth is the lowest note (D-G-B). Why Are Chord Inversions Important for Clawhammer Banjo? Inversions expand your options for chord voicings, making your playing more versatile and dynamic. They’re especially useful for: *Melodic Fills:* Add variety to simple chord progressions. *Backup Playing:* Create smoother transitions between chords. *Improvisation:* Open up the fretboard for creative solos. In her [online clawhammer banjo lessons](https://www.artistworks.com/banjo-lessons-allison-degroot), Allison de Groot emphasizes that triad inversions are not just theoretical—they’re highly practical tools for arranging and jamming. How to Practice Triad Inversions on the Clawhammer Banjo *Start with Familiar Shapes:* Begin by identifying the basic triad shapes for G, C, and D chords—common in clawhammer banjo repertoire. Practice shifting between root position, first inversion, and second inversion along the fretboard. *Work with Bum-Ditty Rhythm:* Use the traditional clawhammer bum-ditty pattern to incorporate inversions into your practice. This helps you maintain rhythm while experimenting with different voicings. *Apply to Tunes You Know:* Take a simple tune like “Cripple Creek” or “Angeline the Baker” and substitute standard chords with inversions. You’ll notice how inversions add richness and variety to the sound. *Explore Different Keys:* Use a capo to transpose your inversions to other keys. This is a great way to get comfortable with how inversions function across the fretboard. Allison de Groot’s Approach In her ArtistWorks [clawhammer banjo lesson](https://www.artistworks.com/banjo-lessons-allison-degroot) on chord inversions, Allison explains that “visualizing triads up and down the neck” is essential for breaking out of the “home chord” position. She demonstrates how small changes in note order can transform the mood and texture of a tune. Her lessons are interactive, and the ArtistWorks Video Exchange Learning platform allows you to swap videos with Allison for personalized feedback to help you master these skills. Clawhammer Banjo Lesson: Chord Inversions with Allison de Groot: Why Take an Online Clawhammer Banjo Course? Learning triad inversions from a master player like [Allison de Groot](https://www.artistworks.com/banjo-lessons-allison-degroot) offers structured guidance and expert insights. The ArtistWorks [online clawhammer banjo lessons](https://www.artistworks.com/banjo-lessons-allison-degroot) give you access to: *Step-by-step tutorials on clawhammer banjo chords and chord inversions.* *Personalized video feedback from Allison herself.* *A supportive community of banjo players.* Triad inversions unlock the full potential of your clawhammer banjo, allowing you to play with more creativity and confidence. Incorporate these techniques into your practice, and consider exploring [Allison de Groot](https://www.artistworks.com/banjo-lessons-allison-degroot)’s lessons at ArtistWorks for a comprehensive understanding. Whether you’re playing at a jam session or performing solo, mastering inversions will take your playing to the next level. Start your journey into triad inversions today, and let the clawhammer banjo sing in new and exciting ways! [Learn more about Allison de Groot’s online clawhammer banjo lessons at ArtistWorks and take your playing to the next level!](https://www.artistworks.com/banjo-lessons-allison-degroot) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Mr Sun tours Ellington's Nutcracker Suite for the Season](https://blog.artistworks.com/mr-sun-tours-ellingtons-nutcracker-suite-season/) **Published:** November 23, 2024 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [November 2024: New Lessons Added to Dave Isaacs’ “Session Player Toolkit”!](https://blog.artistworks.com/new-lessons-dave-isaacs-session-player-toolkit-nov-2024/) **Published:** November 25, 2024 **Author:** ArtistWorks **Excerpt:**

We’re thrilled to announce that ten brand-new lessons have been added to Dave Isaacs’ highly acclaimed Session Player Toolkit course on ArtistWorks. These lessons form the all-new tenth unit of the course and focus on a fresh original composition from Dave in E Major called “Major Rock Walkdown.” Whether you’re honing your rhythm playing, expanding your soloing toolbox, or diving deep into music theory, these new lessons are designed to elevate your skills to the next level.

**Content:** ![]() We’re thrilled to announce that ten brand-new lessons have been added to [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs)’ highly acclaimed [Session Player Toolkit](https://www.artistworks.com/guitar-lessons-dave-isaacs) course on ArtistWorks. These lessons form the all-new tenth unit of the course and focus on a fresh original composition from Dave in E Major called “Major Rock Walkdown.” Whether you’re honing your rhythm playing, expanding your soloing toolbox, or diving deep into music theory, these new lessons are designed to elevate your skills to the next level. LEARN MORE: [Want to learn how to play guitar from a master musician like Dave Isaacs? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-dave-isaacs) The [Session Player Toolkit](https://www.artistworks.com/guitar-lessons-dave-isaacs) is structured around nine existing units, each exploring a unique song, style, and key to provide a comprehensive approach to playing in diverse musical settings. With the addition of this tenth unit, you’ll now delve into a deep-dive series that not only teaches “Major Rock Walkdown” but also provides hands-on experience playing in different keys and across various areas of the fretboard. From rhythm and comping to melodic improvisation, this unit offers everything you need to master the tune and expand your versatility as a player. The ten new lessons cover essential topics such as slash chords, rhythm inversions, linear melody, and harmonic intervals, offering a holistic approach to learning. You’ll also explore advanced techniques like pianistic double-stops, fingerstyle arpeggios, and the “jam band” scale (Major Pentatonic Add 4). Practical theory in the key of E is interwoven throughout the lessons, providing a strong foundation for improvisation and melody arrangement. Plus, you’ll have access to play-along backing tracks and detailed tablature, including transcriptions of Dave’s improvised solos, to solidify your practice. NEW LESSON: Improvising Using the “Jam Band Scale” with Dave Isaacs: If you’ve been looking for a way to expand your technical and creative abilities, this new section of the [Session Player Toolkit](https://www.artistworks.com/guitar-lessons-dave-isaacs) is the perfect opportunity. Whether you’re a seasoned guitarist or just starting your journey, these lessons will inspire and challenge you in equal measure. Join the [Session Player Toolkit](https://www.artistworks.com/guitar-lessons-dave-isaacs) today to explore the new unit and take your playing to new heights! LEARN MORE: Have you always wanted to learn how to play the guitar? Through our comprehensive [guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and music theory utilized by modern-day session musicians. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist fluent in a variety of styles. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) [Guitar Lesson: Melodic String Bending with Dave Isaacs](https://blog.artistworks.com/guitar-lesson-string-bending-dave-isaacs) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall’s Mandocello Mastery: Bringing New Life to Bach’s Cello Suites](https://blog.artistworks.com/mike-marshall-mandocello-mastery-bach-cello-suites/) **Published:** November 27, 2024 **Author:** ArtistWorks **Excerpt:**

Mike Marshall, one of the foremost innovators and virtuosos of the mandolin family, has once again broken boundaries by bringing Johann Sebastian Bach’s six cello suites to the mandocello. Long celebrated as masterpieces of baroque composition, these suites were originally written for the cello, an instrument with a distinctly different tonal range and technique than the mandocello. Yet, through Marshall's unparalleled artistry and dedication, these works have been reimagined and recorded in their entirety on the mandocello—a feat never accomplished before.

**Content:** ![]() [Mike Marshall](https://www.artistworks.com/mandolin-lessons-mike-marshall), one of the foremost innovators and virtuosos of the mandolin family, has once again broken boundaries by bringing [Johann Sebastian Bach’s six cello suites](https://mikemarshallf5.bandcamp.com/) to the mandocello. Long celebrated as masterpieces of baroque composition, these suites were originally written for the cello, an instrument with a distinctly different tonal range and technique than the mandocello. Yet, through Marshall’s unparalleled artistry and dedication, these works have been reimagined and recorded in their entirety on the mandocello—a feat never accomplished before. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) The mandocello, an instrument often relegated to a supporting role in the mandolin family, becomes a lead voice in Marshall’s hands. Its resonant, deep tone transforms Bach’s familiar cello compositions, presenting them in a way that is both faithful to their intricate structures and refreshing in their interpretation. Marshall’s technical precision, paired with his soulful expression, captures the spirit of Bach’s work while introducing listeners to the mandocello’s untapped potential. The recording of all six suites is a monumental achievement, positioning Marshall not just as a performer, but as a pioneer expanding the repertoire of this underappreciated instrument. In a recent video shared with fellow mandolin virtuoso David Benedict, Marshall offered an electrifying performance of one of the Bach suites, showcasing his mastery of the mandocello. This performance highlights the complexity of adapting cello techniques—such as bowing and string crossings—to the mandocello’s fretted, plucked format. Marshall’s interpretation brims with dynamic phrasing, clarity of counterpoint, and an intuitive understanding of Bach’s genius, proving that these works can resonate just as profoundly on the mandocello as on their original instrument. Marshall’s journey through these suites is not just a technical triumph but a testament to his vision as a musician. By translating Bach’s deeply revered works to the mandocello, he has created a bridge between classical tradition and contemporary stringed instruments, inspiring new audiences and musicians alike. For those unfamiliar with the mandocello, Marshall’s project serves as a bold introduction to its capabilities and a reminder of the boundless possibilities in interpreting timeless music. Whether you’re a Bach enthusiast, a mandolin family aficionado, or simply a lover of remarkable musicianship, [Marshall’s Bach cello suites project](https://mikemarshallf5.bandcamp.com/) is worth exploring. His artistry redefines what is possible on the mandocello and opens a door to a richer appreciation of the instrument and its place in the world of classical and modern music. Watch his collaboration with David Benedict and prepare to be inspired by the transformative power of music: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mandolin Dynamics: Playing with Expression in Bluegrass Music](https://blog.artistworks.com/mandolin-dynamics-bluegrass-music) [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) [Expanding Your Mandolin Chord Vocabulary: Advanced Chords for Bluegrass](https://blog.artistworks.com/advanced-mandolin-chords-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Flamenco Guitar with Noa Drezner” is Now Open!](https://blog.artistworks.com/flamenco-guitar-noa-drezner-now-open/) **Published:** December 17, 2024 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Flamenco Guitar with Noa Drezner,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Flamenco Guitar with Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner),” is officially here! As of 9 am PT, the course is officially live and open to all students. [Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner) is a virtuoso flamenco guitarist celebrated for her captivating performances and deep mastery of traditional and modern flamenco styles. Born in Israel, Noa was drawn to music at a young age and initially explored various instruments before dedicating herself entirely to the guitar. Her passion for flamenco emerged early, inspiring her to pursue formal training in Spain under the guidance of renowned flamenco masters. Immersing herself in the rich cultural heritage of Andalusia, Noa honed her technique, mastering the intricate rhythms, fingerpicking, and percussive elements that define flamenco guitar. Over time, she developed a unique voice within the genre, blending authenticity with innovative phrasing and compositions that resonate with audiences worldwide. Noa’s career has been marked by a series of high-profile performances and collaborations with leading flamenco artists, as well as jazz and world musicians. Her style is recognized for its emotional depth, technical precision, and ability to convey the essence of flamenco while exploring new musical territories. Noa’s performances often include traditional flamenco forms, such as the bulería, soleá, and tangos, which she interprets with a personal flair that respects tradition yet allows for creative expression. She has appeared on stages across Europe, North America, and Latin America, where her performances are praised for their passion and intensity, leaving a lasting impact on audiences and critics alike. In addition to her performance career, [Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner) is dedicated to teaching flamenco guitar to a new generation of musicians. She regularly conducts workshops and masterclasses, sharing her knowledge of flamenco techniques and its cultural significance. Her teaching philosophy emphasizes the importance of both technical skill and emotional expression, encouraging students to develop their own unique styles while staying grounded in flamenco traditions. As a trailblazing figure in the flamenco world, Noa continues to expand her repertoire, compose new works, and inspire audiences with her dedication to one of Spain’s most beloved art forms. Through her [online flamenco guitar lessons](https://www.artistworks.com/guitar-lessons-noa-drezner) at ArtistWorks, you’ll learn the ins and outs of Noa’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Noa has drawn from her extensive knowledge as a professional flamenco guitarist and seasoned educator to create a comprehensive course of [flamenco guitar lessons online](https://www.artistworks.com/guitar-lessons-noa-drezner) designed to teach players everything they need to know to become a masterful flamenco guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Noa and get an intimate look into her unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Noa at every step of your musical journey. [SIGN UP NOW](https://www.artistworks.com/guitar-lessons-noa-drezner) to gain access to Noa’s library of [online flamenco guitar lessons](https://www.artistworks.com/guitar-lessons-noa-drezner), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Noa reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Jared James Nichols' Blues Rock Guitar Course!](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-dec-2024/) **Published:** December 3, 2024 **Author:** ArtistWorks **Excerpt:**

Exciting news for guitarists diving into blues rock! Jared James Nichols has added four brand-new lessons to his popular ArtistWorks course. These lessons dive deep into one of Jared's signature tools: the Mixolydian scale. Known for its distinctive blend of major and minor tonalities, this scale is a staple in Jared’s expressive soloing and improvisation. In the first new lesson, Jared breaks down the Mixolydian scale, explaining its unique sound and why it works perfectly over dominant chords across genres. He offers tips on how to internalize its flavor and make it your own.

**Content:** ![]() Exciting news for guitarists diving into blues rock! [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) has added four brand-new lessons to his popular ArtistWorks course. These lessons dive deep into one of Jared’s signature tools: the Mixolydian scale. Known for its distinctive blend of major and minor tonalities, this scale is a staple in Jared’s expressive soloing and improvisation. In the first new lesson, Jared breaks down the Mixolydian scale, explaining its unique sound and why it works perfectly over dominant chords across genres. He offers tips on how to internalize its flavor and make it your own. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) The remaining three lessons take the Mixolydian magic to the next level, with a focus on F#. Jared demonstrates how to play expressive licks in all five CAGED positions, showing how to seamlessly move these licks across the fretboard. Playing along with a dynamic backing track, he brings the concepts to life, illustrating how to craft melodic, genre-defying solos. Whether you’re a seasoned player or new to improvisation, these lessons offer practical insights that you can incorporate into your playing immediately. In addition to Jared’s engaging video instruction, these lessons come packed with supporting materials to enhance your learning experience. You’ll find detailed tablature and notation for each lick, play-along backing tracks to refine your timing, and performance isolation videos with unique camera angles for a clearer view of Jared’s technique. The ArtistWorks platform also lets you slow down the playback and set custom loops, making it easy to practice tricky parts at your own pace. Ready to explore the sound of Mixolydian and elevate your blues rock solos? Head over to [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)’ course on ArtistWorks and dive into these exciting new lessons today! If you’re a current student of Jared’s, dive in now and enjoy learning these brand-new blues rock techniques. If you’re just joining Jared’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR JARED’S COURSE HERE!](https://artistworks.com/guitar-lessons-jared-james-nichols) LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, music theory, and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [November 2024: New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-nov-2024) [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) [Mastering Rock Solos: 10 Must-Learn Pieces for Intermediate Guitarists](https://blog.artistworks.com/10-intermediate-rock-guitar-solos) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Piano Lesson: Improvising Using the I-V-vi-IV Progression](https://blog.artistworks.com/piano-lesson-improvising-zachary-deak/) **Published:** December 5, 2024 **Author:** ArtistWorks **Excerpt:**

The I-V-vi-IV progression is one of the most popular chord progressions in music, featured in countless hits across genres. It's a fantastic tool for piano improvisation, offering endless opportunities to experiment with melodies, rhythms, and harmonies. In this blog, we'll explore how you can use this progression to enhance your skills and make your piano practice sessions more creative and fun. Along the way, we’ll refer to expert advice from Zachary Deak's ArtistWorks online piano course, which provides invaluable resources for mastering improvisation.

**Content:** ![]() The I-V-vi-IV progression is one of the most popular chord progressions in music, featured in countless hits across genres. It’s a fantastic tool for piano improvisation, offering endless opportunities to experiment with melodies, rhythms, and harmonies. In this blog, we’ll explore how you can use this progression to enhance your skills and make your piano practice sessions more creative and fun. Along the way, we’ll refer to expert advice from [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons)‘s ArtistWorks online piano course, which provides invaluable resources for mastering improvisation. What is the I-V-vi-IV Progression? The I-V-vi-IV progression consists of four chords derived from the major scale: I (Tonic) – The root chord of the key. V (Dominant) – The fifth chord of the key. vi (Submediant) – The sixth chord, a minor chord in major keys. IV (Subdominant) – The fourth chord of the key. For example, in the key of C major, this progression would be: C (I) G (V) Am (vi) F (IV) These chords work together beautifully, creating a versatile foundation for piano chord progression practice and improvisation. Why Use the I-V-vi-IV Progression for Improvisation? Familiarity: This progression is widely used in pop, rock, and even classical music. Recognizing it helps you connect with familiar songs. Flexibility: It’s simple enough for beginners yet offers room for advanced pianists to experiment with embellishments and complex voicings. Creativity: With its repeating structure, the progression allows you to focus on melody, rhythm, and improvisational techniques. Getting Started with Improvisation Here’s how to begin improvising over the I-V-vi-IV progression: Learn the Basic Chords Start by playing the progression in root position. Familiarize yourself with how each chord sounds and feels under your fingers. Practice Inversions Experiment with inversions to create smoother transitions between chords. For example: Play C (I) in root position. Use the first inversion for G (V) (B-D-G). Use the second inversion for Am (vi) (E-A-C). Use the first inversion for F (IV) (A-C-F). Add a Melody Use the notes of the corresponding scale (e.g., C major for the key of C) to create a melody. This step introduces improvising on the piano by blending chord tones with scale tones. Use Rhythmic Variations Experiment with rhythms in your left hand while playing chords. Add syncopation or arpeggiate the chords to make your playing more dynamic. Tips from [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons)‘s ArtistWorks Piano Lessons [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons)’s introductory ArtistWorks piano lesson on improvisation is a goldmine for anyone wanting to master improvisation over popular chord progressions. Piano Lesson: Improvising Using the I-V-vi-IV Progression with Zachary Deak: Here are some takeaways from his lesson: Layer with Dynamics: Deak emphasizes the importance of dynamics to bring emotion into your playing. Alternate between soft and loud passages to add depth to your improvisation. Explore Modes: He introduces modal playing, which allows you to bring unique flavors to a standard progression. For instance, try using the Lydian mode over the IV chord for a fresh twist. Master Phrasing: Learn how to phrase your melodies effectively, breaking them into musical “sentences” that feel cohesive and intentional. Why Take Online Piano Lessons? Whether you’re a beginner or an advanced pianist, online lessons provide a structured yet flexible way to improve your skills. Platforms like ArtistWorks offer access to world-class instructors like [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons), whose lessons cover everything from the basics of piano chords to advanced piano improvisation techniques. Final Thoughts Improvising with the I-V-vi-IV progression is a fun and effective way to sharpen your skills and enhance your creativity. Start simple, and as you gain confidence, incorporate techniques like inversions, rhythmic variations, and modal playing. For guided instruction and expert tips, check out [Zachary Deak](https://www.artistworks.com/beginner-piano-lessons)‘s online piano lessons at ArtistWorks. Ready to take your playing to the next level? Dive into the world of piano improvisation and watch your skills soar! [Want more tips on mastering improvisation? Click here to access FREE sample lessons, tutorials, and the latest resources for learning piano online.](https://go.artistworks.com/free-adult-piano-lessons) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Mastering the Alternating Thumb Roll on the Banjo: Essential Tips and Exercises](https://blog.artistworks.com/alternating-thumb-roll-banjo-exercises/) **Published:** December 11, 2024 **Author:** ArtistWorks **Excerpt:**

If you’re learning bluegrass banjo, you’ve probably encountered the term “banjo rolls.” These are foundational picking patterns that form the backbone of bluegrass banjo playing. Among the many banjo rolls, the alternating thumb roll stands out as one of the most versatile and essential. Whether you’re just starting your banjo journey or looking to refine your technique, this blog will dive deep into mastering the alternating thumb roll—complete with exercises and tips.

**Content:** ![]() If you’re learning bluegrass banjo, you’ve probably encountered the term “banjo rolls.” These are foundational picking patterns that form the backbone of bluegrass banjo playing. Among the many banjo rolls, the alternating thumb roll stands out as one of the most versatile and essential. Whether you’re just starting your banjo journey or looking to refine your technique, this blog will dive deep into mastering the alternating thumb roll—complete with exercises and tips. What Is the Alternating Thumb Roll? The alternating thumb roll is a classic banjo roll characterized by its steady rhythm and use of both the thumb and fingers. This roll alternates between the thumb and index or middle finger, creating a smooth and driving rhythm that’s perfect for bluegrass banjo. The basic pattern for the alternating thumb roll is: T-I-T-M (Thumb-Index-Thumb-Middle) Here’s what that looks like when played on the strings: Thumb (T) on the 5th string Index (I) on the 2nd string Thumb (T) on the 4th string Middle (M) on the 1st string This simple pattern can be repeated to create a steady, rolling rhythm that’s both foundational and musical. Why Learn the Alternating Thumb Roll? Building Timing and Consistency: The alternating thumb roll teaches you to maintain a steady rhythm—a critical skill for any banjo player. Versatility: It’s a go-to roll for backing up vocals, playing fiddle tunes, and jamming with others. Foundation for Improvisation: Mastering this roll allows you to add variations and embellishments, helping you craft your unique style. Alternating Thumb Roll Exercises Here are some exercises to help you practice and master the alternating thumb roll. Remember to start slowly, use a metronome, and focus on accuracy before speed. Exercise 1: Basic Pattern Play the basic T-I-T-M pattern on open strings. Repeat the roll slowly and evenly, focusing on clean, consistent notes. Exercise 2: String Switching Try shifting the pattern to different strings. For example: Thumb on the 3rd string Index on the 1st string Thumb on the 4th string Middle on the 2nd string Exercise 3: Alternating with Chords Practice the alternating thumb roll while fretting simple chords like G, C, and D7. This helps you integrate the roll into real musical contexts. Exercise 4: Tempo Building Use a metronome or backing track to gradually increase your speed. Start at a comfortable tempo, then incrementally raise the bpm. For an in-depth demonstration of these exercises, check out banjo master [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka)’s lesson below. Tony’s clear teaching style and practical tips make this video an excellent resource for banjo players at any level. Banjo Lesson: Alternating Thumb Roll Exercises with [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka): Tips for Mastering the Alternating Thumb Roll Relax Your Hands: Tension in your picking hand can lead to uneven rolls. Keep your hand relaxed for smoother playing. Focus on Dynamics: Don’t just play the notes—make them musical. Experiment with dynamics to add expression. Stay Consistent: The alternating thumb roll is all about even timing. Use a metronome to keep your rhythm steady. Learn from the Best with Online Banjo Lessons If you’re serious about mastering bluegrass banjo, there’s no better way to learn than with an experienced teacher. [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), a bluegrass banjo legend, offers comprehensive online banjo lessons through his course here at ArtistWorks. From beginner basics to advanced techniques, Tony’s lessons provide a structured and interactive way to improve your playing. Tony’s lessons offer valuable insights into the alternating thumb roll, complete with demonstrations and tips. Whether you’re practicing rolls, learning songs, or exploring improvisation, this course has something for everyone. Conclusion The alternating thumb roll is a fundamental technique for any bluegrass banjo player. By practicing the exercises and applying the tips shared here, you’ll build a strong foundation for your banjo playing. For a deeper dive, don’t miss [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka)’s online banjo lessons at ArtistWorks. His expert guidance will help you take your playing to the next level. Ready to roll? Grab your banjo and start practicing! READ MORE: [Mastering Triad Inversions on the Clawhammer Banjo with Allison de Groot](https://blog.artistworks.com/mastering-triad-inversions-clawhammer-banjo) [October 2024: New Lessons Added to Tony Trischka’s Banjo Course](https://blog.artistworks.com/new-lessons-tony-trischka-banjo-course-oct-2024) [Banjo Tuning Mastery: Exploring Alternate Tunings in Bluegrass Music](https://blog.artistworks.com/banjo-tuning-alternate-tunings-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [New Lessons Added to Craig & Sarah's Ukulele Course!](https://blog.artistworks.com/new-lessons-craigchee-sarahmaisel-ukulele-dec-2024/) **Published:** December 13, 2024 **Author:** ArtistWorks **Excerpt:**

Exciting news for ukulele enthusiasts! Craig Chee and Sarah Maisel, renowned for their dynamic and engaging teaching style, have added six brand-new lessons to their popular online ukulele course at ArtistWorks. These lessons are all about mastering song outros in major keys, offering players an array of techniques to end their songs with style and confidence. Whether you’re a beginner or an intermediate player, these new additions will provide you with essential skills and creative inspiration.

**Content:** ![]() Exciting news for ukulele enthusiasts! [Craig Chee and Sarah Maisel](https://www.artistworks.com/ukulele-lessons-craig-sarah), renowned for their dynamic and engaging teaching style, have added six brand-new lessons to their popular online ukulele course at ArtistWorks. These lessons are all about mastering song outros in major keys, offering players an array of techniques to end their songs with style and confidence. Whether you’re a beginner or an intermediate player, these new additions will provide you with essential skills and creative inspiration. LEARN MORE: [Want to learn how to play the ukulele from master musicians like Craig Chee and Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) The new lesson series kicks off by teaching useful chords and classic approaches to finishing a tune. [Craig and Sarah](https://www.artistworks.com/ukulele-lessons-craig-sarah) then guide students through experimenting with variations, adding distinct “flavors” tailored to different progressions and musical styles. From simple endings to the more sophisticated I-vi-ii-V chord progression endings, these lessons build step-by-step, ensuring players can progress at their own pace while exploring new creative horizons. Even better, this is just the beginning! Over the next two weeks, ArtistWorks and [Craig and Sarah](https://www.artistworks.com/ukulele-lessons-craig-sarah) will release additional lessons to expand on these concepts, offering even more ways to make your playing stand out. Stay tuned for fresh content and dive into the current lessons to start refining your song-ending skills today. These updates are part of [Craig and Sarah](https://www.artistworks.com/ukulele-lessons-craig-sarah)’s commitment to providing a comprehensive and evolving ukulele education. Whether you’re looking to add polish to your performances or expand your chord repertoire, these new lessons are a must-watch. Head over to Craig and Sarah’s course now and explore what’s new—you’ll be ending your songs with flair in no time! [SIGN UP FOR CRAIG & SARAH’S COURSE HERE!](https://www.artistworks.com/ukulele-lessons-craig-sarah) BONUS: Announcing Craig & Sarah’s 2024 Holiday Video Exchange Challenge: [Craig Chee and Sarah Maisel ](https://www.artistworks.com/ukulele-lessons-craig-sarah)have introduced an exciting Holiday Video Exchange challenge as part of their online ukulele course at ArtistWorks. The challenge includes new lessons accompanied by PDF tablature and notation, providing fresh, festive material for students to learn and explore. Additionally, they’ve opened a forum for enrolled students to submit questions for their next “ArtistWorks members-only” livestream event, scheduled for December 22, 2024. These monthly live Q&A sessions often feature special guests, creating a dynamic and interactive learning experience. For those who can’t join live, the sessions are recorded and added to the lessons area, allowing students to revisit previous broadcasts anytime. LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Finding the Right Ukulele for Beginners: A Comprehensive Guide](https://blog.artistworks.com/finding-right-ukulele-beginners-guide) [Mastering Ukulele Chords: Essential Rhythm Exercises & Techniques](https://blog.artistworks.com/mastering-ukulele-chords) [Ukulele Lesson: An Introduction to Basic Strumming with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-strumming) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The ArtistWorks Jazz Guitar Holiday Special with Dave Stryker & Sean McGowan](https://blog.artistworks.com/jazz-guitar-holiday-special-dave-stryker-sean-mcgowan/) **Published:** December 19, 2024 **Author:** ArtistWorks **Excerpt:**

Mark your calendars for December 23, 2024, at 1:00 pm PT / 4:00 pm ET, as ArtistWorks presents a special livestream event: The ArtistWorks Jazz Guitar Holiday Special. This festive online gathering will feature two of the most renowned jazz guitarists and ArtistWorks instructors, Dave Stryker and Sean McGowan. Whether you're a jazz enthusiast, a guitarist, or simply looking for an inspiring musical experience, this event promises something truly special.

**Content:** ![]() Mark your calendars for December 23, 2024, at 1:00 pm PT / 4:00 pm ET, as ArtistWorks presents a special livestream event: [The ArtistWorks Jazz Guitar Holiday Special](https://www.youtube.com/live/QLsPk4BeZXc). This festive online gathering will feature two of the most renowned jazz guitarists and ArtistWorks instructors, [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker) and [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan). Whether you’re a jazz enthusiast, a guitarist, or simply looking for an inspiring musical experience, this event promises something truly special. [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker) is a prolific guitarist with a career spanning decades. Known for his soulful, melodic approach to jazz, Dave has released over 30 albums as a leader, including his critically acclaimed series “Eight Track,” which reimagines classic pop hits with a jazz twist. A seasoned performer, he has played alongside jazz legends such as Stanley Turrentine, Jack McDuff, and Joey DeFrancesco. In addition to his extensive performing career, Dave is a dedicated educator who has been recognized in the “Top Guitarists” category in DownBeat magazine’s Readers’ and Critics’ Polls for multiple years. His expertise and passion for music will undoubtedly shine in this holiday special. Joining Dave is [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), a guitarist celebrated for his ability to blend jazz, fingerstyle, and folk influences seamlessly. Sean’s distinctive style and technical mastery have earned him accolades from both peers and critics alike. He is the first jazz guitarist to receive a “Best of” award from Acoustic Guitar magazine and has performed at prestigious venues and festivals across the globe. Sean’s recordings showcase his innovative arrangements and original compositions, making him a sought-after performer and educator. His insight and artistry will bring a unique dimension to this holiday event. During the livestream, Dave and Sean will delve into all things jazz, guitar, and music. Expect engaging discussions, exclusive performances, and a rare opportunity to hear these masters play a few holiday classics to celebrate the season. Best of all, viewers will have the chance to interact in real-time by submitting questions for the artists to answer during the broadcast. Whether you’re curious about jazz improvisation, guitar techniques, or the stories behind their music, this is your chance to connect directly with these accomplished musicians. Streaming live on the ArtistWorks YouTube channel, [The ArtistWorks Jazz Guitar Holiday Special](https://www.youtube.com/live/QLsPk4BeZXc) is free and open to everyone. Don’t miss this unique opportunity to learn from and celebrate with two jazz guitar greats. Make it a part of your holiday season and join the global music community for an afternoon of inspiration, joy, and exceptional music. Tune in live and let the music of [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker) and [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan) bring some extra holiday cheer to your day! The ArtistWorks Jazz Guitar Holiday Special: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: Question & Answer Improvisation Approach with Sean McGowan](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-question-answer-improvisation-sean-mcgowan) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Darol & Mr Sun Do Ellington's Nutcracker 18 more times](https://blog.artistworks.com/darol-mr-sun-do-ellingtons-nutcracker-18-more-times/) **Published:** December 21, 2024 **Author:** ArtistWorks **Excerpt:**

Well.


The Mr Sun Ellington's Nutcracker Tour is a wrap. Every show was musically successful with its special highlights, but a few shows stand out: Joe's Pub with Tony and Alex, our 'hometown' shows at One Longfellow, Sacred Heart, and at Analog with so many of our dear ones in the audience; the wild sellout show at the spectacular Groton Music Hall; The incredible, inexplicable Stoughton Music Hall, which made a 4-camera multitrack video of the show for us, just because they can; the super-intense 2 afternoon shows at the National Gallery Of Art in DC, the warm, open and exceptionally comfy SPACE in Evanston, with some of the best violinists in the world sort-of-not-judging me in the audience (I do that best for myself); camping out at each others' various domiciles. camping out at old friends' homes... The Band's 10th anniversary just 2 days before the start of the tour...!...and those VERY long van rides... we're all still speaking to each other! Mostly! Fave band of all time! Thanks everybody!

https://mrsun.bandcamp.com/album/mr-sun-plays-duke-ellingtons-nutcracker-suite

**Content:** Well. ![]() The **Mr Sun Ellington’s Nutcracker Tour** is a wrap. Every show was musically successful with its special highlights, but a few shows stand out: Joe’s Pub with Tony and Alex, our ‘hometown’ shows at One Longfellow, Sacred Heart, and at Analog with so many of our dear ones in the audience; the wild sellout show at the spectacular Groton Music Hall; The incredible, inexplicable Stoughton Music Hall, which made a 4-camera multitrack video of the show for us, just because they can; the super-intense 2 afternoon shows at the National Gallery Of Art in DC, the warm, open and exceptionally comfy SPACE in Evanston, with some of the best violinists in the world sort-of-not-judging me in the audience (I do that best for myself); camping out at each others’ various domiciles. camping out at old friends’ homes… The Band’s 10th anniversary just 2 days before the start of the tour…!…and those VERY long van rides… we’re all still speaking to each other! Mostly! Fave band of all time! Thanks everybody! https://mrsun.bandcamp.com/album/mr-sun-plays-duke-ellingtons-nutcracker-suite ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Added to Sean McGowan's Fingerstyle Jazz Guitar Course at ArtistWorks](https://blog.artistworks.com/new-lessons-sean-mcgowan-fingerstyle-jazz-guitar-dec-2024/) **Published:** December 23, 2024 **Author:** ArtistWorks **Excerpt:**

Great news for fingerstyle jazz guitar enthusiasts! Sean McGowan’s acclaimed course at ArtistWorks has just expanded with 15 brand-new lessons, taking your playing to the next level with innovative techniques and exercises. These lessons delve deeply into advanced topics such as Speed Rolls, Counterpoint & Chord Melody Techniques, Artificial Harmonics, and Right-Hand Fretting—offering a treasure trove of skills for guitarists eager to elevate their artistry.

**Content:** ![]() Great news for fingerstyle jazz guitar enthusiasts! [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan)’s acclaimed course at ArtistWorks has just expanded with 15 brand-new lessons, taking your playing to the next level with innovative techniques and exercises. These lessons delve deeply into advanced topics such as Speed Rolls, Counterpoint & Chord Melody Techniques, Artificial Harmonics, and Right-Hand Fretting—offering a treasure trove of skills for guitarists eager to elevate their artistry. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Sean McGowan? Try some free online jazz guitar lessons now!](https://go.artistworks.com/guitar-lessons-sean-mcgowan) Among the highlights are McGowan’s detailed breakdowns of Counterpoint & Chord Melody Techniques, featuring exercises in 10ths with various rhythmic ratios (2:1, 3:1, 4:1), innovative Splits (1:3, 2:2, 3:1), and moving voice applications. You’ll also explore Double-Stop Scales and 10ths Scale exercises that refine your ability to create harmonically rich and texturally complex arrangements. Other standout lessons include an introduction to right-hand fretting, strategies for high-range piano-like note articulation, and mastering triplet figures to enhance rhythmic precision. Each lesson is supported by a wealth of supplemental materials, ensuring a comprehensive learning experience. You’ll find written tablature/notation, play-along backing tracks, and unique performance isolation videos filmed from three different angles. To tailor the practice experience, students can slow down videos, set custom loops, and zero in on challenging sections—all designed to help you integrate these advanced techniques seamlessly into your playing. Whether you’re a seasoned jazz guitarist or just beginning to explore fingerstyle techniques, these new lessons are the perfect opportunity to deepen your understanding and broaden your skills. Head over to [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan)’s course at ArtistWorks today and dive into the exciting new content! LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [jazz guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), and get personal feedback on your playing. Sean’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, and music theory utilized by modern-day jazz guitarists. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist and musician. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The ArtistWorks Jazz Guitar Holiday Special with Dave Stryker & Sean McGowan](https://blog.artistworks.com/jazz-guitar-holiday-special-dave-stryker-sean-mcgowan) [Fingerstyle Jazz Guitar Lesson: Question & Answer Improvisation Approach with Sean McGowan](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-question-answer-improvisation-sean-mcgowan) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Dave Stryker’s Jazz Guitar Course at ArtistWorks](https://blog.artistworks.com/new-lessons-dave-stryker-jazz-guitar-dec-2024/) **Published:** December 23, 2024 **Author:** ArtistWorks **Excerpt:**

We’re thrilled to announce two brand-new lessons have just been added to Dave Stryker’s popular jazz guitar course at ArtistWorks! These additions dive deep into essential techniques and tunes, offering students even more opportunities to refine their jazz guitar skills under Dave’s expert guidance.

**Content:** ![]() We’re thrilled to announce two brand-new lessons have just been added to [Dave Stryker](https://www.artistworks.com/jazz-guitar-lessons-dave-stryker)’s popular jazz guitar course at ArtistWorks! These additions dive deep into essential techniques and tunes, offering students even more opportunities to refine their jazz guitar skills under Dave’s expert guidance. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) The first lesson introduces minor substitution arpeggio ideas over an F blues, where Dave demonstrates creative ways to expand your soloing vocabulary over this classic blues progression. The second lesson highlights Dave’s unique arrangement of “Sugar”, the timeless Stanley Turrentine composition. Having performed as a featured sideman for the late saxophone legend, Dave brings a personal and insightful approach to teaching this jazz standard, offering an authentic learning experience. Alongside Dave’s engaging video instruction, these lessons come packed with robust learning materials. You’ll find written tablature and notation to guide your practice, play-along backing tracks to develop your groove, and performance isolation videos from three unique angles. To further enhance your learning experience, all videos feature adjustable playback speed and customizable looping, making it easier than ever to focus on the finer details and master each concept at your own pace. Ready to elevate your jazz guitar playing? Log in to your ArtistWorks account and explore these fantastic new lessons today! LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The ArtistWorks Jazz Guitar Holiday Special with Dave Stryker & Sean McGowan](https://blog.artistworks.com/jazz-guitar-holiday-special-dave-stryker-sean-mcgowan) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) [10 Jazz Guitar Solos Every Player Should Learn](https://blog.artistworks.com/10-jazz-guitar-solos-every-player-should-learn) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Discover the Soleá: A Deep Dive into Flamenco Guitar](https://blog.artistworks.com/solea-compas-flamenco-guitar-noa-drezner/) **Published:** December 27, 2024 **Author:** ArtistWorks **Excerpt:**

The Soleá is one of the most profound and iconic forms in flamenco music, a style deeply rooted in Spanish culture. Renowned for its depth and emotional intensity, the Soleá is a cornerstone of flamenco guitar repertoire and a gateway to understanding flamenco’s rhythmic complexities. In this blog, we will explore the key characteristics of the Soleá, its unique aesthetics, and the essential role of Compás in this art form. For those eager to master flamenco guitar, we’ll also highlight the invaluable flamenco guitar lessons available online from the talented Noa Drezner at ArtistWorks.

**Content:** ![]() The Soleá is one of the most profound and iconic forms in flamenco music, a style deeply rooted in Spanish culture. Renowned for its depth and emotional intensity, the Soleá is a cornerstone of flamenco guitar repertoire and a gateway to understanding flamenco’s rhythmic complexities. In this blog, we will explore the key characteristics of the Soleá, its unique aesthetics, and the essential role of Compás in this art form. For those eager to master flamenco guitar, we’ll also highlight the invaluable flamenco guitar lessons available online from the talented [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner) at ArtistWorks. LEARN MORE: [Want to learn how to play flamenco guitar from a master musician like Noa Drezner? Try some free online flamenco guitar lessons now!](https://go.artistworks.com/guitar-lessons-noa-drezner) What Is the Soleá? The Soleá (plural: Soleares) is a traditional “palo,” or style, within flamenco music. Known for its slow and introspective qualities, it is often referred to as the “mother” of flamenco forms because of its influence on other styles. The Soleá is characterized by its: Rhythmic Structure: The Soleá is played in 12-beat cycles, with accents on beats 3, 6, 8, 10, and 12. This distinctive rhythm is a hallmark of the style. Expressive Melodies: Melancholic and emotive, the melodies in Soleá evoke a sense of longing and introspection. Technical Sophistication: Soleá pieces require precise technique and a deep understanding of flamenco’s subtleties, making it both challenging and rewarding for guitarists. Understanding the Role of Compás in Flamenco At the heart of flamenco lies the concept of Compás, the rhythmic framework that defines the structure and flow of the music. What Is Compás? Compás refers to the rhythmic cycles and patterns that serve as the foundation of flamenco music. Each “palo,” including the Soleá, adheres to its own specific Compás. For the Soleá, the Compás is a 12-beat cycle with an intricate pattern of accents, as mentioned earlier. Uses of Compás in Flamenco Guitar Compás is essential for: Timing: It ensures that the guitarist, singer, and dancer stay synchronized. Improvisation: Guitarists use the Compás as a framework for creating variations and improvising while staying true to the style. Expression: By manipulating the dynamics within the Compás, guitarists can convey a wide range of emotions. Applying Compás to the Soleá In the Soleá, the guitarist’s role is to maintain the integrity of the Compás while adding layers of expression through techniques such as rasgueado (strumming), picado (plucking), and arpeggios. Mastery of Compás allows guitarists to support the singer and dancer effectively while showcasing their artistry. Learn the Soleá with [Noa Drezner’s Flamenco Guitar Lessons](https://artistworks.com/guitar-lessons-noa-drezner) For aspiring flamenco guitarists, learning the Soleá can be a transformative experience. [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner), an accomplished flamenco guitarist and instructor, offers comprehensive [online flamenco guitar lessons](https://artistworks.com/guitar-lessons-noa-drezner) through ArtistWorks. Her teaching method combines traditional techniques with modern pedagogy, making it accessible for students of all levels. In her recent lesson on the Soleá, [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner) breaks down the Compás and provides step-by-step guidance on playing this iconic style. Watch her insightful flamenco guitar lesson here: Why Choose [Online Flamenco Guitar Lessons](https://artistworks.com/guitar-lessons-noa-drezner)? Flexibility: Learn at your own pace from the comfort of your home. Expert Guidance: Benefit from [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner)’s expertise and personalized feedback. Community: Connect with fellow students and share your progress. The Soleá is more than just a flamenco style; it is a rich, expressive tradition that embodies the soul of flamenco music. By mastering the Compás and techniques of the Soleá, guitarists can unlock a deeper connection to this art form. With the guidance of [Noa Drezner’s online flamenco guitar lessons](https://artistworks.com/guitar-lessons-noa-drezner) at ArtistWorks, you can embark on a rewarding journey into the world of flamenco. Start your journey today and immerse yourself in the beauty of flamenco guitar. Explore [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner)’s lessons and discover the artistry of the Soleá. READ MORE: [“Flamenco Guitar with Noa Drezner” is Now Open!](https://blog.artistworks.com/flamenco-guitar-noa-drezner-now-open) [Classical Guitar Lesson: Trills and Ornamentation with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-trills-and-ornamentation) [November 2024: New Lessons Added to Jason Vieaux’s Classical Guitar Course](https://blog.artistworks.com/new-lessons-jason-vieaux-classical-guitar-nov-2024) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Duet Lessons Added to Alex Hargreaves' Fiddle School](https://blog.artistworks.com/new-duet-lessons-alex-hargreaves-fiddle-jan-2025/) **Published:** January 16, 2025 **Author:** ArtistWorks **Excerpt:**

We’re thrilled to announce twelve new lessons have been added to the "Duets" section of Alex Hargreaves’ fiddle course on ArtistWorks! These additions build on the original ten duet lessons featuring Alex and guitarist Jim Nunally. The new lessons introduce duet arrangements for twelve tunes already included in the curriculum, offering a fresh perspective and new inspiration for students.

**Content:** ![]() We’re thrilled to announce twelve new lessons have been added to the “Duets” section of [Alex Hargreave](https://www.artistworks.com/fiddle-lessons-alex-hargreaves)s’ fiddle course on ArtistWorks! These additions build on the original ten duet lessons featuring Alex and guitarist Jim Nunally. The new lessons introduce duet arrangements for twelve tunes already included in the curriculum, offering a fresh perspective and new inspiration for students. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Alex Hargreaves? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-alex-hargreaves) Each duet lesson features Alex and Jim performing or improvising together, followed by an in-depth discussion about the tune. They delve into their creative process, sharing insights on what they played, how they listened to and responded to each other, and what makes the arrangement unique. Filmed with three different camera angles, these lessons provide a detailed and dynamic learning experience. The new tunes include favorites like “Wayfaring Stranger” (Key of G Minor), “Grey Eagle” (Key of A), “Ragtime Annie” (Key of D), and “Bittercreek” (Key of G), along with classics like “Back Up and Push” (Key of C) and “Paddy on the Turnpike” (Key of G). In addition to the new duet lessons, Alex’s course now features an exclusive extended interview with Jim Nunally. This three-part series explores Jim’s approach to musicianship, what he looks for in a fiddle player, and his tips for accompaniment. It’s a must-watch for students seeking to deepen their understanding of collaboration and artistry in music. Whether you’re revisiting familiar tunes or exploring new ones, these updates to [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves)’ course provide invaluable tools for growing your fiddle and ensemble skills. Head over to [Alex’s course](https://www.artistworks.com/fiddle-lessons-alex-hargreaves) now to dive into these incredible new lessons! LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://www.artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Alex Hargreaves](https://www.artistworks.com/fiddle-lessons-alex-hargreaves), and get personal feedback on your playing. Alex’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation, and classic tunes in a variety of styles including bluegrass, jazz, swing, and Texas fiddle. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [New Duets Section Added to Alex Hargreaves’ Fiddle Course on ArtistWorks!](https://blog.artistworks.com/duets-section-alex-hargreaves-fiddle-nov-2024) [Fiddle Lesson: An Introduction to Shuffles with Darol Anger](https://blog.artistworks.com/fiddle-lesson-shuffles-darol-anger) [Fiddle Lesson: Learn to Play “Blackberry Blossom” with Alex Hargreaves](https://blog.artistworks.com/fiddle-lesson-blackberry-blossom-alex-hargreaves) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Course: Announcing “Blues Guitar with Seth Rosenbloom”](https://blog.artistworks.com/new-course-blues-guitar-seth-rosenbloom/) **Published:** January 21, 2025 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in March 2025, “Blues Guitar with Seth Rosenbloom.”

**Content:** ![]() We are excited to announce our newest course coming in March 2025, “[Blues Guitar with Seth Rosenbloom](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom).” [Seth Rosenbloom](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom) is an acclaimed blues guitarist, vocalist, and educator known for his fiery playing, soulful vocals, and deep connection to the blues tradition. Born and raised in Waltham, Massachusetts, Seth discovered his passion for the guitar at an early age, influenced by blues legends such as B.B. King, Albert Collins, and Stevie Ray Vaughan. By his teenage years, Seth was already performing regularly in local venues, captivating audiences with his virtuosic fretwork and emotive delivery. Over time, he developed a distinctive sound that blends blues with elements of jazz, rock, and soul, earning him recognition as a modern torchbearer of the genre. As a recording artist, Seth has released several well-received projects, including his debut album, Keep On Turning, which showcases his dynamic guitar playing and original songwriting. His music has been praised for its balance of technical mastery and heartfelt expression, capturing the essence of the blues while pushing its boundaries. Seth’s work has earned him a loyal following, with performances across the United States and internationally, sharing stages with renowned artists and gracing major music festivals. His reputation as both a skilled guitarist and an engaging performer continues to grow with each new release and tour. In addition to his career as a performer, [Seth Rosenbloom](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom) is a dedicated guitar educator, sharing his expertise with aspiring musicians through workshops, online lessons, and masterclasses. His approachable teaching style and ability to demystify complex techniques have made him a sought-after instructor. Whether he’s demonstrating intricate licks or breaking down the emotional nuance of blues phrasing, Seth is committed to inspiring the next generation of guitarists to find their own voice within the blues tradition. Through his [online blues guitar lessons](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom) at ArtistWorks, you’ll learn the ins and outs of Seth’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Seth has drawn from his extensive knowledge as a professional blues guitarist and seasoned educator to create a comprehensive course of [blues guitar lessons online](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom) designed to teach players everything they need to know to become a masterful guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Seth and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Seth at every step of your musical journey. [Sign up now](https://go.artistworks.com/blues-guitar-lessons-seth-rosenbloom) for news updates from Seth and ArtistWorks, exclusive presale opportunities, invitations to live events, free sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [2024 Highlight: ArtistWorks Receives IBMA’s “Distinguished Achievement Award”](https://blog.artistworks.com/artistworks-ibma-distinguished-achievement-award-2024/) **Published:** January 30, 2025 **Author:** ArtistWorks **Excerpt:**

January and the New Year are always a great time for reflection, and as we step into 2025, we at ArtistWorks wanted to take a moment to recognize one of our proudest achievements and biggest highlights from 2024. This past September, we were deeply honored to receive one of the International Bluegrass Music Association’s (IBMA) “Distinguished Achievement Awards” at the 2024 IBMA Bluegrass Music Awards. This prestigious recognition is a testament to our commitment to providing high-quality, accessible bluegrass music education to students around the world.

**Content:** ![]() January and the New Year are always a great time for reflection, and as we step into 2025, we at ArtistWorks wanted to take a moment to recognize one of our proudest achievements and biggest highlights from 2024. This past September, we were deeply honored to receive one of the [International Bluegrass Music Association](https://ibma.org/)’s (IBMA) “Distinguished Achievement Awards” at the 2024 IBMA Bluegrass Music Awards. This prestigious recognition is a testament to our commitment to providing high-quality, accessible bluegrass music education to students around the world. For years, ArtistWorks has been dedicated to connecting aspiring musicians with some of the greatest bluegrass instructors of our time. From legends like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) to [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and more, our instructors have shared their knowledge, experience, and passion with students through our innovative online platform. The IBMA’s Distinguished Achievement Award acknowledges not only our dedication to bluegrass education but also the impact our instructors and students have made in keeping the tradition alive and thriving. Receiving this award is both humbling and inspiring. We believe in the power of music to bring people together, and we are thrilled that our work is making a meaningful difference in the bluegrass community. The ability to learn from world-class musicians, receive direct feedback, and be part of a thriving learning community is something we are incredibly proud to offer. This recognition from IBMA reinforces our mission to make bluegrass education more accessible and to continue fostering the next generation of pickers, singers, and musicians. We extend our heartfelt gratitude to IBMA for this incredible honor, to our outstanding instructors for their dedication, and to our students for their enthusiasm and commitment to learning. As we look ahead, we remain dedicated to expanding our offerings, refining our learning experience, and ensuring that bluegrass music continues to inspire players of all ages and skill levels. Here’s to another year of music, learning, and community! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [New Duet Lessons Added to Alex Hargreaves’ Fiddle Course!](https://blog.artistworks.com/new-duet-lessons-alex-hargreaves-fiddle-jan-2025) [Mastering the Alternating Thumb Roll on the Banjo: Essential Tips and Exercises](https://blog.artistworks.com/alternating-thumb-roll-banjo-exercises) [Mastering Triad Inversions on the Clawhammer Banjo](https://blog.artistworks.com/mastering-triad-inversions-clawhammer-banjo) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat in Sicily, Italy 2025](https://blog.artistworks.com/mike-marshall-caterina-lichtenberg-mandolin-world-retreat-2025/) **Published:** January 31, 2025 **Author:** ArtistWorks **Excerpt:**

Mandolin lovers, get ready for an unforgettable musical experience! Renowned mandolinists Mike Marshall and Caterina Lichtenberg are hosting their highly anticipated Mandolin World Retreat in the breathtaking setting of Sicily, Italy. Set against a backdrop of sun-drenched landscapes, rich history, and world-class cuisine, this retreat is the perfect opportunity for players of all levels to immerse themselves in mandolin mastery.

**Content:** ![]() Mandolin lovers, get ready for an unforgettable musical experience! Renowned mandolinists [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) are hosting their highly anticipated [Mandolin World Retreat](https://www.musicworldretreats.com/mando-world-sicily-2025) in the breathtaking setting of Sicily, Italy. Set against a backdrop of sun-drenched landscapes, rich history, and world-class cuisine, this retreat is the perfect opportunity for players of all levels to immerse themselves in mandolin mastery. Whether you’re drawn to the intricate techniques of classical mandolin or the driving rhythms of bluegrass, this retreat offers hands-on instruction from two of the finest musicians in the world and will feature five days and four nights of immersive mandolin music and fun-filled Italian vacationing from September 1-5, 2025. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Throughout the retreat, attendees will have the rare opportunity to learn directly from Mike and Caterina in a relaxed and inspiring environment. Mike, a legend in the bluegrass and new acoustic music scenes, will guide players through the art of improvisation, rhythm, and ensemble playing, while Caterina, one of the world’s foremost classical mandolinists, will share her expertise in precision, tone, and classical repertoire. With small group sessions, one-on-one coaching, and jam opportunities, participants will not only refine their technique but also connect with fellow mandolin enthusiasts from around the world. And of course, no trip to Sicily would be complete without indulging in its incredible food, wine, and culture! LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) For those who may not be able to attend this magical retreat in Sicily, there’s still a way to learn from these mandolin masters. [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) offer in-depth online lessons here at ArtistWorks, where students can receive personal feedback and learn at their own pace. Whether you’re looking to dive into bluegrass with Mike or explore classical mandolin with Caterina, ArtistWorks provides a direct connection to their expert guidance—all from the comfort of your home. LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall’s Mandocello Mastery: Bringing New Life to Bach’s Cello Suites](https://blog.artistworks.com/mike-marshall-mandocello-mastery-bach-cello-suites) [Mandolin Dynamics: Playing with Expression in Bluegrass Music](https://blog.artistworks.com/mandolin-dynamics-bluegrass-music) [Bluegrass Jam Session Guide: How to Organize, Conduct, and Execute a Group Jam](https://blog.artistworks.com/bluegrass-jam-session-guide) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Banjo Lesson: Defining Closed Positions with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-defining-closed-positions-noam-pikelny/) **Published:** February 7, 2025 **Author:** ArtistWorks **Excerpt:**

In bluegrass banjo playing, particularly within the melodic and single-string styles, mastering closed hand positions is essential for fluidity and precision across the fretboard. A pivotal aspect of these positions is the role of the fretting hand's middle finger, which determines the positional framework for scales and melodies.

**Content:** In bluegrass banjo playing, particularly within the melodic and single-string styles, mastering closed hand positions is essential for fluidity and precision across the fretboard. A pivotal aspect of these positions is the role of the fretting hand’s middle finger, which determines the positional framework for scales and melodies. Understanding Closed Hand Positions A closed hand position involves fretting notes without relying on open strings, enabling consistent tonal quality and facilitating complex melodic passages. The fret where your middle finger is placed serves as an anchor, defining the position: Middle Finger on 5th Fret: This is referred to as the 5th position. Middle Finger on 7th Fret: This is the 7th position. By shifting your middle finger to different frets, you can navigate various positions, each offering access to different notes and scales. The Importance of the Middle Finger The middle finger’s placement is crucial as it establishes a reference point for the other fingers, promoting ergonomic efficiency and minimizing hand movement. This strategic positioning allows for smoother transitions and greater control during intricate passages. Benefits of Mastering Closed Hand Positions Enhanced Communication: Understanding and utilizing these positions enables banjo players to communicate more effectively about where specific melodies or licks are performed on the neck. Improved Technique: It fosters better hand coordination and finger independence, essential for advanced playing. Versatility: Allows for seamless adaptation between melodic and single-string styles, expanding your musical expression. Learning from the Masters To delve deeper into these concepts, studying with accomplished banjoists can be invaluable. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), a renowned figure in the bluegrass community, offers comprehensive online banjo lessons through ArtistWorks. His course covers a wide array of styles, including melodic and single-string techniques, providing detailed instruction on closed hand positions and the pivotal role of the middle finger. For a practical demonstration, you can watch this lesson from [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny)‘s ArtistWorks course: By focusing on the placement of your middle finger and mastering closed hand positions, you’ll gain greater control and flexibility on the banjo neck, enhancing both your technique and musicality. LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-noam-pikelny) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and get personal feedback on your playing. Noam’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, improvisation, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjoists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Clawhammer Banjo Lesson: 4 Interchangeable Patterns](https://blog.artistworks.com/clawhammer-banjo-lesson-4-interchangeable-patterns/) **Published:** February 14, 2025 **Author:** ArtistWorks **Excerpt:**

Clawhammer banjo, a staple in old-time and traditional American music, offers a rich tapestry of rhythm patterns that can be interwoven to create dynamic and engaging accompaniments. Mastering these patterns not only enhances your rhythmic foundation but also adds depth to your playing. In this blog, we'll explore four fundamental clawhammer banjo patterns: Bum-Ditty, Double Thumb, Cross Over, and Roll. Understanding and applying these patterns interchangeably will elevate your rhythm playing.

**Content:** ![]() Clawhammer banjo, a staple in old-time and traditional American music, offers a rich tapestry of rhythm patterns that can be interwoven to create dynamic and engaging accompaniments. Mastering these patterns not only enhances your rhythmic foundation but also adds depth to your playing. In this blog, we’ll explore four fundamental clawhammer banjo patterns: Bum-Ditty, Double Thumb, Cross Over, and Roll. Understanding and applying these patterns interchangeably will elevate your rhythm playing. LEARN MORE: [Want to learn how to play clawhammer banjo from a master musician like Allison de Groot? Try some free online banjo lessons now!](https://go.artistworks.com/clawhammer-banjo-lessons-allison-de-groot) 1\. Bum-Ditty Pattern The Bum-Ditty is often the first rhythm pattern banjo players learn. It’s characterized by a sequence of a downstroke on a melody note (the “bum”), followed by a strum (the “dit”), and ending with a thumbed fifth string (the “ty”). This pattern creates a “bum-ditty” sound, providing a steady, danceable rhythm. In her [online clawhammer banjo lessons](https://artistworks.com/banjo-lessons-allison-degroot) at ArtistWorks, [Allison de Groot](https://artistworks.com/banjo-lessons-allison-degroot) emphasizes the importance of the Bum-Ditty as a foundational pattern. She states, “The Bum-Ditty is the heartbeat of clawhammer banjo, offering a rhythmic base upon which other patterns are built.” 2\. Double Thumb Pattern Building upon the Bum-Ditty, the Double Thumb pattern incorporates an additional thumb stroke, creating a more intricate rhythm. The sequence involves a downstroke on a melody note, followed by a thumbed fifth string, another downstroke (often on a different string), and concluding with another thumbed fifth string. [Allison de Groot](https://artistworks.com/banjo-lessons-allison-degroot) explains, “The Double Thumb pattern adds syncopation and drive to your playing, making it essential for more complex rhythmic accompaniment.” 3\. Cross Over Pattern The Cross Over pattern introduces a melodic variation by “crossing” the thumb over to play inside strings instead of the fifth string. This technique allows for greater melodic expression and can be used to highlight specific notes within a tune. In her lessons, de Groot notes, “The Cross Over pattern enables players to access a wider range of notes, adding melodic interest to the rhythmic structure.” 4\. Roll Pattern The Roll pattern, while more commonly associated with bluegrass styles, can be adapted to clawhammer playing. It involves a continuous sequence of notes played in a rolling fashion, creating a flowing, cascading sound. This pattern can add a smooth, connected feel to your rhythm playing. [Allison de Groot](https://artistworks.com/banjo-lessons-allison-degroot) highlights, “Incorporating Roll patterns into clawhammer banjo can provide a seamless, flowing rhythm that complements melodic lines.” Interchanging Patterns for Dynamic Rhythm The true artistry in clawhammer banjo lies in the seamless interchange of these patterns. Players can create dynamic and varied accompaniments that keep the music engaging by transitioning between Bum-Ditty, Double Thumb, Cross Over, and Roll patterns. De Groot advises, “Experiment with combining these patterns within a tune to discover how they can complement each other and enhance the overall rhythm.” Learn from a Master: Allison de Groot’s Online Clawhammer Banjo Lessons [Allison de Groot](https://artistworks.com/banjo-lessons-allison-degroot) offers comprehensive [online clawhammer banjo lessons](https://artistworks.com/banjo-lessons-allison-degroot) through ArtistWorks for those looking to delve deeper into these patterns and more. Her course covers a range of techniques, from foundational rhythms to advanced melodic variations, providing personalized feedback to guide your progress. As de Groot emphasizes, “Learning these patterns is just the beginning. The real joy comes from making them your own and using them to express your musicality.” By mastering and interchanging these four rhythm patterns, you’ll be well-equipped to create compelling and dynamic accompaniments on the clawhammer banjo. Happy playing! For a visual demonstration of these patterns, check out this lesson by [Allison de Groot](https://artistworks.com/banjo-lessons-allison-degroot): READ MORE: [Mastering Triad Inversions on the Clawhammer Banjo](https://blog.artistworks.com/mastering-triad-inversions-clawhammer-banjo) [“Clawhammer Banjo with Allison de Groot” is Now Open!](https://blog.artistworks.com/clawhammer-banjo-allison-de-groot-now-open) [Mastering the Alternating Thumb Roll on the Banjo: Essential Tips and Exercises](https://blog.artistworks.com/alternating-thumb-roll-banjo-exercises) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Flamenco Guitar Lesson: Primary Chords & Positions, Por Arriba & Por Medio](https://blog.artistworks.com/flamenco-guitar-lesson-chord-positions-por-arriba-por-medio/) **Published:** February 18, 2025 **Author:** ArtistWorks **Excerpt:**

Flamenco guitar is a rich and expressive art form, deeply rooted in Spanish culture. Central to mastering this style are the foundational chord positions known as "Por Arriba" and "Por Medio." Understanding these positions is essential for any aspiring flamenco guitarist.

**Content:** ![]() Flamenco guitar is a rich and expressive art form, deeply rooted in Spanish culture. Central to mastering this style are the foundational chord positions known as “Por Arriba” and “Por Medio.” Understanding these positions is essential for any aspiring flamenco guitarist. LEARN MORE: [Want to learn how to play flamenco guitar from a master musician like Noa Drezner? Try some free online flamenco guitar lessons now!](https://go.artistworks.com/guitar-lessons-noa-drezner) Por Arriba: The E Phrygian Position “Por Arriba” translates to “up” or “above” and refers to playing in the E Phrygian mode. This position centers around the E major chord, utilizing open strings to produce a resonant and bright sound characteristic of flamenco. Primary Chords in Por Arriba: E Major (I): The tonic chord, serves as the tonal foundation. F Major (II): Creates tension, leading back to the tonic. G Major (III): Adds a distinctive flavor, often used in progressions. A Minor (iv): Provides a melancholic contrast within the progression. These chords often follow the Andalusian cadence: Am – G – F – E, a descending sequence that imparts a quintessential flamenco feel. Hand Positions: In the Por Arriba position, the left hand remains primarily in the first few frets, allowing for fluid transitions between chords. The open strings play a significant role, contributing to the style’s distinctive resonance. Por Medio: The A Phrygian Position “Por Medio,” meaning “in the middle,” corresponds to the A Phrygian mode. This position is centered around the A major chord and offers a deeper, more intense tonal quality. Primary Chords in Por Medio: A Major (I): The central chord, establishes the tonal base. Bb Major (II): Introduces tension, resolving back to A major. C Major (III): Adds harmonic richness to progressions. D Minor (iv): Offers a somber contrast, enhancing emotional depth. Similar to Por Arriba, the Andalusian cadence in Por Medio follows the sequence: Dm – C – B? – A. Hand Positions: The left hand in Por Medio operates around the fifth fret, with chord shapes that differ from those in Por Arriba. This positioning yields a unique tonal color, integral to various flamenco forms. Aesthetic Impact on Chord and Hand Positions The choice between Por Arriba and Por Medio significantly influences the music’s mood and expression. Por Arriba’s bright and open sounds are well-suited for forms like Soleá and Alegrias, while Por Medio’s darker tones complement styles such as Bulerías and Tientos. The distinct hand positions and chord voicings in each mode allow guitarists to convey a wide emotional spectrum, essential for authentic flamenco performance. Learn with [Noa Drezner](https://artistworks.com/guitar-lessons-noa-drezner) For those eager to delve deeper into flamenco guitar, internationally renowned virtuoso [Noa Drezne](https://artistworks.com/guitar-lessons-noa-drezner)r offers comprehensive [online flamenco guitar lessons](https://artistworks.com/guitar-lessons-noa-drezner) through ArtistWorks. Her course caters to all skill levels, providing personalized guidance to help you master techniques and expand your repertoire. To get a taste of her teaching style, check out this recent lesson on primary chords and positions: Embarking on this journey with Noa Drezner’s [online flamenco guitar lessons](https://artistworks.com/guitar-lessons-noa-drezner) will enrich your understanding and appreciation of flamenco guitar, enabling you to express its profound emotions through your playing. READ MORE: [Discover the Soleá: A Deep Dive into Flamenco Guitar](https://blog.artistworks.com/solea-compas-flamenco-guitar-noa-drezner) [“Flamenco Guitar with Noa Drezner” is Now Open!](https://blog.artistworks.com/flamenco-guitar-noa-drezner-now-open) [Classical Guitar Lesson: Trills and Ornamentation with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-trills-and-ornamentation) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Fingerstyle Jazz Guitar Lesson: Accenting Exercises](https://blog.artistworks.com/jazz-guitar-lesson-accenting-exercises/) **Published:** February 19, 2025 **Author:** ArtistWorks **Excerpt:**

When it comes to refining your fingerstyle jazz guitar technique, developing control over dynamics and tone is essential. One of the most effective ways to achieve this is by incorporating accenting exercises into your scale practice. By focusing on how you articulate individual notes, you can enhance your expressiveness and create a more polished, consistent sound. In this blog, we’ll explore key accenting techniques and how they can elevate your fingerstyle jazz guitar playing.

**Content:** ![]() When it comes to refining your fingerstyle jazz guitar technique, developing control over dynamics and tone is essential. One of the most effective ways to achieve this is by incorporating accenting exercises into your scale practice. By focusing on how you articulate individual notes, you can enhance your expressiveness and create a more polished, consistent sound. In this blog, we’ll explore key accenting techniques and how they can elevate your fingerstyle jazz guitar playing. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Sean McGowan? Try some free online jazz guitar lessons now!](https://go.artistworks.com/guitar-lessons-sean-mcgowan) Why Accenting Exercises Matter in Fingerstyle Jazz Guitar Accenting exercises help develop: Tonal control – Achieve a more even sound across all fingers Dynamic range – Express phrases with greater musicality Finger independence – Improve dexterity between the index and middle fingers Consistency – Balance attack and volume for a fluid sound In fingerstyle jazz guitar, a refined touch is crucial for maintaining a smooth and articulate sound, especially when playing scales. Unlike pick-style players, fingerstyle jazz guitarists rely on the index and middle fingers to execute lines with precision. The Fingerstyle Approach: Key Characteristics Fingerstyle jazz guitarists, including [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), emphasize the following techniques: Alternating index and middle fingers – Ensuring even articulation across notes Controlling attack and release – Soft or strong accents shape the phrase’s dynamics Hand positioning – A relaxed but stable hand allows for fluid movement Accenting on upbeats or syncopations – Essential for jazz phrasing and swing feel Accenting Exercises for Jazz Scales Here are a few accenting drills to integrate into your fingerstyle scale practice: Alternating Accent Patterns Practice ascending and descending jazz scales using the following patterns: Accent every third note to internalize triplet-based phrasing. Accent every fourth note for a more even, syncopated feel. Switch between soft and strong accents to develop tonal control. Accent Shift on Index and Middle Fingers Play a scale while accenting notes alternately with your index and middle fingers. Focus on maintaining even attack and tone across both fingers. Experiment with dynamics by emphasizing accents in different places within the phrase. Swing Feel Accents Play a major or dominant scale while accenting notes on the upbeats (the “and” of each beat). This enhances the natural swing feel, a defining aspect of jazz phrasing. Apply this technique to common jazz scales such as the Mixolydian and Dorian modes. The Impact on Your Playing By incorporating accenting exercises into your routine, you will: Enhance the clarity and articulation of your solos Develop greater control over note attack, volume, and decay Create more natural, expressive jazz phrasing Improve finger independence, making fast passages cleaner and more defined Learn Fingerstyle Jazz Guitar with [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan) For a deeper dive into fingerstyle jazz guitar, consider the [online fingerstyle jazz guitar lessons](https://www.artistworks.com/guitar-lessons-sean-mcgowan) from [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan) at ArtistWorks. Sean’s approach focuses on fingerstyle scale exercises, dynamic control, and articulation—essential elements for any aspiring jazz guitarist. Check out his recent fingerstyle jazz guitar lesson online where he demonstrates these techniques in action: Mastering fingerstyle scale exercises through accenting drills is a game-changer for jazz guitarists. Whether you’re focusing on jazz scale exercises or refining your fingerstyle jazz guitar technique, practicing with intention will lead to a more expressive and controlled sound. For structured guidance, explore [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan)’s [fingerstyle jazz guitar lessons online](https://www.artistworks.com/guitar-lessons-sean-mcgowan) at ArtistWorks—the perfect resource for refining your technique and musicianship. Ready to elevate your playing? Start implementing these exercises today and experience the difference in your jazz guitar sound! READ MORE: [Fingerstyle Jazz Guitar Lesson: Question & Answer Improvisation Approach with Sean McGowan](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-question-answer-improvisation-sean-mcgowan) [“Fingerstyle Jazz Guitar with Sean McGowan” is Now Open!](https://blog.artistworks.com/fingerstyle-jazz-guitar-sean-mcgowan-now-open) [Top Five Essential Improvisation Techniques for Jazz Guitarists](https://blog.artistworks.com/top-five-jazz-guitar-improvisation-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues Guitar with Seth Rosenbloom is Now Open](https://blog.artistworks.com/blues-guitar-seth-rosenbloom-open/) **Published:** March 4, 2025 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Blues Guitar with Seth Rosenbloom,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Blues Guitar with Seth Rosenbloom](https://www.artistworks.com/guitar-lessons-seth-rosenbloom),” is officially here! As of 9 am PT, the course is officially live and open to all students. [Seth Rosenbloom](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) is an acclaimed blues guitarist, vocalist, and educator known for his fiery playing, soulful vocals, and deep connection to the blues tradition. Born and raised in Waltham, Massachusetts, Seth discovered his passion for the guitar at an early age, influenced by blues legends such as B.B. King, Albert Collins, and Stevie Ray Vaughan. By his teenage years, Seth was already performing regularly in local venues, captivating audiences with his virtuosic fretwork and emotive delivery. Over time, he developed a distinctive sound that blends blues with elements of jazz, rock, and soul, earning him recognition as a modern torchbearer of the genre. As a recording artist, Seth has released several well-received projects, including his debut album, Keep On Turning, which showcases his dynamic guitar playing and original songwriting. His music has been praised for its balance of technical mastery and heartfelt expression, capturing the essence of the blues while pushing its boundaries. Seth’s work has earned him a loyal following, with performances across the United States and internationally, sharing stages with renowned artists and gracing major music festivals. His reputation as both a skilled guitarist and an engaging performer continues to grow with each new release and tour. In addition to his career as a performer, [Seth Rosenbloom](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) is a dedicated guitar educator, sharing his expertise with aspiring musicians through workshops, online lessons, and masterclasses. His approachable teaching style and ability to demystify complex techniques have made him a sought-after instructor. Whether he’s demonstrating intricate licks or breaking down the emotional nuance of blues phrasing, Seth is committed to inspiring the next generation of guitarists to find their own voice within the blues tradition. Through his [online blues guitar lessons](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) at ArtistWorks, you’ll learn the ins and outs of Seth’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Seth has drawn from his extensive knowledge as a professional blues guitarist and seasoned educator to create a comprehensive course of [blues guitar lessons online](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) designed to teach players everything they need to know to become a masterful guitarist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Seth and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Seth at every step of your musical journey. [SIGN UP NOW](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) to gain access to Seth’s library of [online blues guitar lessons](https://www.artistworks.com/guitar-lessons-seth-rosenbloom), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Seth reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but also have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Sean McGowan's Fingerstyle Jazz Guitar School](https://blog.artistworks.com/new-lessons-sean-mcgowan-fingerstyle-jazz-guitar-march-2025/) **Published:** March 6, 2025 **Author:** ArtistWorks **Excerpt:**

Great news for fingerstyle jazz guitarists! ArtistWorks has just added seven brand-new lessons to Sean McGowan’s acclaimed Fingerstyle Jazz Guitar course, offering fresh material for students eager to refine their technique, expand their harmonic vocabulary, and groove through some soulful blues études.

**Content:** ![]() Great news for fingerstyle jazz guitarists! ArtistWorks has just added seven brand-new lessons to [Sean McGowan](https://www.artistworks.com/guitar-lessons)’s acclaimed [Fingerstyle Jazz Guitar](https://www.artistworks.com/guitar-lessons) course, offering fresh material for students eager to refine their technique, expand their harmonic vocabulary, and groove through some soulful blues études. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Sean McGowan? Try some free online jazz guitar lessons now!](https://go.artistworks.com/guitar-lessons-sean-mcgowan) These new lessons cover a range of essential topics, including the second chorus of “Napa Valley Blues” in G, an exciting new F blues etude, “St. Pete Blues,” and a 12-bar blues in F, “Living Room Blues.” Guitarists looking to enhance their harmonic knowledge can dive into triad pairs in comping, comping with triad pairs in “Carnival,” creating tension, and modal interchange with borrowed chords. Each lesson is packed with Sean’s expert guidance, helping students develop both technical fluency and deeper musical expression. Alongside Sean’s detailed video instruction, students will find written tablature/notation, play-along backing tracks, and full-screen performance isolation videos from three unique angles. Plus, with adjustable playback speed and custom looping, you can fully tailor your practice to lock in every detail. Whether you’re a long-time student or new to the course, these additions provide valuable tools to level up your playing. Click [HERE](https://www.artistworks.com/guitar-lessons) to join Sean’s course and start exploring these exciting new lessons today! LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [jazz guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sean McGowan](https://www.artistworks.com/guitar-lessons-sean-mcgowan), and get personal feedback on your playing. Sean’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, and music theory utilized by modern-day jazz guitarists. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome, and all students will develop the skills needed to become a well-rounded guitarist and musician. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: Accenting Exercises with Sean McGowan](https://blog.artistworks.com/jazz-guitar-lesson-accenting-exercises) [December 2024: New Lessons Added to Sean McGowan’s Fingerstyle Jazz Guitar Course at ArtistWorks](https://blog.artistworks.com/new-lessons-sean-mcgowan-fingerstyle-jazz-guitar-dec-2024) [The ArtistWorks Jazz Guitar Holiday Special with Dave Stryker & Sean McGowan](https://blog.artistworks.com/jazz-guitar-holiday-special-dave-stryker-sean-mcgowan) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Acoustic Guitar Lessons Added to Dave Isaacs' School](https://blog.artistworks.com/acoustic-guitar-lessons-dave-isaacs-march-2025/) **Published:** March 14, 2025 **Author:** ArtistWorks **Excerpt:**

Great news for guitarists! Dave Isaacs’ Session Player Toolkit at ArtistWorks has just expanded with a brand-new series of acoustic guitar lessons—the first acoustic-focused addition to Dave’s formerly all-electric course. This exciting update introduces 14 new lessons designed to help players develop essential acoustic techniques, enhance their rhythm playing, and integrate acoustic guitar seamlessly into different musical settings.

**Content:** ![]() Great news for guitarists! [Dave Isaacs](https://artistworks.com/guitar-lessons-dave-isaacs)’ [Session Player Toolkit](https://artistworks.com/guitar-lessons-dave-isaacs) at ArtistWorks has just expanded with a brand-new series of acoustic guitar lessons—the first acoustic-focused addition to Dave’s formerly all-electric course. This exciting update introduces 14 new lessons designed to help players develop essential acoustic techniques, enhance their rhythm playing, and integrate acoustic guitar seamlessly into different musical settings. LEARN MORE: [Want to learn how to play guitar from a master musician like Dave Isaacs? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-dave-isaacs) These new lessons cover key acoustic skills such as rhythm approaches, blending in a mix, using a capo, texturing, and more. Each of the course’s 10 sections now features at least one acoustic lesson, each exploring a different key and musical style/feel. To ensure a well-rounded learning experience, every lesson includes a two-part analysis and breakdown, performance videos filmed from three angles, and detailed tablature. Students also receive play-along backing tracks to practice with, helping them apply these techniques in a musical context. With these additions, ArtistWorks has made it even easier for guitarists to master the nuances of acoustic playing in a band setting. The platform’s video isolation features, adjustable playback speed, and looping functions allow students to practice at their own pace and focus on the details that matter most. Whether you’re looking to enhance your songwriting, improve your rhythm chops, or develop a professional session-ready skill set, these new lessons provide an invaluable resource. Now’s the perfect time to dive in and explore the expanded[ Session Player Toolkit](https://artistworks.com/guitar-lessons-dave-isaacs)! LEARN MORE: Have you always wanted to learn how to play the guitar? Through our comprehensive [guitar lessons online](https://www.artistworks.com/guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Isaacs](https://www.artistworks.com/guitar-lessons-dave-isaacs), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and music theory utilized by modern-day session musicians. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist fluent in a variety of styles. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [November 2024: New Lessons Added to Dave Isaacs’ “Session Player Toolkit”!](https://blog.artistworks.com/new-lessons-dave-isaacs-session-player-toolkit-nov-2024) [Guitar Lesson: Melodic String Bending with Dave Isaacs](https://blog.artistworks.com/guitar-lesson-string-bending-dave-isaacs) [“Blues Guitar with Seth Rosenbloom” is Now Open!](https://blog.artistworks.com/blues-guitar-seth-rosenbloom-open) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Noa Drezner's Flamenco Guitar School](https://blog.artistworks.com/new-lessons-noa-drezner-flamenco-guitar-march-2025/) **Published:** March 28, 2025 **Author:** ArtistWorks **Excerpt:**

Great news for flamenco guitar enthusiasts! Noa Drezner's ArtistWorks course just got even better with the addition of seven brand-new lessons, expanding the depth and variety of flamenco techniques available to students. Whether you're looking to refine your speed, accompany a singer or dancer, or improve your ensemble playing, these new lessons provide valuable insights straight from a master of the craft.

**Content:** ![]() Great news for flamenco guitar enthusiasts! [Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner)‘s ArtistWorks course just got even better with the addition of seven brand-new lessons, expanding the depth and variety of flamenco techniques available to students. Whether you’re looking to refine your speed, accompany a singer or dancer, or improve your ensemble playing, these new lessons provide valuable insights straight from a master of the craft. The new lessons cover a range of essential topics, including “Developing Speed,” “Soleá: Playing with a Dancer,” and multiple deep dives into the rich world of Fandangos, including “Accompanying a Singer,” “Fandangos Naturales – Intro,” and “Fandangos Naturales – Falseta.” Additionally, a lesson on “Playing with Other People” helps students build the confidence and skills needed to collaborate with fellow musicians, making their playing more dynamic and expressive. Alongside Noa’s expert video instruction, these lessons come with an array of helpful learning materials. Students will have access to written tablature and notation, play-along backing tracks, and performance isolation videos featuring full-screen views from three unique angles. Plus, ArtistWorks’ interactive features allow students to slow down video playback, loop sections, and tailor their practice experience to their specific needs. Whether you’re a beginner eager to develop your flamenco foundation or an advanced player seeking to refine your technique, these new lessons offer a fantastic opportunity to grow. Dive in today and take your flamenco playing to the next level with [Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner) at ArtistWorks! LEARN MORE: Have you always wanted to learn how to play flamenco guitar? Through our comprehensive [flamenco guitar lessons online](https://www.artistworks.com/guitar-lessons-noa-drezner) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Noa Drezner](https://www.artistworks.com/guitar-lessons-noa-drezner), and get personal feedback on your playing. Noa’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and music theory utilized by authentic flamenco musicians. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will develop the skills needed to become a well-rounded guitarist fluent in a variety of styles. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Flamenco Guitar Lesson: Primary Chords & Positions: Por Arriba & Por Medio](https://blog.artistworks.com/flamenco-guitar-lesson-chord-positions-por-arriba-por-medio) [Discover the Soleá: A Deep Dive into Flamenco Guitar](https://blog.artistworks.com/solea-compas-flamenco-guitar-noa-drezner) [“Flamenco Guitar with Noa Drezner” is Now Open!](https://blog.artistworks.com/flamenco-guitar-noa-drezner-now-open) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues Guitar Lesson: Combining Bends & Vibrato with Seth Rosenbloom](https://blog.artistworks.com/blues-guitar-lesson-bends-vibrato-seth-rosenbloom/) **Published:** April 3, 2025 **Author:** ArtistWorks **Excerpt:**

When it comes to blues guitar techniques, few elements carry as much expressive power as the combination of string bends and vibrato. These techniques can transform even the simplest phrases into deeply emotive passages, making your playing stand out with soulful intensity. If you're looking to refine your blues guitar skills, mastering bends and vibrato is essential.

**Content:** ![]() When it comes to blues guitar techniques, few elements carry as much expressive power as the combination of string bends and vibrato. These techniques can transform even the simplest phrases into deeply emotive passages, making your playing stand out with soulful intensity. If you’re looking to refine your blues guitar skills, mastering bends and vibrato is essential. The Power of String Bends in Blues Guitar String bends on the guitar allow you to reach notes that aren’t typically available without shifting positions. This technique mimics the expressive qualities of the human voice, letting you “sing” with your guitar. However, the key to effective bending lies in precision—your bends must be in tune. An out-of-tune bend can ruin the impact of an otherwise great phrase. Tips for Mastering String Bends: Target the Right Pitch: Use a tuner to ensure you’re bending to the correct pitch. Use Multiple Fingers: Reinforce your bends with multiple fingers for better control. Listen to the Masters: Blues guitarists like B.B. King, Albert King, and [Seth Rosenbloom](https://artistworks.com/guitar-lessons-seth-rosenbloom) are great examples of players who excel at expressive bends. The Magic of Vibrato Vibrato adds richness and sustain to your notes, allowing them to “breathe” within a phrase. A controlled vibrato ensures that your note oscillates between a slightly sharper pitch and returns to its intended note, adding depth without sounding out of tune. How to Execute a Proper Vibrato: Anchor Your Hand: Keep your wrist relaxed while using subtle finger and hand movements. Control the Speed and Width: Experiment with different vibrato speeds to find the right feel. Stay in Tune: Avoid excessive movements that push the pitch too far out of key. Combining Bends with Vibrato for Maximum Expression Once you have mastered bends and vibrato separately, the next step is to combine them. This is where blues guitar truly comes alive. By adding vibrato at the peak of a bend, you introduce a fluid and expressive quality that enhances your musical phrases. Steps to Combining Bends and Vibrato: Bend to the Target Note: Ensure your bend reaches the correct pitch. Hold the Bend Steady: Maintain control before adding vibrato. Apply Vibrato Gradually: Introduce a slow and controlled vibrato without dropping the pitch. In his recent [blues guitar lesson](https://artistworks.com/guitar-lessons-seth-rosenbloom) on ArtistWorks, [Seth Rosenbloom](https://artistworks.com/guitar-lessons-seth-rosenbloom) demonstrates the importance of blending these techniques seamlessly. His approach to expressive bends and vibrato is a must-watch for any aspiring blues guitarist. Learn from the Best with [Online Blues Guitar Lessons](https://artistworks.com/guitar-lessons-seth-rosenbloom) If you want to take your blues guitar playing to the next level, consider [Seth Rosenbloom](https://artistworks.com/guitar-lessons-seth-rosenbloom)’s online blues guitar course at ArtistWorks. His structured lessons cover essential blues guitar techniques, including string bends, vibrato, phrasing, and more. Whether you’re a beginner or an advanced player, these [blues guitar lessons online](https://artistworks.com/guitar-lessons-seth-rosenbloom) provide valuable insights that will help you refine your skills. Why Choose Online Blues Guitar Lessons with Seth Rosenbloom? Comprehensive Curriculum: Learn everything from foundational techniques to advanced improvisation. Personalized Feedback: Submit your playing for direct feedback from Seth himself. Accessible Anytime: Learn at your own pace with on-demand lessons. By focusing on combining bends with vibrato, you can elevate your playing and connect more deeply with your audience. Whether you’re jamming with friends or performing on stage, these techniques are crucial for delivering an authentic and emotionally compelling blues sound. Ready to master your blues guitar skills? Check out [Seth Rosenbloom](https://artistworks.com/guitar-lessons-seth-rosenbloom)’s blues guitar lessons at ArtistWorks and start your journey toward expressive, soulful playing today! READ MORE: [“Blues Guitar with Seth Rosenbloom” is Now Open!](https://blog.artistworks.com/blues-guitar-seth-rosenbloom-open) [New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course!](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-dec-2024) [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Surprise Release: Billy Strings & Bryan Sutton Drop "Live at the Legion"](https://blog.artistworks.com/billy-strings-bryan-sutton-live-at-the-legion/) **Published:** April 11, 2025 **Author:** ArtistWorks **Excerpt:**

On April 7, 2025, bluegrass fans were treated to an unexpected gem when Billy Strings and Bryan Sutton released their surprise live album, Live at the Legion. Recorded over two intimate nights at the American Legion Post 82 in Nashville, Tennessee, the album captures two of the most virtuosic guitarists in acoustic music locking into a deep, spontaneous musical conversation. Known for its no-frills honky-tonk vibe and die-hard traditionalist crowd, the Legion provided the perfect setting for this rootsy collaboration. The album feels less like a performance and more like an after-hours jam between old friends—which, in many ways, it is.

**Content:** ![]() On April 7, 2025, bluegrass fans were treated to an unexpected gem when Billy Strings and [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) released their surprise live album, Live at the Legion. Recorded over two intimate nights at the American Legion Post 82 in Nashville, Tennessee, the album captures two of the most virtuosic guitarists in acoustic music locking into a deep, spontaneous musical conversation. Known for its no-frills honky-tonk vibe and die-hard traditionalist crowd, the Legion provided the perfect setting for this rootsy collaboration. The album feels less like a performance and more like an after-hours jam between old friends—which, in many ways, it is. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) The backstory behind Live at the Legion adds a layer of magic to the music. Originally intended as a private session to “blow off steam and play some good tunes” after both artists wrapped up separate tour legs, the recordings were never planned for release. But the tapes—captured by engineer Sean Sullivan using a simple two-mic setup—revealed such chemistry and warmth that Strings and Sutton agreed the sessions deserved to be heard. What makes the album even more special is its stripped-down, impromptu nature: no setlist, no overdubs, just two flatpickers leaning into their shared love of tradition and improvisation. The tracklist is a balanced mix of traditional numbers, bluegrass standards, and a few unexpected covers. Highlights include a blistering take on Doc Watson’s “Black Mountain Rag,” a soulful rendition of Norman Blake’s “Church Street Blues,” and a playful romp through “Salt Creek.” Perhaps the most touching moment comes in their duet on “Wayfaring Stranger,” where the interplay between Sutton’s precision and Strings’ emotive phrasing creates a haunting, meditative mood. Fans of deep-cut picking will appreciate the album’s instrumental moments too, like their dazzling arrangement of “Soldier’s Joy” that feels both fresh and reverent. The buzz around the release has only amplified anticipation for the duo’s upcoming tour this September, which promises to bring this spontaneous magic to stages across the country. Joining them will be bassist Royal Masat, a key member of Billy Strings’ touring band, whose rhythmic foundation and melodic sensibility are sure to elevate the trio’s sound even further. Early reports hint that the tour will follow a similarly free-form structure, with setlists evolving night to night—just like the Legion sessions. In a time when bluegrass continues to evolve and push boundaries, Live at the Legion reminds us of the enduring power of stripped-down, honest musicianship. Whether you’re a die-hard fan or new to the genre, this surprise release offers a front-row seat to a masterclass in acoustic guitar—and a glimpse into the joy of playing just for the sake of the song. LISTEN TO THE ALBUM [HERE](https://billystrings.lnk.to/LiveatTheLegion) LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Top Five Essential Improvisation Techniques for Bluegrass Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-bluegrass-guitar) [Guitar Tone Perfection: Achieving the Ultimate Bluegrass Sound](https://blog.artistworks.com/guitar-tone-bluegrass-sound) [Speed and Precision: Advanced Scale Exercises for Bluegrass Guitarists](https://blog.artistworks.com/advanced-scale-exercises-bluegrass-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Announcing The Soul of Country Piano with Matt Rollings](https://blog.artistworks.com/new-course-country-piano-matt-rollings/) **Published:** April 15, 2025 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in June 2025, “The Soul of Country Piano with Matt Rollings.”

**Content:** ![]() We are excited to announce our newest course coming in June 2025, “[The Soul of Country Piano with Matt Rollings](https://go.artistworks.com/country-piano-lessons-matt-rollings).” [Matt Rollings](https://go.artistworks.com/country-piano-lessons-matt-rollings) is a Grammy-winning pianist, composer, record producer, and renowned piano educator whose journey began with a deep passion for music at an early age. Growing up immersed in diverse musical influences, he dedicated himself to the study of the piano, drawing inspiration from an array of genres that would later inform his innovative style. His early commitment to excellence laid a strong foundation for a career that would see him become one of the most sought-after session musicians and musical collaborators in the industry. Throughout his extensive career, Rollings has lent his exceptional skills to countless hit recordings and high-profile projects. His ability to seamlessly blend technical precision with soulful expression has earned him accolades, including multiple Grammy Awards, and the respect of artists across jazz, pop, country, and R&B. Over the years, he has collaborated with a roster of esteemed artists such as George Strait, Clint Black, and Vince Gill, among others, further demonstrating his versatility and deep influence in shaping modern music. In addition to his outstanding work in the recording studio, [Matt Rollings](https://go.artistworks.com/country-piano-lessons-matt-rollings) is a passionate piano educator who dedicates a considerable part of his career to mentoring aspiring musicians. He regularly conducts workshops, masterclasses, and one-on-one sessions, where he shares the secrets behind his technique and creative process. His commitment to nurturing new talent and his continuing contributions to music education underscore a legacy that is as influential behind the scenes as it is on stage, inspiring future generations to pursue excellence in their musical endeavors. Through his [online country piano lessons](https://go.artistworks.com/country-piano-lessons-matt-rollings) at ArtistWorks, you’ll learn the ins and outs of Matt’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Matt has drawn from his extensive knowledge as a professional Nashville-based pianist and seasoned educator to create a comprehensive course of [country piano lessons online](https://go.artistworks.com/country-piano-lessons-matt-rollings) designed to teach players everything they need to know to become a masterful pianist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Matt and get an intimate look into his unique approach and style. Grow as a pianist while simultaneously furthering yourself as a musician, and get direct guidance from Matt at every step of your musical journey. [Sign up now](https://go.artistworks.com/country-piano-lessons-matt-rollings) for news updates from Matt and ArtistWorks, exclusive presale opportunities, invitations to live events, free sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [New Tune Lessons Added to Bryan Sutton’s Bluegrass Guitar School](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar-april-2025/) **Published:** April 16, 2025 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that six brand-new lessons have just been added to Bryan Sutton’s bluegrass guitar course at ArtistWorks! These fresh additions bring two classic tunes into the curriculum: the soulful spiritual “Down in the Valley to Pray” and the driving fiddle tune “Hangman’s Reel”. Each tune comes with lessons tailored specifically for beginner, intermediate, and advanced players, so no matter where you are in your guitar journey, you’ll find detailed instruction that meets you at your level.

**Content:** ![]() We’re excited to announce that six brand-new lessons have just been added to [Bryan Sutton](https://www.artistworks.com/guitar-lessons-bryan-sutton)’s [bluegrass guitar course](https://www.artistworks.com/guitar-lessons-bryan-sutton) at ArtistWorks! These fresh additions bring two classic tunes into the curriculum: the soulful spiritual “Down in the Valley to Pray” and the driving fiddle tune “Hangman’s Reel”. Each tune comes with lessons tailored specifically for beginner, intermediate, and advanced players, so no matter where you are in your guitar journey, you’ll find detailed instruction that meets you at your level. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) As always, Bryan’s teaching combines deep musical insight with real-world bluegrass experience. In these new lessons, he breaks down each tune in a thoughtful, step-by-step manner, offering guidance not only on the technical aspects of playing but also on tone, phrasing, and groove. Whether you’re learning the melody for the first time or digging into advanced variations and crosspicking strategies, Bryan’s clear instruction is here to guide you through. To enhance the learning experience, each lesson includes newly prepared supporting materials. Students will have access to written tablature and standard notation for every performance, along with play-along backing tracks at multiple tempos to suit your pace. You’ll also find isolated performance videos shot from three different angles in full-screen view—ideal for studying Bryan’s technique up close. Plus, all videos come with ArtistWorks’ customizable playback features, including adjustable speed and looping, so you can slow things down or zero in on tricky sections with ease. These new lessons offer a complete, flexible, and in-depth way to learn these bluegrass favorites straight from one of the genre’s most respected players. Dive in and start picking! If you’re a current student of Bryan’s, dive in now and enjoy learning these brand-new tunes and accompanying techniques. If you’re just joining Bryan’s amazing online flatpick guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR BRYAN’S COURSE HERE!](https://www.artistworks.com/guitar-lessons-bryan-sutton) LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Surprise Release: Billy Strings & Bryan Sutton Drop “Live at the Legion”](https://blog.artistworks.com/billy-strings-bryan-sutton-live-at-the-legion) [Top Five Essential Improvisation Techniques for Bluegrass Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-bluegrass-guitar) [Guitar Tone Perfection: Achieving the Ultimate Bluegrass Sound](https://blog.artistworks.com/guitar-tone-bluegrass-sound) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lessons Added to Seth Rosenbloom's Blues Guitar School](https://blog.artistworks.com/new-lessons-seth-rosenbloom-blues-guitar-april-2025/) **Published:** April 17, 2025 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce the addition of five brand-new lessons to Seth Rosenbloom’s blues guitar course at ArtistWorks! These lessons span a wide range of levels—from foundational to advanced—and are designed to both deepen your understanding of key blues concepts and build on material already taught in the course. Whether you’re just starting to explore expressive techniques or you're diving into more nuanced soloing approaches, there’s something here for every player.

**Content:** ![]() We’re excited to announce the addition of five brand-new lessons to [Seth Rosenbloom](https://www.artistworks.com/guitar-lessons-seth-rosenbloom)’s [blues guitar course](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) at ArtistWorks! These lessons span a wide range of levels—from foundational to advanced—and are designed to both deepen your understanding of key blues concepts and build on material already taught in the course. Whether you’re just starting to explore expressive techniques or you’re diving into more nuanced soloing approaches, there’s something here for every player. LEARN MORE: [Want to learn how to play guitar from a blues master like Seth Rosenbloom? Try some free online blues guitar lessons now!](https://go.artistworks.com/guitar-lessons-seth-rosenbloom) Here’s a quick look at what’s new: Level 4: T-Bone Walker Study – Exercise 2 continues the journey through classic blues phrasing. Level 5: Albert King Study – Exercise 2 digs deeper into the soulful stylings of a true blues legend. Level 6: Unison Bends introduces a powerful technique used across blues and rock. Level 7: Expanding Your Vocabulary – More Bang for Your Buck helps intermediate players say more with less. Level 8: Minor Blues in the Style of “The Thrill Is Gone” – Improv Soloing Example 2 showcases advanced phrasing and emotive soloing in a minor blues context. These new additions also come with a full suite of supportive learning materials, including written tablature and standard notation, play-along backing tracks, and multi-angle performance videos that give you a front-row seat to Seth’s technique. You can slow videos down, loop tricky sections, and tailor your practice session to fit your personal pace and goals. Whether you’re aiming to master the fundamentals or refine your expressive soloing, these lessons are designed to inspire and challenge. If you’re a current student of Seth’s, dive in now and enjoy learning these brand-new techniques and approaches. If you’re just joining Seth’s amazing online blues guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… [SIGN UP FOR SETH’S COURSE HERE!](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) LEARN MORE: Have you always wanted to learn how to play blues guitar? Through our comprehensive [blues guitar lessons online](https://www.artistworks.com/guitar-lessons-seth-rosenbloom) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Seth Rosenbloom](https://www.artistworks.com/guitar-lessons-seth-rosenbloom), and get personal feedback on your playing. Seth’s course starts with the basics and teaches everything from beginner guitar to advanced improvisation techniques, classic blues tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as blues guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Blues Guitar with Seth Rosenbloom” is Now Open!](https://blog.artistworks.com/blues-guitar-seth-rosenbloom-open) [New Lessons Added to Jared James Nichols’ Blues Rock Guitar Course!](https://blog.artistworks.com/new-lessons-jared-james-nichols-blues-rock-guitar-dec-2024) [Top Five Essential Improvisation Techniques for Blues Guitarists](https://blog.artistworks.com/top-five-improvisation-techniques-blues-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The Soul of Country Piano with Matt Rollings Now Open](https://blog.artistworks.com/pre-sale-soul-country-piano-matt-rollings/) **Published:** April 29, 2025 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that pre-sale VIP memberships are now available for our newest course, “The Soul of Country Piano with Matt Rollings.” While the course officially launches in June, joining early grants you access to a handful of amazing perks and exclusives leading up to the launch, including:
**Content:** ![]() We’re excited to announce that pre-sale VIP memberships are now available for our newest course, “[The Soul of Country Piano with Matt Rollings](https://artistworks.com/piano-lessons-matt-rollings).” While the course officially launches in June, joining early grants you access to a handful of amazing perks and exclusives leading up to the launch, including: 1\. Early access to the entire course one week before it becomes available to the public 2\. A series of lessons, greetings, and exclusive performance videos delivered straight from Matt to your email inbox 3\. First 100 students get an “Original 100” badge attached to their student profile 4\. Invitations to live, virtual events 5\. Automatic entry to upcoming giveaways 6\. Much more! This is your chance to become one of Matt’s first online ArtistWorks students. [SIGN UP NOW!](https://artistworks.com/piano-lessons-matt-rollings) Matt can’t wait to see you online. ABOUT “THE SOUL OF COUNTRY PIANO WITH MATT ROLLINGS:” [Matt Rollings](https://artistworks.com/piano-lessons-matt-rollings) is a Grammy-winning pianist, composer, record producer, and renowned piano educator whose journey began with a deep passion for music at an early age. Growing up immersed in diverse musical influences, he dedicated himself to the study of the piano, drawing inspiration from an array of genres that would later inform his innovative style. His early commitment to excellence laid a strong foundation for a career that would see him become one of the most sought-after session musicians and musical collaborators in the industry. Throughout his extensive career, Rollings has lent his exceptional skills to countless hit recordings and high-profile projects. His ability to seamlessly blend technical precision with soulful expression has earned him accolades, including multiple Grammy Awards, and the respect of artists across jazz, pop, country, and R&B. Over the years, he has collaborated with a roster of esteemed artists such as George Strait, Clint Black, and Vince Gill, among others, further demonstrating his versatility and deep influence in shaping modern music. In addition to his outstanding work in the recording studio, [Matt Rollings](https://artistworks.com/piano-lessons-matt-rollings) is a passionate piano educator who dedicates a considerable part of his career to mentoring aspiring musicians. He regularly conducts workshops, masterclasses, and one-on-one sessions, where he shares the secrets behind his technique and creative process. His commitment to nurturing new talent and his continuing contributions to music education underscore a legacy that is as influential behind the scenes as it is on stage, inspiring future generations to pursue excellence in their musical endeavors. Through his [online country piano lessons](https://artistworks.com/piano-lessons-matt-rollings) at ArtistWorks, you’ll learn the ins and outs of Matt’s distinct approach to the instrument and the intricate methods that define his one-of-a-kind sound and style. Matt has drawn from his extensive knowledge as a professional Nashville-based pianist and seasoned educator to create a comprehensive course of [country piano lessons online](https://artistworks.com/piano-lessons-matt-rollings) designed to teach players everything they need to know to become a masterful pianist and well-rounded musician. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Matt and get an intimate look into his unique approach and style. Grow as a pianist while simultaneously furthering yourself as a musician, and get direct guidance from Matt at every step of your musical journey. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://www.artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://www.artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [ArtistWorks Instructors Shine at the 2025 IBMA Bluegrass Music Awards](https://blog.artistworks.com/artistworks-instructors-shine-at-the-2025-ibma-bluegrass-music-awards/) **Published:** September 11, 2025 **Author:** ArtistWorks **Content:** We’re proud to celebrate the incredible accomplishments of our ArtistWorks instructors and collaborators who have been nominated for — and honored with — some of the highest awards in bluegrass and Americana music. The **2025 International Bluegrass Music Association (IBMA) Awards** spotlight the very best in the genre, and this year’s nominees include many familiar faces from the ArtistWorks family. ## ArtistWorks Instructors Among the 2025 IBMA Award Nominees Our instructors have been recognized across nearly every major category: - **Song of the Year** *“5 Days Out, 2 Days Back” – Alison Brown, Steve Martin, featuring Tim O’Brien* - **Album of the Year** *Earl Jam – Tony Trischka* - **Instrumental Group of the Year** *Billy Strings (featuring Alex Hargreaves)* - **Instrumental Recording of the Year** *“Ralph’s Banjo Special” – Kristin Scott Benson, Gena Britt & Alison Brown* - **Collaborative Recording of the Year** *“5 Days Out, 2 Days Back” – Alison Brown & Steve Martin featuring Tim O’Brien* *“Ralph’s Banjo Special” – Kristin Scott Benson, Gena Britt & Alison Brown* - **Female Vocalist of the Year** *Sierra Hull* - **Banjo Player of the Year** *Alison Brown* *Tony Trischka* - **Bass Player of the Year** *Missy Raines* - **Resophonic Guitar Player of the Year** *Andy Hall* - **Guitar Player of the Year** *Bryan Sutton* - **Mandolin Player of the Year** *Sierra Hull* - **Music Video of the Year** *“5 Days Out, 2 Days Back” – Alison Brown & Steve Martin featuring Tim O’Brien* These nominations reflect not just the individual artistry of our instructors, but also their ongoing impact on the future of bluegrass. ## Distinguished Achievement Award: Missy Raines A special congratulations to **Missy Raines**, recipient of the **2025 IBMA Distinguished Achievement Award**. Missy has redefined what’s possible for bass players in bluegrass, becoming the first woman to win IBMA’s Bass Player of the Year award — a staggering ten times. Her career spans collaborations with legends, groundbreaking ensembles, and her acclaimed solo work. Missy’s artistry, leadership, and teaching continue to inspire new generations of musicians around the world. ## Bluegrass Hall of Fame Inductee: Hot Rize The IBMA also announced that **Hot Rize** will be inducted into the **Bluegrass Music Hall of Fame**, the highest honor in the genre. With a legacy of innovation and influence dating back to the late 1970s, Hot Rize has shaped the sound of bluegrass for decades. We’re especially proud that ArtistWorks instructor **Bryan Sutton** has carried that torch since joining the band in 2002. ## Americana Recognition: Alex Hargreaves Wins Instrumentalist of the Year The celebrations don’t stop at IBMA. ArtistWorks instructor **Alex Hargreaves** also won **Instrumentalist of the Year** at the **2025 Americana Music Awards** — a testament to his versatility, virtuosity, and influence across genres. ## A Community of Excellence At ArtistWorks, we are honored to have such extraordinary musicians as part of our teaching community. Their artistry, accolades, and dedication to sharing their knowledge with students around the world remind us why we do what we do: to connect learners with the very best in music. Congratulations to all of our instructors and collaborators for these well-deserved honors! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Announcements, Banjo, Bass, Fiddle, Guitar, Mandolin, Piano, Voice **Tags:** IBMA Awards --- ### [Alison Brown to Present at the 59th CMA Awards](https://blog.artistworks.com/alison-brown-to-present-at-the-59th-cma-awards/) **Published:** November 19, 2025 **Author:** ArtistWorks **Content:** We have wonderful news to share — our very own [Alison Brown](https://artistworks.com/alison-brown) will be a presenter at this year’s CMA Awards! It’s a fantastic moment for her, and a proud one for all of us in the ArtistWorks community. ### 🎬 How to Watch Tune in on **Wednesday, November 19 at 8 PM ET / 7 PM CT on ABC**. Check your local listings for exact timing, then join in and support Alison. --- ### 🎶 About Alison Alison Brown is a Grammy-winning banjoist, guitarist, composer, and educator who has earned her place among the most respected voices in contemporary string music. Her work ranges from bluegrass and Americana to jazz-inflected ensemble projects. Most recently, Alison and Steve Martin released Safe, Sensible And Sane, a celebrated album that showcases her versatile style and innovative approach to the instrument. Her artistry and teaching both reflect a deep love of tone, musicality, and exploration. --- ### 🪕 Join Alison’s School Inspired to start playing? Dive into [Alison’s school at ArtistWorks](https://artistworks.com/alison-brown) and learn directly from her world-class instruction. Whether you’re picking up your first banjo or refining your ensemble skills, she provides the guidance and feedback to help you play with confidence and style. Plus, students new to Alison’s school get a free 7 day trial to try it out. [Start a free trial](https://artistworks.com/alison-brown) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Andy Hall’s Resophonic Guitar & Lap Steel School Has Been Reimagined](https://blog.artistworks.com/andy-halls-resophonic-guitar-lap-steel-school-has-been-reimagined/) **Published:** November 18, 2025 **Author:** ArtistWorks **Content:** For far too many players, strong tone and confident slide technique remain just out of reach. With his revamped school at ArtistWorks, Andy Hall is bringing those breakthroughs within reach — no procrastination, no guesswork. Andy Hall, best known as the founding member of The Infamous Stringdusters and a Grammy-winning master of the resonator guitar, has re-crafted his entire school into a cleaner, more purposeful, and more impactful experience. What to expect: - **New Content, Deep Insight:** New lessons cover everything from bluegrass rhythm to soulful lap steel phrasing. - **Direct Feedback Returns:** Andy is re-introducing Video Exchange Learning®, so you submit your own video and get personalized responses from him. - **Expanded Tools:** New tabs, jam tracks, and split-screen views help you lock in tone and groove faster. Whether you’re stepping into the resophonic guitar for the first time or sharpening your existing slide chops, Andy’s hands-on approach and deep musical experience get you playing with confidence, clarity, and character. Plus, students new to Andy’s school get a free 7 day trial to try it out. ### Ready to dive in? [Start free trial](http://artistworks.com/andy-hall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** Lap Steel, Resophonic --- ### [5 Bluegrass Guitar Techniques to Break Through Your Plateau](https://blog.artistworks.com/5-bluegrass-guitar-techniques-to-break-through-your-plateau/) **Published:** November 18, 2025 **Author:** ArtistWorks **Content:** You’ve learned the open chords. You can strum along to “Wagon Wheel.” But every time you try to kick off a fiddle tune at a jam session or nail that lightning-fast Tony Rice lick, your pick gets tangled in the strings. If this sounds familiar, you aren’t alone. Many intermediate guitar players hit a “bluegrass ceiling.” You know what the music *should* sound like—driving, precise, and “high and lonesome”—but your hands just won’t cooperate. The secret to breaking through isn’t just practicing *more*; it’s practicing the *right* techniques with the right guidance. Whether you are self-taught or looking for **online bluegrass guitar lessons**, mastering these five foundational skills is the key to unlocking the fretboard. --- ## 1. The “Boom-Chuck” Rhythm (The Heartbeat of Bluegrass) Before you can shred a solo, you have to be a rhythm machine. In bluegrass, the guitar acts as the drum kit. The bass note (the “Boom”) on beats 1 and 3 replaces the kick drum, and the strum (the “Chuck”) on beats 2 and 4 acts as the snare. - **The Struggle:** Many players rush the “Chuck,” causing the whole band to speed up. - **The Fix:** Focus on the *alternating bass*. If you’re playing a G chord, pick the low E string (Root), strum, then pick the open D string (5th), and strum. ## 2. The “G-Run” (Your Bluegrass Signature) If there is one lick that defines the genre, it’s the Lester Flatt G-Run. It’s that iconic bass run used to cap off a phrase and signal to the band that the chord is resolving to G. - **Why You Need It:** It’s the punctuation mark of bluegrass conversation. It lets you transition smoothly from rhythm to lead and back again. - **The Technique:** Focus on the hammer-on timing to get that “lazy” but driving feel. ## 3. Crosspicking (The Banjo Roll for Guitar) Ever wonder how guitarists create that rolling, cascading sound that mimics a banjo? That’s crosspicking. It involves a specific picking pattern (often down-down-up or down-up-down) across three different strings. - **The Struggle:** Hitting the wrong string or getting the pick “stuck.” - **The Fix:** Economy of motion. Keep your pick movements small. This is notoriously difficult to self-teach without an instructor watching your pick angle. ## 4. Rest Strokes (Volume and Tone) To get that loud, acoustic cannon volume without buzzing, you need to look at *how* your pick strikes the string. - **The Technique:** Use “rest strokes” (where the pick comes to rest on the next string after playing a note) to maximize volume. - **The Benefit:** This instantly improves your tone, making your guitar sound bigger and more authoritative in a jam. ## 5. Minimizing Tension Speed is a byproduct of relaxation. If your forearm burns after 30 seconds of “Blackberry Blossom,” you are holding too much tension. This is the number one reason players quit. They think they aren’t fast enough, but the reality is they are just too tense. Diagnosing this on your own is nearly impossible because you can’t see your own mechanics objectively. --- ## Why YouTube Tutorials Aren’t Enough You can find tabs for all these techniques online. But there is a huge difference between *knowing* a G-run and *playing* it with the drive, timing, and tone of a pro. The missing link for most students is **feedback**. You might practice for months, unaware that your pick slant is wrong or that your wrist angle is causing your speed plateau. ## Enter ArtistWorks: The Ultimate Way to Learn Bluegrass Guitar If you are serious about getting better, you need a mentor. This is where **[ArtistWorks](https://artistworks.com/guitar-lessons-bryan-sutton)** changes the game. ArtistWorks isn’t just a library of videos; it is an interactive learning platform anchored by the legendary **Bryan Sutton**. ### Who is Bryan Sutton? Bryan Sutton is arguably the most accomplished bluegrass guitarist of his generation. A Grammy winner and 10-time IBMA Guitar Player of the Year, he has played with everyone from Ricky Skaggs to Doc Watson. When you join ArtistWorks, he becomes *your* teacher. ### The Secret Weapon: Video Exchange Learning® What makes ArtistWorks superior to other online lessons? **Video Exchange Learning®.** Here is how it works: 1. You watch Bryan’s high-quality video lessons (from beginner basics to advanced flatpicking). 2. You practice the concept. 3. **You record a video of yourself playing** and upload it to the site. 4. **Bryan Sutton watches your video** and sends you a personalized video response. He corrects your technique, fixes your bad habits, and tells you exactly what to practice next. It is the closest thing to sitting in the room with a master, but you can do it from the comfort of your home, on your own schedule. ## Ready to Pick Faster and Cleaner? Stop wasting time practicing mistakes. Join the thriving community of bluegrass pickers at ArtistWorks and get the personalized feedback you need to finally shred those fiddle tunes. [Start Your Bluegrass Guitar Journey with Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass, guitar --- ### [Alison Brown to Perform on The Tonight Show with Steve Martin!](https://blog.artistworks.com/alison-brown-to-perform-on-the-tonight-show-with-steve-martin/) **Published:** October 29, 2025 **Author:** ArtistWorks **Excerpt:** Big news for banjo fans! 🎶 ArtistWorks instructor Alison Brown will appear on The Tonight Show Starring Jimmy Fallon this Wednesday, October 29, performing alongside the legendary Steve Martin to promote their brand-new album. **Content:** Big news for banjo fans! 🎶 ArtistWorks instructor [Alison Brown](https://artistworks.com/alison-brown) will appear on The Tonight Show Starring Jimmy Fallon this Wednesday, October 29, performing alongside the legendary Steve Martin to promote their brand-new album. Even better? Alison won’t be the only ArtistWorks talent on stage — [Sierra Hull](https://artistworks.com/sierra-hull) and [Michael Daves](https://artistworks.com/michael-daves), both beloved ArtistWorks instructors, will also join the lineup for this special performance. It’s a must-watch moment for anyone who loves virtuosic playing, tight harmonies, and the kind of joy that only live music can deliver. 📺 **How to Watch:** Alison and friends will be performing Wednesday October 29th at 11:35/10:35c. The Tonight Show Starring Jimmy Fallon airs on NBC and streams the next day on Peacock. [Watch here](https://www.nbc.com/the-tonight-show) Alison and Steve’s collaboration is having quite a moment. Their new album, Safe Sensible and Sane, is currently sitting at **\#1 on multiple Billboard charts** this week — a well-deserved recognition for two artists at the top of their craft. [Alison’s ArtistWorks course](https://artistworks.com/alison-brown) has helped thousands of players discover the nuances of tone, timing, and musical expression on the banjo. Through our signature Video Exchange® feature, students get the rare chance to submit their own videos and receive personalized feedback directly from Alison — an experience that bridges the gap between online learning and real mentorship. If you’ve ever wanted to learn banjo from one of the best in the business, now’s your chance to try it free. Start a 7-day free trial of Alison Brown’s online banjo school today by clicking below: [Start 7-day free trial](https://artistworks.com/alison-brown) (Available to new users who haven’t previously taken a trial.) Don’t miss Alison, Sierra, and Michael representing the ArtistWorks family on national television! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Announcements, Banjo **Tags:** Alison Brown, banjo, bluegrass --- ### [Three Finger Banjo Picking: Scruggs Style Basics](https://blog.artistworks.com/three-finger-banjo-picking-scruggs-style-basics/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** Ever wondered why some banjo players make their instruments sing with lightning-fast precision while others struggle with basic melodies? The secret lies in mastering **three finger banjo picking**, a technique that transformed bluegrass music forever. This revolutionary approach, pioneered by Earl Scruggs, turns the banjo into a powerhouse of rhythm and melody that defines the bluegrass sound we know today. Unlike traditional [clawhammer style](https://artistworks.com/schools/instruments/banjo), three finger picking creates continuous flowing notes. The technique drives songs forward with unstoppable momentum. ## Understanding the Scruggs Style Banjo Foundation Earl Scruggs didn't just play banjo differently – he revolutionized it completely. Before his arrival in the 1940s, most players used the clawhammer technique, striking downward with their fingers. Scruggs introduced a revolutionary **Earl Scruggs method** that used thumb picks and fingerpicks to pluck strings upward, creating a cascading effect of notes that became the backbone of modern **bluegrass banjo style**. The fundamental difference between Scruggs style and clawhammer lies in the attack and sustain. Clawhammer produces a percussive, rhythmic sound perfect for old-time music. **Scruggs style banjo** generates continuous melodic lines with intricate patterns that can carry both rhythm and lead responsibilities simultaneously. Your banjo setup matters tremendously for optimal three finger performance. Medium-gauge strings work best for beginners, providing enough tension for clear note definition without requiring excessive finger strength. A properly adjusted bridge ensures accurate intonation, while a comfortable action height prevents fatigue during extended practice sessions. ## Mastering Basic Banjo Picking Techniques and Hand Position Proper hand position forms the foundation of successful **banjo picking techniques**. Your thumb should rest naturally on the fifth string, with your index and middle fingers positioned over the second and first strings respectively. This creates a stable platform for executing **banjo fingerpicking patterns** with precision and control. The picking motion originates from your fingertips, not your wrist or arm. Think of it as a gentle plucking action rather than aggressive striking. Your thumb moves in a slight arc, while your fingers pull strings toward your palm. This coordination takes time to develop, but consistency in practice yields remarkable results. Common mistakes include excessive wrist movement, irregular finger spacing, and rushing through patterns. Many beginners tense their entire arm when focusing on finger independence. Relaxation is key. Your hand should feel light and responsive, not rigid or forced. **Banjo picking exercises** for building finger strength include playing scales using alternating fingers, practicing chromatic runs, and isolating individual fingers while maintaining steady rhythm with your thumb. Start slowly and gradually increase tempo as muscle memory develops. ## Learning Three Finger Roll Patterns for Bluegrass Banjo Roll patterns form the backbone of **three finger roll patterns** in bluegrass playing. The forward roll follows a thumb-index-middle-thumb sequence, creating a flowing cascade of notes. This pattern appears in countless bluegrass standards and provides the foundation for more complex arrangements. The backward roll reverses this sequence: middle-index-thumb-middle. This pattern offers a different rhythmic feel and works exceptionally well for creating tension and release in musical phrases. Practice both patterns until they become automatic responses. Alternating thumb rolls add rhythmic variety by emphasizing the bass strings. Your thumb alternates between the fifth and fourth strings while your fingers maintain their melodic patterns on the higher strings. This technique creates the classic bluegrass "boom-chuck" rhythm that drives ensemble playing. Mixed roll combinations blend different patterns within single phrases. Advanced players seamlessly transition between forward rolls, backward rolls, and alternating patterns based on the musical context. This flexibility allows for dynamic expression and prevents monotonous playing. Smooth transitions between patterns require dedicated practice. Focus on maintaining consistent timing while changing finger sequences. Use a metronome to ensure steady rhythm, and practice pattern changes at various tempos until they feel natural. ## Developing Your Bluegrass Banjo Style with Practice Routines Effective daily practice schedules maximize learning efficiency. Spend 15 minutes on warm-up exercises, 20 minutes on roll patterns, and 25 minutes applying patterns to actual songs. This structured approach builds technical skills while maintaining musical context. **Banjo tablature basics** provide a roadmap for learning new material. Tablature numbers indicate which frets to press, while timing notation shows rhythm patterns. Combine tablature reading with ear training to develop well-rounded musical skills. Incorporating chord progressions into picking patterns bridges the gap between technical exercises and musical performance. Practice common bluegrass progressions like I-IV-V-I while maintaining consistent roll patterns. This integration prepares you for real-world playing situations. Speed development requires patience and systematic progression. Start each pattern at a comfortable tempo where you can maintain accuracy. Gradually increase metronome settings by 5-10 beats per minute weekly. Accuracy always trumps speed – clean slow playing beats sloppy fast playing every time. Building a repertoire of classic songs using three finger technique provides practical application for your developing skills. Start with simple melodies like "Cripple Creek" or "Old Joe Clark" before advancing to complex arrangements of songs like "Foggy Mountain Breakdown." ## Taking Your Banjo Picking Techniques to the Next Level Advanced Scruggs style embellishments transform basic patterns into sophisticated musical statements. Hammer-ons, pull-offs, and slides add melodic interest to standard roll patterns. These techniques require precise timing and finger coordination, but they separate intermediate players from advanced performers. Playing with other instruments in **bluegrass banjo lessons** format develops ensemble skills. Listen carefully to guitar, mandolin, and fiddle parts to understand how your banjo fits into the overall musical texture. Sometimes playing less allows other instruments to shine, creating better overall musical balance. Recording considerations for three finger players include microphone placement, string noise management, and timing precision. Position microphones slightly off-axis to capture the full tonal spectrum without excessive pick noise. Clean technique becomes magnified in recording situations, so practice with a critical ear. Performance preparation involves more than just technical proficiency. Stage presence, song introductions, and interaction with audiences enhance the musical experience. Confidence comes from thorough preparation, so practice performing your repertoire until it becomes second nature. ## FAQ (Frequently Asked Questions) ### How long does it take to learn three finger banjo picking? Most students can play basic roll patterns within 2-3 months of consistent practice. However, developing fluency with song applications typically requires 6-12 months of regular practice. Advanced techniques and speed development continue throughout a player's musical journey. ### Do I need fingerpicks for Scruggs style banjo playing? Yes, fingerpicks are necessary for authentic Scruggs style playing. Metal fingerpicks on your index and middle fingers, plus a thumbpick, provide the attack and volume needed for proper technique. Plastic picks work for beginners, but metal picks offer better tone and projection. ### What's the difference between bluegrass banjo and old-time banjo? Bluegrass banjo uses three finger picking techniques with fingerpicks, creating flowing melodic lines and intricate patterns. Old-time banjo typically employs clawhammer or frailing techniques, striking downward with fingernails to create a rhythmic, percussive sound that emphasizes the beat. ### Should I learn chords before learning picking patterns? Understanding basic chord shapes helps with song structure and musical context, but you can learn picking patterns simultaneously. Many teachers recommend learning both together, as chord knowledge informs your picking choices and helps you understand song arrangements. ### Can I learn Scruggs style banjo without taking formal lessons? Self-taught learning is possible with quality instructional materials, but professional guidance accelerates progress significantly. Online lessons, books, and video tutorials provide excellent resources, but personal feedback from experienced instructors helps identify and correct technical issues early in your development. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog.jpg "New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog - ArtistWorks Blog")](https://artistworks.com/tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo **Tags:** banjo --- ### [Banjo Head Types: Choosing the Right Sound](https://blog.artistworks.com/banjo-head-types-choosing-the-right-sound/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** Your banjo's voice depends entirely on one simple component sitting right on top of your instrument. The head you choose transforms everything about your sound, from the crisp attack of a bluegrass melody to the warm resonance of old-time tunes. Understanding **banjo head types** means understanding how to shape your musical expression. Most players stick with whatever head came on their banjo. That's a mistake. The right head can turn a decent instrument into something special, while the wrong choice leaves even premium banjos sounding flat and lifeless. ## Understanding Different Banjo Head Types and Materials Three main categories dominate the banjo head world. Each brings distinct characteristics to your playing experience. **Synthetic vs calfskin banjo heads** represents the fundamental choice every player faces. Synthetic heads offer consistency and durability that natural materials simply cannot match. Weather changes don't affect them. Humidity fluctuations won't alter their tone. You can count on the same sound whether you're playing in a dry concert hall or a humid outdoor festival. Calfskin heads tell a different story. They breathe with the music, responding to your touch in ways synthetic materials struggle to replicate. The tone carries warmth and complexity that many traditional players consider irreplaceable. But they're temperamental. Temperature shifts change their pitch. Humidity makes them sag or tighten unpredictably. **Fiberskyn banjo heads** bridge this gap beautifully. These synthetic heads mimic calfskin's tonal qualities while maintaining synthetic reliability. Many professional players consider them the sweet spot between tradition and practicality. Plastic and Mylar heads represent the modern extreme. They're virtually indestructible and maintain perfect consistency across all conditions. For recording sessions or touring musicians, this predictability becomes invaluable. Thickness variations add another layer of complexity. Medium-weight heads provide balanced response suitable for most playing styles. Light heads offer quick response and bright attack, perfect for fast passages. Heavy heads emphasize low-end and sustain, ideal for rhythm work. ## Banjo Head Material Comparison: Sound Characteristics Material choice directly impacts your **banjo sound quality** in measurable ways. Synthetic heads typically produce brighter, more focused tones with excellent projection. The attack hits immediately, making notes pop from the instrument with clarity. Calfskin generates warmer, more complex overtones. Notes bloom and decay naturally, creating organic sustain that synthetic materials often lack. This characteristic makes calfskin particularly appealing for old-time and traditional styles where authenticity matters. The **best banjo heads for bluegrass** typically lean synthetic. The genre demands bright, cutting tones that slice through fiddles, mandolins, and guitars in ensemble settings. Remo Weatherking and Fiberskyn heads dominate bluegrass stages for good reason—they deliver the punch and clarity this style requires. Climate considerations play a bigger role than most players realize. Synthetic heads maintain stable tuning regardless of weather conditions. Natural heads require constant attention in changing environments. If you perform outdoors or travel frequently, synthetic options save endless headaches. Professional players often maintain multiple instruments with different head types. Studio work might call for the warmth of calfskin, while live performances demand synthetic reliability. ## How to Choose Banjo Head Based on Playing Style Your musical preferences should drive your head selection. Bluegrass players benefit from synthetic heads that emphasize attack and projection. The quick response helps rapid-fire rolls cut through dense arrangements. Old-time musicians often prefer calfskin or Fiberskyn heads. These materials support the flowing, rhythmic style that defines traditional American music. The softer attack and natural decay complement clawhammer and two-finger techniques perfectly. Jazz banjo requires yet another approach. Many jazz players choose heavier synthetic heads that emphasize fundamental tones while controlling overtones. This creates the focused sound that works in small ensemble settings. Beginner considerations matter too. New players benefit from synthetic heads that stay in tune and respond predictably. Learning proper technique becomes easier when your instrument behaves consistently. **Banjo drumhead replacement** frequency varies by material and playing intensity. Synthetic heads typically last six months to two years with regular use. Natural heads might need replacement every few months, especially in variable climates. Budget-conscious players can achieve excellent **banjo tone modification** through head upgrades. A quality synthetic head costs less than expensive [banjo](https://artistworks.com/schools/instruments/banjo) strings but impacts sound far more dramatically. ## Installation and Maintenance Tips **Banjo head installation** requires patience and proper technique. Professional setup ensures optimal results, but experienced players can handle the process themselves with proper tools. Tensioning represents the most critical aspect. Uneven tension creates buzzes, dead spots, and poor intonation. Work in small increments, moving around the head systematically. Check your work with gentle tapping—the head should produce consistent pitch across its surface. Different materials require specific care approaches. Synthetic heads tolerate aggressive cleaning and standard polishes. Natural heads need gentle treatment with minimal moisture exposure. Warning signs for replacement include visible wear, inconsistent response, or tonal changes that setup adjustments cannot correct. Don't wait until heads fail completely—proactive replacement prevents emergency situations during performances. Essential tools include a drum key, tension wrench, and measuring device for even spacing. Many players also keep spare heads on hand for quick replacements when needed. ## Finding Your Perfect Match The right banjo head transforms your instrument from functional to inspiring. Consider your playing style, musical preferences, and practical needs when making this choice. Synthetic heads offer reliability and brightness perfect for modern styles. Natural materials provide warmth and tradition that many players find irreplaceable. Don't hesitate to experiment. Many players discover their preferences through trial and experience rather than theoretical knowledge. Your ideal head type might surprise you once you hear the difference it makes in your playing. ## FAQ (Frequently Asked Questions) ### How often should I replace my banjo head? Synthetic heads typically last 6-24 months depending on playing frequency and environmental conditions. Natural heads may need replacement every 3-6 months, especially in humid or variable climates. Replace when you notice tonal changes, visible wear, or tuning instability that setup cannot correct. ### Can I install a banjo head myself? Yes, experienced players can install heads with proper tools and technique. However, professional installation ensures optimal results and prevents damage to your instrument. If you're new to banjo maintenance, consider having your first replacement done professionally while observing the process. ### What's the difference between light, medium, and heavy banjo heads? Light heads respond quickly with bright attack, perfect for fast picking styles. Medium heads provide balanced response suitable for most playing styles. Heavy heads emphasize low-end frequencies and sustain, ideal for rhythm playing or when you need more fundamental tone. ### Do expensive banjo heads sound better than budget options? Quality matters more than price alone. Premium heads often use better materials and manufacturing processes that improve durability and consistency. However, a properly installed mid-range head usually outperforms a premium head with poor installation. Focus on finding the right material and thickness for your style first, then consider quality within that category. ### Should I choose synthetic or natural banjo heads? Choose synthetic heads for consistency, durability, and bright tone. They work well for bluegrass, recording, and situations where environmental stability matters. Choose natural heads for traditional warmth, complex overtones, and authentic old-time sound. Consider Fiberskyn as a middle ground that combines synthetic reliability with natural-like tone characteristics. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog.jpg "New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog - ArtistWorks Blog")](https://artistworks.com/tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo **Tags:** banjo --- ### [Five String Banjo Setup: Action and Intonation Guide](https://blog.artistworks.com/five-string-banjo-setup-action-and-intonation-guide/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** Your banjo sounds off, and you can't figure out why. The strings buzz against the frets, the intonation wanders somewhere between sharp and flat, and what should be beautiful music turns into frustration. A proper **banjo setup** transforms an unplayable instrument into one that responds to your touch with clarity and precision. Most players assume their banjo came ready to play from the factory. Wrong assumption. Every instrument needs adjustment to reach its potential, and banjos present unique challenges that guitars simply don't face. The floating bridge, the drum-like head tension, and the fifth string's unusual positioning all require specific attention. ## Understanding Five String Banjo Setup Fundamentals Banjo setup encompasses every adjustment that affects playability and tone. This includes **banjo action adjustment**, bridge positioning, head tension, tailpiece height, and occasionally neck modifications. Each element influences the others, creating a delicate balance that determines whether your instrument fights you or works with you. The relationship between action and tone quality runs deeper than many realize. Too high, and your fingers work overtime. Too low, and notes choke out or buzz against frets. Five string banjo maintenance requires understanding these trade-offs and finding the sweet spot for your playing style. You'll need specific tools for the job: - String height gauge or ruler marked in 64ths - Electronic tuner with strobe capability - Small screwdriver set - Capo for measuring relief - Fresh strings (old strings lie about intonation) Safety matters here. Never force adjustments. Banjo heads can crack under excessive pressure, and over-tightening hardware strips threads. Take your time. The instrument will tell you when something's wrong. ## Banjo Action Adjustment: Achieving Perfect String Height Measuring current **banjo string height** starts at the 12th fret. Standard measurements run 3/32" for the first string and 7/64" for the fourth string at the 12th fret. These numbers aren't gospel—they're starting points. Your playing style and finger strength determine the final settings. The floating bridge makes **banjo bridge placement** both simple and complex. Simple because it moves easily. Complex because it affects both action and intonation simultaneously. Start by positioning the bridge so the 12th fret harmonic matches the 12th fret fingered note on all strings. **Banjo tailpiece adjustment** influences string angle and tension. Lower tailpieces reduce string pressure on the bridge, which can improve tone but may cause strings to slip off the bridge during aggressive playing. Higher settings increase pressure but can deaden tone. Most players find the middle ground works best. High action versus low action creates the eternal debate. High action provides more volume and reduces buzzing but demands stronger fingers. Low action feels easier but limits dynamic range and can cause buzzing. Consider your musical goals. [Bluegrass players](https://artistworks.com/schools/instruments/guitar) often prefer slightly higher action for power and clarity. When **banjo neck adjustment** becomes necessary, proceed with extreme caution. Most banjos feature coordinator rods rather than truss rods. These systems work differently than guitar truss rods and require professional knowledge to adjust safely. Incorrect adjustment can crack the neck or make the instrument unplayable. ## Mastering Banjo Intonation for Perfect Pitch **Banjo intonation** determines whether chords sound in tune up and down the neck. Poor intonation makes your playing sound amateurish regardless of your technical skill. The floating bridge system allows precise adjustments that fixed-bridge instruments can't match. Check intonation accuracy by comparing the 12th fret harmonic to the fingered 12th fret note. They should match exactly. If the fingered note sounds sharp, move the bridge away from the neck. If it sounds flat, move the bridge toward the neck. Make small adjustments—tiny movements create significant changes. String gauge affects intonation stability more than players realize. Heavier [banjo](https://artistworks.com/schools/instruments/banjo) strings require different bridge positioning than light strings. When changing string gauges, always recheck and adjust bridge placement. The investment in proper setup pays dividends in improved sound quality. Electronic tuners with strobe capability provide the accuracy needed for proper intonation work. Standard needle tuners lack the precision required for professional setup work. The strobe pattern shows even minute pitch variations that affect chord quality. ## Complete Banjo Setup Guide: Step-by-Step Process Professional **banjo setup guide** work follows a specific sequence. Start with head tension—it affects everything else. The head should feel firm but not drum-tight. Next, set the bridge height for proper action, then adjust bridge position for accurate intonation. Order matters. Changing head tension affects action and intonation. Adjusting action changes string tension, which affects intonation. Work systematically, checking each adjustment's effect on other elements. This methodical approach prevents endless tweaking cycles. Seasonal adjustments keep your setup stable. Wood moves with humidity changes, affecting neck relief and action. Summer humidity may require slight bridge adjustments, while dry winter air can change string tension. Monitor these changes and make small corrections as needed. Know when to stop. DIY setup work handles basic adjustments, but major issues require professional expertise. Neck problems, head replacement, and hardware repairs need specialized tools and knowledge. Don't risk damaging your instrument to save a setup fee. ## FAQ (Frequently Asked Questions) ### How often should I set up my banjo? A complete setup annually handles most players' needs, with minor adjustments seasonally for climate changes. Heavy players or those in extreme climates may need more frequent attention. Trust your ears—if the banjo sounds or feels different, check the setup. ### Can I damage my banjo during setup adjustments? Yes, but basic bridge and tailpiece adjustments carry minimal risk when done gently. Avoid neck adjustments unless you understand coordinator rod systems. Never force any adjustment, and stop if something feels wrong. Professional help costs less than repair work. ### Why does my banjo go out of tune after setup work? New [banjo](https://artistworks.com/schools/instruments/banjo) strings stretch, and any bridge movement changes string tension. Allow 24-48 hours for strings to stabilize after setup work. Tune frequently during this break-in period. If problems persist beyond a few days, recheck bridge position and tailpiece height. ### What's the difference between banjo setup and guitar setup? Banjos feature floating bridges, drum-like heads, and coordinator rods instead of truss rods. These differences require specific techniques and knowledge. [Guitar setup](https://artistworks.com/schools/instruments/guitar) experience helps but doesn't fully translate to banjo work. The fifth string adds another complexity layer unique to banjos. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog.jpg "New-Lessons-Added-to-Tony-Trischkas-Bluegrass-Banjo-Course_OCT_Blog - ArtistWorks Blog")](https://artistworks.com/tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo **Tags:** banjo --- ### [Mountain Dulcimer Basics for Guitar Players](https://blog.artistworks.com/mountain-dulcimer-basics-for-guitar-players/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** You've mastered barre chords and conquered complex fingerpicking patterns on guitar. Now you're eyeing that mountain dulcimer in the music store window. The **mountain dulcimer for guitar players** represents an exciting musical adventure, but how different can it really be from your six-string companion? The transition might surprise you. While both instruments share strings and frets, their approaches to melody and harmony diverge significantly. ## Understanding the Mountain Dulcimer vs Guitar Differences The mountain dulcimer sits flat across your lap, not upright against your body. This fundamental position change affects everything from your picking hand technique to how you visualize chord shapes. Most mountain dulcimers feature three or four strings compared to your guitar's six. The traditional setup includes one melody string (closest to you), one or two middle strings, and one bass string (farthest away). This string arrangement creates a completely different harmonic landscape than guitar players expect. The fretboard spans roughly 27-29 inches, similar to a guitar's scale length, but the fret spacing follows a diatonic pattern. Unlike guitar's chromatic fretting, dulcimers often skip certain semitones, focusing on notes within specific scales. Sound characteristics lean heavily toward folk and Appalachian traditions. The dulcimer produces a mellower, more intimate tone than most guitars, with natural sustain and rich overtones that complement vocal melodies beautifully. ## Mountain Dulcimer Tuning and String Setup Guide Standard DAD tuning serves as your starting point. The bass string tunes to D below middle C, both middle strings tune to A above middle C, and the melody string tunes to D an octave above the bass string. This tuning creates an open D chord when you strum all strings. Guitar players familiar with DADGAD tuning will recognize some similarities, though the dulcimer's arrangement feels quite different in practice. Alternative tunings include DAA (modal tuning) and CGG. DAA tuning works exceptionally well for traditional folk melodies, while CGG offers a brighter, more major-key sound. Some players experiment with EBB or AEE for specific repertoires. **Mountain dulcimer strings** typically use lighter gauges than guitar strings. A common set includes .012 for the melody string, .014 for middle strings, and .024 wound for the bass string. These lighter tensions feel quite different under your fingers compared to guitar strings. ## Dulcimer Playing Techniques for Guitar Players Your [guitar fingerpicking skills](https://artistworks.com/schools/instruments/guitar) translate surprisingly well to dulcimer, though the technique requires adjustment. Most dulcimer players use their thumb and one or two fingers, focusing on the melody string while providing rhythmic accompaniment on the other strings. Strumming patterns work differently too. Instead of complex chord shapes, you'll often play simple drone accompaniments while the melody string carries the tune. Think of it as playing lead and rhythm simultaneously. **Dulcimer fretting patterns** challenge guitar players initially. You'll primarily fret the melody string while leaving middle and bass strings open. This creates constant pedal tones underneath your melodies, producing that characteristic dulcimer sound. Chord formation becomes much simpler. A basic major chord requires fretting just the melody string at the appropriate fret while strumming all strings. Minor chords often involve fretting additional strings, but the shapes remain far less complex than guitar barre chords. ## Learning Dulcimer Chord Progressions and Musical Arrangements Common **dulcimer chord progressions** revolve around I-IV-V relationships within the key of your tuning. In DAD tuning, this translates to D-G-A progressions, though the actual fretting looks nothing like guitar chord shapes. Many guitar songs adapt beautifully to mountain dulcimer. "Scarborough Fair," "House of the Rising Sun," and countless folk ballads work perfectly. The key lies in identifying songs that emphasize melody over complex harmony. **Beginner dulcimer lessons** should focus on simple melodies first. "Mary Had a Little Lamb" or "Twinkle, Twinkle, Little Star" help you understand the fretboard layout before tackling more complex pieces. Traditional folk songs offer perfect practice material. "Wildwood Flower," "Old Joe Clark," and "Amazing Grace" showcase classic dulcimer techniques while building your repertoire of essential American folk music. ## Making the Guitar to Dulcimer Transition Successfully The biggest challenge involves retraining your muscle memory. Your fretting hand wants to form guitar chord shapes, but dulcimer requires a completely different approach to harmony and melody. Practice routines should emphasize melody playing initially. Spend time learning simple tunes without any accompaniment, focusing purely on clean fret transitions and tone production on the melody string. Many guitarists successfully combine both instruments in their musical arrangements. The dulcimer's drone-like qualities complement guitar's harmonic richness beautifully, creating layered folk arrangements that neither instrument achieves alone. Online resources and local dulcimer clubs provide invaluable learning support. The dulcimer community tends to be welcoming and eager to share knowledge with newcomers, especially those with existing musical backgrounds. Building confidence requires patience with the learning process. Your guitar skills provide a strong [musical foundation](https://artistworks.com/schools), but dulcimer demands its own technical and musical vocabulary. Embrace the differences rather than fighting them. ## FAQ (Frequently Asked Questions) ### Can guitar players learn mountain dulcimer quickly? Guitar players often learn dulcimer basics within a few weeks due to their existing musical knowledge and finger strength. However, mastering dulcimer-specific techniques takes several months of regular practice, as the instrument requires different muscle memory and musical thinking. ### Do I need different picks for mountain dulcimer? Many dulcimer players prefer softer picks than typical guitar picks. Medium to light gauge picks work well, though some players use their fingers exclusively. The choice depends on your playing style and the tone you want to achieve. ### How much should I expect to spend on a beginner mountain dulcimer? Quality beginner mountain dulcimers range from $200-500, while professional instruments can cost $1000 or more. Starting with a mid-range instrument around $300-400 provides good playability without a massive investment. You can also explore [various options](https://www.ebay.com/shop/mountain-dulcimer?_nkw=mountain+dulcimer) for both new and used instruments. ### What's the best mountain dulcimer tuning for beginners? DAD tuning offers the best starting point for beginners because it creates an open chord when strummed and works well for most folk songs. Once comfortable with DAD, you can explore other tunings like DAA or CGG for different musical colors. ### Can I play modern songs on mountain dulcimer? Yes, though the dulcimer works best with songs that emphasize melody over complex chord progressions. Many pop ballads, folk-rock songs, and even some blues adapt well to dulcimer when arranged thoughtfully. [![](http://blog.artistworks.com/wp-content/uploads/2022/01/An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog.jpg "An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog - ArtistWorks Blog")](https://artistworks.com/bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** guitar --- ### [Bluegrass Vocal Harmony: Guitar Player's Guide](https://blog.artistworks.com/bluegrass-vocal-harmony-guitar-players-guide/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** You're strumming through your favorite bluegrass tune when the harmony vocals kick in. That moment when voices blend together creates something magical. But as a guitar player, mastering **bluegrass vocal harmony** while maintaining your instrument's rhythm presents unique challenges. Many guitarists struggle to balance picking patterns with pitch accuracy, often sacrificing one for the other. The good news? Guitar players hold a special position in bluegrass ensembles. You're not just providing accompaniment – you're anchoring the entire harmonic foundation that allows those soaring vocal lines to shine. ## Understanding Bluegrass Vocal Harmony Fundamentals Traditional bluegrass harmony operates on a four-part system: lead, tenor, baritone, and bass. The lead singer carries the melody while harmony voices weave around it using specific intervals. Most commonly, you'll encounter thirds and fifths, though bluegrass musicians also use unisons and octaves for dramatic effect. As a guitarist, you typically sing either tenor (above the lead) or baritone (below the lead). Your choice depends on your vocal range and the band's needs. The tenor part often doubles the melody an octave higher or adds a third above. Baritone parts usually sit a third or fifth below the lead. What makes bluegrass harmony distinctive is its close spacing. Voices cluster together, creating that characteristic "stack" sound. This tight arrangement requires precise intonation and careful listening to blend properly. ## Bluegrass Guitar Harmony Chords and Progressions Your chord choices directly impact how well vocal harmonies work. Standard bluegrass progressions in keys like G, C, D, and A provide the harmonic framework singers need to find their parts instinctively. The I-IV-V progression remains the backbone of most bluegrass songs. In the key of G, that's G-C-D. These chords contain all the notes harmony singers need for their parts. When you play a G major chord, it includes the notes G, B, and D – perfect for supporting tenor and baritone harmony lines. Here are key chord progressions every bluegrass guitarist should master: - I-V-I (G-D-G): Perfect for simple two-part harmony - I-IV-I-V (G-C-G-D): Classic bluegrass turnaround - vi-IV-I-V (Em-C-G-D): Modern progression gaining popularity Capo placement becomes vital when accommodating different singers. Moving your capo to match the lead singer's comfortable range often determines the success of your harmony arrangements. ## Vocal Harmony Techniques While Playing Guitar Singing while playing guitar requires splitting your attention between two complex tasks. Start with simple chord progressions before attempting intricate [fingerpicking guitar patterns](https://artistworks.com/schools/instruments/guitar) during vocal sections. Your breathing technique changes when holding a guitar. You can't expand your diaphragm fully, so develop efficient breathing patterns that work within these constraints. Take breaths during instrumental breaks or held chords rather than in the middle of picking passages. Microphone positioning presents another challenge. Stand-up guitarists need the microphone close enough for vocals but positioned to avoid feedback from their instrument. Many professionals use a boom stand to achieve the right angle. Practice finding your harmony part by ear. Play the melody on your guitar, then sing along until you can match it perfectly. Next, experiment with singing a third above or below while continuing to play the melody. This exercise develops your ability to hear harmony intervals naturally. ## Traditional Bluegrass Harmony Song Examples Studying classic bluegrass songs reveals how guitar and vocal harmony work together. "Blue Moon of Kentucky" features simple chord changes that support beautiful three-part harmony. The guitar maintains steady rhythm while voices create movement through their harmonic interplay. "I Am a Man of Constant Sorrow" showcases how baritone harmony can add emotional depth. The guitar's minor chord progressions provide a perfect foundation for the mournful harmony lines that define this song. More complex arrangements like "Foggy Mountain Breakdown" demonstrate how instrumentalists can add vocal harmony to primarily instrumental pieces. Short vocal phrases punctuate the guitar work without interfering with the technical demands of the arrangement. ## Practice Methods for Acoustic Guitar Vocal Harmony Recording yourself reveals issues you might miss while playing. Set up your phone or recording device and play through songs while singing harmony parts. Listen back for pitch problems, timing issues, or places where your guitar overpowers your voice. Practice with backing tracks to simulate band situations. Many online resources provide chord progressions at various tempos. This allows you to focus on your harmony singing without worrying about keeping steady rhythm. Work on one element at a time. Master the guitar part first, then add your vocal line. Don't attempt to perfect both simultaneously – it leads to frustration and poor habits. Join local bluegrass jams or find other musicians online. Nothing replaces the experience of blending your voice with others in real-time. The immediate feedback helps you adjust your approach and develop better listening skills. ## Advanced Country Harmony Singing Techniques Once you're comfortable with basic harmony, try incorporating bass runs during vocal sections. This requires careful timing – you must complete the run before your next vocal entrance. Practice slowly until the coordination becomes automatic. Cross-picking patterns can continue during certain vocal passages, but choose your spots wisely. Complex picking during delicate harmony sections often creates more problems than musical interest. Build your repertoire systematically. Focus on songs in keys that work well for your voice and guitar simultaneously. Having 20-30 solid songs with good harmony arrangements gives you confidence in any musical situation. ## FAQ (Frequently Asked Questions) ### What's the best vocal range for a guitarist singing bluegrass harmony? Tenor range (roughly C4 to C5) works well for most guitarists because it sits comfortably above typical guitar chord voicings. However, baritone harmony (G3 to G4) can be equally effective if it matches your natural voice. The key is finding a range where you can sing confidently while maintaining good guitar technique. ### How do I avoid my guitar overpowering my harmony vocals? Use lighter picking dynamics during vocal sections and consider switching from flatpicking to fingerstyle for softer accompaniment. Position your guitar at an angle that directs sound away from your microphone, and practice volume control so your instrument supports rather than competes with your voice. ### Should I use a capo when singing bluegrass harmony? Yes, capos are valuable tools for finding keys that work for both your voice and the lead singer. Most bluegrass harmony works best when all voices sit in comfortable ranges. Don't hesitate to capo up to keys like A, Bb, or B if that's what the vocals require. ### What's the biggest mistake guitarists make when learning bluegrass vocal harmony? Trying to sing complex harmony parts while playing difficult guitar arrangements. Start with simple chord progressions and basic harmony intervals. Master the coordination before adding technical challenges. Many guitarists also neglect ear training – develop your ability to hear harmony intervals without relying on written music. ### How can I practice bluegrass harmony if I don't have other singers available? Record yourself singing the lead melody, then play it back while singing harmony parts. Use apps or websites that provide [bluegrass backing tracks](https://artistworks.com/schools/instruments/guitar). Study recordings of classic bluegrass groups and try to match their harmony parts while playing guitar. Online communities and virtual jam sessions also offer opportunities to practice with other musicians remotely. [![](http://blog.artistworks.com/wp-content/uploads/2022/01/An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog.jpg "An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog - ArtistWorks Blog")](https://artistworks.com/bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar, Voice **Tags:** bluegrass, guitar, vocals --- ### [Mandolin Chord Melody Playing: Jazz Influence in Bluegrass](https://blog.artistworks.com/mandolin-chord-melody-playing-jazz-influence-in-bluegrass/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** Ever watched a jazz guitarist seamlessly blend melody and harmony in one fluid performance? That same magic can happen on mandolin. **Mandolin chord melody playing** represents a sophisticated technique where musicians simultaneously play the melody line while providing harmonic accompaniment. This approach transforms the mandolin from a simple melody instrument into a complete musical statement. Traditional bluegrass mandolin often focuses on single-note runs and straightforward chord accompaniment. But there's another world waiting. Jazz has been quietly influencing bluegrass for decades, bringing harmonic sophistication and rhythmic complexity that elevates the music beyond its folk roots. The benefits are immediate. Your playing becomes more musical. More complete. You develop better harmonic understanding and finger independence that serves every aspect of your mandolin journey. ## Essential Jazz Mandolin Techniques for Bluegrass Players Understanding **jazz chord voicings mandolin** applications starts with rethinking how you approach the fretboard. Unlike guitar, the mandolin's tuning in fifths creates unique opportunities for voice leading. Each string pair can handle different harmonic functions simultaneously. Start with simple triads. Take a basic G major chord. Instead of strumming all strings, play the root on the G string while fingering the melody note on the E string. This basic concept forms the foundation of chord melody technique. **Mandolin fingerstyle techniques** become essential here. Your picking hand needs independence. The thumb might handle bass notes while fingers pluck melody lines. Practice scales while maintaining simple chord tones underneath. Begin slowly. Speed comes with muscle memory. Voice leading separates amateur attempts from professional results. When moving between chords, keep common tones in place. Move other voices by the smallest possible intervals. Your ear will thank you for the smooth harmonic motion. ### Practice Exercises for Smooth Transitions Work through basic progressions like G-C-D-G using only two-note voicings. Play the bass note with your thumb, melody with your index finger. Gradually add complexity as your coordination improves. Practice chromatic voice leading exercises. Start with a C major triad and move each voice chromatically while maintaining the harmonic function. This builds finger independence and harmonic awareness simultaneously. ## Advanced Mandolin Playing: Incorporating Jazz Chord Progressions Traditional **bluegrass mandolin chords** rely heavily on open positions and basic triads. Jazz brings extended harmonies and substitutions that add color without losing the genre's essential character. The ii-V-I progression forms jazz harmony's backbone. In the key of G, that's Am-D7-G. But jazz versions use extended chords: Am7-D7-Gmaj7. On mandolin, these voicings require strategic fingering choices due to the instrument's range limitations. **Advanced mandolin chord progressions** often substitute dominant chords with tritone substitutions. Instead of D7 resolving to G, try Ab7 to G. The harmonic motion feels fresh while maintaining resolution strength. Walking bass lines within chord melody arrangements create rhythmic momentum. Play chord tones on beats one and three, with chromatic passing tones on beats two and four. This technique works particularly well in slower bluegrass ballads. ### Practical Song Applications Take "Wildwood Flower," a bluegrass standard. The basic progression uses C-F-C-G-C. Jazz it up with Cmaj7-Fmaj7-C6-G13-Cmaj7. The melody remains unchanged, but harmonic sophistication increases dramatically. "Old Joe Clark" benefits from similar treatment. Replace basic triads with seventh chords and add chromatic passing chords between sections. The tune retains its driving energy while gaining harmonic depth. ## Mastering Jazz Standards on Mandolin Within Bluegrass Framework Selecting appropriate **jazz standards on mandolin** for bluegrass contexts requires careful consideration. Not every jazz tune translates well. Look for songs with strong melodies and moderate tempos that allow space for ornamentation. "All of Me" works beautifully in a bluegrass jazz fusion setting. The melody sits well on mandolin, and the chord changes allow for both simple accompaniment and complex chord melody arrangements. Start with basic chord melody, then add bluegrass-style ornaments like slides and hammer-ons. "Autumn Leaves" presents another excellent choice. The minor ii-V-I progressions translate perfectly to mandolin chord melody playing. Practice the basic changes first, then experiment with different voicings and rhythmic patterns. Performance considerations matter significantly. In live bluegrass settings, chord melody works best during breaks or slow sections. Don't overuse the technique. Let it enhance rather than dominate your musical contributions. ### Building Your Repertoire Start with ten songs. Master them completely before adding more. Quality trumps quantity in chord melody playing. Each song should demonstrate different aspects of the technique. Include variety in your selections. Fast swing tunes, slow ballads, and medium-tempo standards each present unique challenges and learning opportunities. ## Developing Your Unique Bluegrass Jazz Fusion Style Finding the sweet spot between genres requires experimentation and patience. Traditional bluegrass values drive, energy, and technical display. Jazz emphasizes harmonic sophistication and rhythmic subtlety. Your goal is balance. Listen extensively to both genres. Study how masters like David Grisman blend influences without losing either tradition's essential character. Notice how they choose moments for complexity and when to return to simplicity. Original arrangements showcase your understanding best. Take a familiar bluegrass tune and reimagine it through jazz harmony. Or take a jazz standard and give it bluegrass treatment. Either approach develops your personal voice. Collaboration accelerates learning. Play with jazz musicians to understand their harmonic thinking. Work with traditional bluegrass players to keep your roots strong. Each interaction teaches valuable lessons. Consider participating in [bluegrass jam sessions](https://artistworks.com/schools/instruments/mandolin) where you can experiment with these fusion concepts. ### Resources for Continued Growth Video lessons provide visual learning opportunities. Watch both jazz guitarists and mandolin specialists. Notice how concepts translate between instruments. This comprehensive [video on mandolin chord melody playing](https://artistworks.com/schools/instruments/mandolin) offers practical demonstrations of jazz influence in bluegrass. Transcription remains the ultimate teacher. Learn solos by jazz mandolinists like David Grisman, Hamilton de Holanda, and Mike Marshall. Study their approaches to chord melody and adapt their concepts to your playing. Regular practice with backing tracks helps develop timing and interaction skills. Play along with both jazz and bluegrass accompaniment to understand how your chord melody fits different musical contexts. Consider exploring [jazz fusion techniques](https://artistworks.com/schools/instruments/mandolin) that can be adapted for mandolin. ## FAQ (Frequently Asked Questions) ### What's the best way to start learning mandolin chord melody playing? Begin with simple two-note voicings using familiar songs. Practice playing bass notes with your thumb while picking melody notes with your fingers. Start slowly and focus on clean execution rather than speed. Master basic triads before attempting extended jazz harmonies. ### Do I need to know jazz theory to play chord melody on mandolin? Basic jazz theory helps tremendously, but you can start without it. Learn chord symbols, understand seventh chords, and study common progressions like ii-V-I. However, your ear and musical instincts matter more than theoretical knowledge. Many great players learned by listening and experimenting. ### How do jazz mandolin techniques improve traditional bluegrass playing? Jazz techniques develop finger independence, harmonic awareness, and rhythmic sophistication that enhance all aspects of mandolin playing. You'll create more interesting accompaniments, understand chord progressions better, and develop a more complete musical voice whether playing bluegrass, jazz, or any other style. ### What mandolin setup works best for chord melody playing? Medium to low action helps with chord fingering, while medium gauge strings provide good balance between volume and playability. A quality pickup system becomes important for amplified performances, as chord melody often requires amplification to be heard clearly in ensemble settings. ### How long does it take to develop competent chord melody skills? With regular practice, you can play basic chord melody arrangements within a few months. However, developing fluency and musical sophistication takes years. Focus on gradual improvement rather than rushing the process. Even simple chord melody playing adds tremendous musical value to your performances. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog.jpg "The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog - ArtistWorks Blog")](https://artistworks.com/sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** bluegrass, jazz, mandolin --- ### [Mandolin Tremolo vs Flatpicking: When to Use Each](https://blog.artistworks.com/mandolin-tremolo-vs-flatpicking-when-to-use-each/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** Ever wonder why some mandolin players create those shimmering, sustained notes while others produce crisp, punchy rhythms? The difference often comes down to technique: **mandolin tremolo vs flatpicking**. These two approaches represent fundamentally different philosophies in mandolin performance. One creates flowing melodies. The other drives rhythmic energy. Both have their place in a mandolinist's toolkit. ## Understanding Mandolin Picking Techniques: Tremolo vs Flatpicking Fundamentals Mandolin tremolo technique involves rapid, alternating pick strokes on a single note or chord to create a sustained sound. The pick moves in tiny, controlled motions—often 16 to 32 notes per beat—creating the illusion of a held note similar to a violin's bowing. Flatpicking mandolin takes a different approach entirely. Here, each note receives a deliberate downstroke or upstroke, emphasizing clarity and rhythmic precision over sustained tones. The pick travels further between strings, allowing for complex picking patterns and chord work. Historically, tremolo dominated classical and folk traditions, particularly in Italian and Celtic music. Flatpicking emerged from American bluegrass and jazz scenes, where rhythmic drive and melodic clarity took precedence over sustained tones. Equipment needs differ between these mandolin playing styles. Tremolo players often prefer lighter, more flexible picks that facilitate rapid motion. Flatpickers typically choose heavier picks for better attack and volume projection. ## Mastering Mandolin Tremolo Technique: When and How to Apply It The tremolo picking motion originates from the wrist and forearm, not the fingers. Your pick should barely lift off the strings between strokes. Think efficiency over power. Start slowly—perhaps eight notes per beat—before building speed. Consistency matters more than velocity initially. Each tremolo stroke should produce equal volume and tone. Classical mandolin pieces like Vivaldi's concertos showcase tremolo beautifully. Celtic ballads such as "She Moved Through the Fair" benefit from [tremolo's lyrical quality](https://artistworks.com/schools/instruments/mandolin). Folk traditions across Europe have long embraced this technique for emotional expression. Common mistakes include excessive arm motion and uneven stroke patterns. Keep movements minimal. Focus on rhythmic regularity before increasing tempo. Practice with a metronome, starting at quarter note = 60, playing steady eighth note tremolo. Gradually increase tempo while maintaining evenness. Your goal is seamless sound production where individual notes blend into sustained tones. ## Flatpicking Mandolin Mastery: Optimal Situations and Applications Mandolin picking patterns in flatpicking style emphasize rhythmic accuracy and note separation. Each stroke has purpose—whether driving a chord progression or articulating a melody line. Bluegrass mandolin picking techniques include cross-picking, where alternating bass and treble patterns create rolling, banjo-like sounds. Bill Monroe pioneered this approach, establishing the mandolin's role as both rhythmic and melodic voice in bluegrass ensembles. Jazz applications of flatpicking mandolin focus on articulation and swing feel. Players like David Grisman demonstrated how [flatpicking enables complex chord voicings](https://artistworks.com/schools/instruments/mandolin) and single-note lines that breathe with jazz phrasing. Chord work benefits enormously from flatpicking approach. Rhythm mandolin in bluegrass bands relies on crisp chord attacks that cut through dense arrangements. The percussive quality of flatpicking provides rhythmic foundation other instruments build upon. Building speed requires methodical practice. Start with simple scales using strict alternate picking. Gradually increase tempo while maintaining clean note separation. Many players rush this process and develop sloppy habits that limit their long-term progress. ## Mandolin Picking Comparison: Choosing the Right Technique for Your Music Volume differences between techniques are significant. Flatpicking produces more attack and projection per note. Tremolo creates perceived volume through rapid repetition rather than individual note strength. Tone characteristics vary dramatically. Tremolo smooths out pick attack, creating violin-like sustain. [Flatpicking preserves the mandolin's natural plucked character](https://artistworks.com/schools/instruments/mandolin), emphasizing transient attack and decay. When to use tremolo mandolin becomes clear in slower, melodic passages where sustained tones serve the music. Ballads, classical pieces, and emotional folk songs often benefit from tremolo's singing quality. Professional players frequently combine both approaches within single songs. Chris Thile switches seamlessly between techniques depending on musical context. Sierra Hull employs tremolo for lyrical passages while using flatpicking for rhythmic sections. Genre-specific recommendations emerge from tradition and practicality. Classical and Celtic music favor tremolo. Bluegrass, jazz, and contemporary styles lean toward flatpicking. However, these boundaries aren't absolute. Transitioning between picking styles requires practice and musical sensitivity. Start slowly, identifying specific moments where technique changes serve the music. Mechanical switches without musical justification sound awkward and forced. The key lies in serving the music rather than showcasing technique. Both approaches have strengths. Master musicians choose based on what the song needs, not personal preference or habit. ## FAQ (Frequently Asked Questions) ### Which mandolin technique is better for beginners? Flatpicking mandolin is generally easier for beginners because it develops fundamental pick control and rhythm skills. The motions are larger and more deliberate, making it easier to hear and correct mistakes. Once you're comfortable with basic flatpicking, you can gradually introduce tremolo technique. ### Can you use the same pick for both tremolo and flatpicking? While possible, most players find that different picks work better for each technique. Tremolo benefits from thinner, more flexible picks that facilitate rapid motion. Flatpicking often works better with medium to heavy picks that provide better attack and volume projection. ### How long does it take to develop good tremolo technique? Developing consistent mandolin tremolo technique typically takes 6-12 months of regular practice. The key is starting slowly and building speed gradually while maintaining evenness. Many players can produce basic tremolo within a few weeks, but achieving the smooth, sustained quality of advanced players requires patience and consistent work. ### Should I learn both techniques or focus on one? Learning both mandolin picking techniques makes you a more complete player. Start with whichever style fits your preferred musical genres, then gradually add the other. Many professional mandolinists use both approaches, sometimes within the same song, to serve different musical needs. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog.jpg "The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog - ArtistWorks Blog")](https://artistworks.com/sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** mandolin --- ### [Mandolin Scale Exercises for Speed and Accuracy](https://blog.artistworks.com/mandolin-scale-exercises-for-speed-and-accuracy/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** You practice for hours, but your mandolin scale exercises still sound choppy and sluggish. Your fingers stumble over string crossings, and that lightning-fast bluegrass lick remains frustratingly out of reach. The problem isn't your dedication—it's your approach to building speed and accuracy systematically. Professional mandolinists didn't develop their blazing technique overnight. They built it through specific, targeted exercises that train both hands to work in perfect coordination. The right mandolin scale exercises can transform your playing from hesitant to confident, from slow to spectacular. ## Mandolin Technique Exercises for Building Foundation Start with proper posture. Your mandolin should rest against your body at a 45-degree angle, with your left arm supporting the neck naturally. Many players rush into complex patterns without establishing this foundation, leading to tension and poor intonation later. The chromatic exercise is your best friend for finger independence. Begin on the fifth fret of the G string, playing each fret in sequence with one finger per fret. Use your index finger for the fifth fret, middle finger for the sixth, ring finger for the seventh, and pinky for the eighth. Practice this pattern on each string pair, maintaining steady alternate picking. Your picking hand needs equal attention. Hold your pick firmly but not rigidly, using just the tip to strike the strings. Start with downstrokes only, then progress to strict alternate picking. The motion should come from your wrist, not your entire arm. ## Advanced Mandolin Speed Building Techniques Once you've mastered basic patterns, it's time to challenge your [mandolin finger dexterity](https://artistworks.com/schools/instruments/mandolin) with more complex sequences. The three-note-per-string major scale pattern is perfect for this. Starting in G major, play three consecutive notes on each string before moving to the next string pair. Tremolo picking with scales creates incredible speed and fluidity. Practice single notes with continuous alternate picking, then apply this technique to ascending and descending scale patterns. Start slowly—around 60 beats per minute—and increase tempo only when you can play cleanly at the current speed. Cross-picking transforms your scalar passages into flowing musical phrases. Instead of straight alternate picking, use a down-up-down pattern across string pairs. This technique, favored by bluegrass masters, creates a bouncing rhythm that makes fast passages sound effortless. Sequence exercises push your technical boundaries. Try playing scales in groups of four, then three, then five notes per beat. These patterns force your brain to think beyond simple up-and-down motion, developing the mental agility that separates good players from great ones. ## Mandolin Accuracy Training Methods Speed without accuracy is just noise. Your mandolin practice routines must emphasize clean articulation before velocity. Practice each scale with exaggerated finger movements initially, ensuring each note rings clearly without buzzing or muting adjacent strings. String crossing drills are vital for seamless transitions. Practice moving between string pairs with scales, focusing on maintaining consistent pick attack and timing. Your right hand should move economically—no wasted motion between strings. Intonation exercises develop your ear and left-hand precision simultaneously. Play scales very slowly, listening carefully to each note's pitch. Use a tuner occasionally to check yourself, but rely primarily on your ear to develop internal pitch accuracy. Recording your practice sessions reveals problems you might miss in real-time. Play a scale pattern, record it, then listen back critically. You'll hear timing inconsistencies, volume fluctuations, and articulation issues that need attention. ## Effective Mandolin Practice Tips and Routines Structure your practice sessions for maximum benefit. Begin with five minutes of chromatic warm-ups, then spend fifteen minutes on scales at moderate tempo, focusing on accuracy. Follow this with ten minutes of speed-building exercises, pushing your tempo limits while maintaining clean execution. Metronome practice is non-negotiable for serious improvement. Start at a comfortable tempo where you can play perfectly. Increase the speed by only 5-10 beats per minute per week. This gradual approach builds genuine speed rather than sloppy rushing. Apply scales musically to avoid mechanical playing. Practice scales in different rhythmic patterns—eighth notes, triplets, sixteenth notes. Play them with various dynamics, from soft fingerpicking to aggressive flatpicking. This musicality training makes technical work more engaging and applicable. Track your progress with specific, measurable goals. "Play faster" is too vague. Instead, aim to "play the G major scale cleanly at 120 BPM by month's end." Write down your current tempos and update them weekly. Incorporate beginner mandolin scales into advanced patterns gradually. Even professionals return to simple major scales regularly, using them as vehicles for exploring new techniques or maintaining fundamentals. Problem-solving requires patience and systematic thinking. If a particular passage keeps tripping you up, isolate it. Practice just those few notes repeatedly, then gradually add surrounding notes back in. Often, technical problems stem from one or two specific finger movements that need individual attention. Mental practice accelerates physical development. Visualize playing scales away from your instrument. This mental rehearsal strengthens neural pathways and helps solidify finger patterns in your memory. ## FAQ (Frequently Asked Questions) ### How long should I practice mandolin scales daily? Fifteen to thirty minutes of focused scale practice daily produces better results than marathon sessions. Quality trumps quantity—concentrated practice with clear goals improves technique faster than mindless repetition. ### What's the best tempo to start practicing scales? Begin at 60-80 beats per minute, playing quarter notes. This tempo allows you to focus on clean articulation and proper finger placement without rushing. Increase speed only after achieving consistent accuracy. ### Should I memorize all scale patterns before working on speed? Yes, memorize the basic major scale patterns first. Trying to read and play scales simultaneously while building speed creates too much cognitive load. Memorization frees your mind to focus purely on technique. ### How do I know if I'm ready to increase practice tempo? You're ready for faster tempos when you can play the current speed perfectly five times in a row without mistakes, tension, or rushing. If you can't maintain consistency, stay at the current tempo longer. ### Are there specific scales that build technique better than others? Major scales provide the best foundation, but [chromatic exercises on mandolin](https://artistworks.com/schools/instruments/mandolin) develop finger independence most effectively. Natural minor scales add variety while maintaining familiar patterns. Master these before exploring exotic scales. [![](http://blog.artistworks.com/wp-content/uploads/2024/01/The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog.jpg "The-Ultimate-Guide-to-Building-Speed-on-the-Mandolin-for-Bluegrass-Players_Blog - ArtistWorks Blog")](https://artistworks.com/sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin **Tags:** exercises, mandolin, scales --- ### [5 Guitar Flatpicking Speed Exercises: Building Dexterity](https://blog.artistworks.com/5-guitar-flatpicking-speed-exercises-building-dexterity/) **Published:** November 5, 2025 **Author:** ArtistWorks **Content:** Your fingers feel clumsy on the strings. The pick slips from your grip during fast passages. You watch bluegrass masters effortlessly blazing through complex runs while your own [guitar flatpicking](https://artistworks.com/bryan-sutton) speed exercises leave you frustrated and stuck at the same tempo for weeks. Speed isn’t everything in guitar playing, but developing solid flatpicking technique opens doors to musical expression that remain closed to players who never build this foundation. These five targeted exercises will transform your picking hand from a liability into your greatest asset. ## Understanding Flatpicking Technique Fundamentals Before jumping into speed work, your basic **flatpicking technique** needs attention. Hold the pick between your thumb and index finger with only the tip exposed. Too much pick showing creates unnecessary string contact and slows you down. Your wrist does most of the work. Not your arm. Many players exhaust themselves by picking from the elbow or shoulder, creating tension that kills speed and endurance. Keep your arm relaxed and let your wrist handle the motion. Pick angle matters more than most players realize. A slight downward angle on downstrokes and upward angle on upstrokes helps the pick glide through strings rather than fighting against them. This small adjustment makes **guitar dexterity exercises** feel dramatically easier. ## Exercise 1: Chromatic Runs for Guitar Finger Dexterity Start with chromatic patterns using all four fingers. Play frets 1-2-3-4 on the low E string, then 2-3-4-5, continuing up the neck. Use strict alternative picking—down, up, down, up—no exceptions. Begin at 60 BPM with a metronome. Each note gets one click. When you can play the pattern cleanly for two minutes straight, increase the tempo by 10 BPM. No shortcuts here. This exercise builds coordination between your picking and fretting hands while developing the **guitar finger dexterity** needed for complex passages. The chromatic approach forces your fretting hand to work independently of familiar scale patterns. ## Exercise 2: String Skipping Flatpick Guitar Drills String skipping challenges your picking hand’s accuracy. Play the 5th fret on the 6th string, then the 5th fret on the 4th string, skipping the 5th string entirely. Continue this pattern: 6th string, 4th string, 6th string, 4th string. These **flatpick guitar drills** teach your pick to find specific strings without looking. Start slowly and focus on clean string contact. Muted strings or missed strings mean you’re moving too fast. Expand the pattern to include three-string skips and random combinations. This exercise directly improves your ability to navigate complex arrangements where melody notes don’t fall on adjacent strings. ## Exercise 3: Bluegrass Guitar Techniques with Scale Patterns Major scales provide perfect material for **guitar speed building**. Play a G major scale starting from the 3rd fret using alternate picking. Focus on smooth, even notes rather than maximum speed. Traditional **[bluegrass guitar](https://blog.artistworks.com/bluegrass-guitar-tone-amp-and-effects-settings/)** techniques rely heavily on scale-based runs. Practice ascending and descending patterns, then combine them into longer phrases. The key is maintaining consistent pick attack and timing through direction changes. Add rhythmic variations once basic patterns feel comfortable. Play three notes per beat, then four, then groups of five. This develops the flexible timing needed for musical phrasing. ## Exercise 4: Tremolo Picking for Acoustic Guitar Exercises Tremolo picking builds endurance and consistency. Choose a single note and pick it repeatedly with alternate strokes. Start with quarter notes at 80 BPM, aiming for perfectly even volume and timing. These **acoustic guitar exercises** reveal weaknesses in your technique quickly. Uneven volume usually means inconsistent pick angles. Timing problems indicate tension in your picking hand. Gradually increase speed while maintaining control. Tremolo picking at 120 BPM for 30 seconds straight requires both technique and physical conditioning. Don’t rush this development. ## Exercise 5: Cross-Picking Coordination Patterns Cross-picking combines alternate picking with string changes on every note. Play the pattern: 1st string, 2nd string, 3rd string, 2nd string, repeating continuously with strict alternate picking. This advanced technique appears in bluegrass, folk, and classical guitar styles. It challenges both hands simultaneously and builds the coordination needed for complex musical arrangements. Start with adjacent strings before attempting larger skips. The pattern should flow smoothly without hesitation between string changes. Clean execution matters more than speed. ## Building Effective Guitar Flatpicking Practice Routines Consistent daily practice beats marathon weekend sessions. Fifteen minutes of focused **guitar practice routines** produces better results than unfocused hour-long sessions. Track your progress with tempo markings and date stamps. Knowing you played Exercise 1 at 95 BPM last Tuesday gives you a clear target for improvement. This data keeps you motivated during plateaus. Warm up with slower tempos before pushing speed limits. Your hands need time to prepare for demanding work. Cold muscles and tendons don’t respond well to sudden speed increases. Balance technical exercises with musical applications. Learn songs that incorporate the techniques you’re developing. This keeps practice sessions engaging and shows real-world benefits of your technical work. ## FAQ (Frequently Asked Questions) ### How long does it take to see improvement in flatpicking speed? Most players notice measurable improvement within 2-3 weeks of consistent practice. Significant speed increases typically develop over 2-3 months of regular work. Individual progress varies based on starting skill level and practice consistency. ### Should I practice these exercises on acoustic or electric guitar? Both instruments benefit from these exercises, but acoustic guitar provides better feedback for technique development. The increased string tension and resistance help build strength while revealing technique flaws more clearly than electric guitar. ### What’s the difference between flatpicking and fingerpicking for speed development? Flatpicking uses a single pick for all notes, while fingerpicking assigns different fingers to different strings. Flatpicking typically achieves higher speeds on single-note passages, while fingerpicking excels at complex polyphonic arrangements. ### How fast should I set my metronome when starting these exercises? Start at a tempo where you can play every note cleanly and evenly. This is usually between 60-80 BPM for beginners. Speed comes naturally as technique improves—rushing tempo leads to sloppy habits that take months to correct. ### Can these exercises help with other guitar styles besides bluegrass? Absolutely. These fundamental techniques apply to country, folk, rock, and even some jazz styles. Any music requiring fast single-note passages benefits from improved flatpicking technique and dexterity. [![](http://blog.artistworks.com/wp-content/uploads/2022/01/An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog.jpg "An-Introduction-to-Crosspicking-with-Bryan-Sutton_Blog - ArtistWorks Blog")](https://artistworks.com/bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass, flatpicking, guitar --- ### [Guthrie Trapp’s Guitar School Just Got a Major Refresh](https://blog.artistworks.com/guthrie-trapps-guitar-school-just-got-a-major-refresh/) **Published:** October 28, 2025 **Author:** ArtistWorks **Content:** For years, Guthrie Trapp has been one of the most respected players and teachers in the guitar world. His original ArtistWorks school helped thousands of students unlock the fretboard and find their groove through his signature blend of country, blues, and rock influences. Now, Guthrie’s back and he’s taken things to a whole new level. [![The Guitar Styles of Guthrie Trapp, only on ArtistWorks](https://blog.artistworks.com/wp-content/uploads/2025/10/Guitar-Styles-of-Guthrie-Trapp_Now-Open_IG-NEW2.jpg "Guitar-Styles-of-Guthrie-Trapp - ArtistWorks Blog")](https://artistworks.com/guthrie-trapp)Newly refreshed, [**The Guitar Styles of Guthrie Trapp**](https://artistworks.com/guthrie-trapp) is more than just an update — it’s a complete reimagining of how players can learn and grow. Drawing on years of teaching and thousands of student video exchanges, Guthrie has distilled his method into a *clear, step-by-step path* designed to help you make real progress — no matter your style or starting point. In Guthrie’s own words: > *What we’ve created here is a massive library, hundreds of lessons of all the things that I’ve used throughout my career as a professional guitar player through many different styles of music.* > > *This will help your rhythm playing. It’ll help you create melodic solos. It might even help you write songs and create your own melodies. We’ve got great backing tracks, recorded by professional musicians in Nashville. We’ve got tabs. We’ve got all the things that you need to be able to navigate through this course in your own way.* **Why This Launch Matters** This refreshed school is **exclusive to ArtistWorks** — you won’t find it anywhere else. It’s the only place where you can learn directly from Guthrie, get personal feedback through our unique Video Exchange® platform, and connect with a global community of players who share your passion for guitar. **Be the First to Explore** If you’ve never studied with Guthrie before, you can try the new school **free for 7 days** and see how much you can accomplish in just a week. And for a limited time, you’ll also save **$100 on an annual plan** when you use code **GUTHRIE100** at checkout. [Start free 7-day trial](https://artistworks.com/guthrie-trapp) **Join Guthrie Live!** To celebrate the relaunch, Guthrie will be hosting a **live Q&A and playing session** on **October 30** — streaming exclusively on YouTube. Don’t miss this chance to hear about the new school in his own words, ask questions, and get inspired to fall back in love with your playing. [Watch the livestream](https://www.youtube.com/live/2jAhPNvDagY) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Announcements, Guitar **Tags:** Guthrie Trapp --- ### [Bluegrass Guitar Tone: Amp and Effects Settings](https://blog.artistworks.com/bluegrass-guitar-tone-amp-and-effects-settings/) **Published:** October 24, 2025 **Author:** ArtistWorks **Content:** You’ve spent years perfecting your flat-picking technique, but when you plug in your acoustic guitar, something gets lost in translation. The warm, woody resonance that defines your **bluegrass guitar tone** becomes thin and harsh through the amplifier. Your carefully crafted licks sound more like a cheap electric than the rich, traditional sound that makes bluegrass so compelling. This frustration haunts countless acoustic guitar players. The gap between your guitar’s natural voice and its amplified sound doesn’t have to be a permanent divide. ## Understanding Bluegrass Guitar Tone Fundamentals The [signature bluegrass sound](https://blog.artistworks.com/new-lessons-bryan-sutton-bluegrass-guitar-july-2024/) relies on clarity and punch. Each note must cut through the mix without overpowering the mandolin, fiddle, or banjo. Traditional **flat-top guitar amplification** focused on simply making the guitar louder, but modern approaches recognize that acoustic guitars behave differently than their electric counterparts. Your pickup system shapes everything that follows. Magnetic pickups capture string vibration but miss the body’s resonance. Piezo systems grab more of the guitar’s natural character but can sound sterile without proper processing. Understanding this foundation helps you make informed decisions about your signal chain. The guitar’s natural acoustic properties remain your starting point. A Martin D-28 will never sound like a Taylor 814ce, regardless of your amplification approach. Work with your instrument’s inherent characteristics rather than fighting against them. ## Essential Acoustic Guitar Amp Settings for Bluegrass Start with your EQ flat and build from there. Most **acoustic guitar amp settings** benefit from a slight high-end boost around 3-5 kHz to maintain clarity, but avoid the harsh frequencies above 8 kHz that create feedback. The midrange deserves special attention in bluegrass – too much muddies your tone, while too little makes you disappear in the mix. Clean headroom matters more than you might think. Your amplifier should handle your loudest playing without distortion. This means using more amplifier power than you’d expect, then turning down the master volume for appropriate stage levels. Feedback prevention starts with proper positioning. Never point your guitar directly at the amplifier. Keep your distance when possible, and consider using a feedback suppressor pedal for challenging venues. Some players swear by filling their soundholes with foam or using feedback busters. ## Strategic Bluegrass Guitar Effects and Processing **Acoustic guitar compression** can either save your tone or destroy it. Light compression (3:1 ratio) with a slow attack helps even out your dynamics without squashing the natural attack of your notes. Heavy compression kills the percussive quality that makes bluegrass guitar so distinctive. **Bluegrass guitar reverb** should enhance, not dominate. Hall reverbs work well for solo passages, while shorter room reverbs keep you present in ensemble playing. Spring reverb adds vintage character but can sound dated in some contexts. Many professionals prefer a subtle plate reverb for its smooth decay. Modulation effects require careful application in traditional bluegrass. Light chorus can add richness to rhythm parts, but avoid it during lead breaks where clarity is paramount. Subtle EQ pedals help shape your bluegrass guitar tone for different venues, while delay effects should remain barely audible – just enough to add space without creating rhythmic confusion. ## Advanced Country Guitar Amp Settings and Tone Optimization Professional setups often employ multiple amplifiers. One handles the low-end body resonance, while another focuses on string clarity. This approach requires careful phase alignment but delivers unmatched fullness and definition. **Acoustic guitar pickup systems** each have their place. Magnetic pickups excel at capturing string attack and note definition. Piezo systems reproduce the guitar’s full frequency range but may need warming up with EQ or tube preamps. Microphone systems provide the most natural sound but require careful feedback management. Room acoustics dramatically affect your amplified sound and bluegrass guitar tone. Hard surfaces create reflections that can enhance or muddy your tone. Soft furnishings absorb high frequencies, potentially making your sound dull. Professional players often carry small acoustic panels for problem venues. ## Building Your Complete Bluegrass Guitar Equipment Setup Budget considerations shouldn’t compromise core functionality. A quality DI box often improves your tone more than an expensive amplifier. Start with reliable basics: a good pickup system, proper cables, and an amplifier with clean headroom. Add effects gradually as you identify specific needs. Signal chain order matters significantly. Place your compressor early in the chain, followed by EQ, then time-based effects like reverb and delay. Keep your cables short and your connections clean. A single poor connection can ruin an otherwise perfect setup. Maintenance prevents disasters. Check your battery levels before every performance. Clean your pickup contacts regularly. Backup cables save shows when primary ones fail unexpectedly. Different venues require different approaches. Small clubs need feedback control and precise EQ. Large outdoor festivals demand power and projection. Recording situations call for pristine signal quality and minimal processing. Build flexibility into your rig to handle various scenarios. Your **bluegrass guitar tone equipment** setup should grow with your playing. Start simple and add complexity only when needed. The best tone comes from understanding your tools, not from owning the most expensive gear. For those exploring amp simulation software, many free plugins can help you experiment with different tones before investing in hardware. ## FAQ (Frequently Asked Questions) ### What amplifier wattage do I need for bluegrass guitar tone? For small venues and practice, 40-60 watts provides adequate clean headroom. Larger venues or outdoor performances may require 100+ watts. Remember that acoustic guitars need more amplifier power than electrics to maintain clarity at volume. ### Should I use a preamp pedal with my acoustic pickup for bluegrass guitar tone? Preamp pedals can significantly improve your tone, especially with passive pickup systems. They provide impedance matching, EQ control, and often reduce feedback susceptibility. Even active pickups can benefit from the tone-shaping capabilities of a quality preamp. ### How do I prevent feedback during live performances? Position yourself away from your amplifier, use a feedback suppressor pedal, and consider soundhole covers or foam filling. Proper EQ can eliminate problematic frequencies. Some players use notch filters to target specific feedback frequencies without affecting overall tone quality. ### What’s the difference between piezo and magnetic pickups for bluegrass guitar tone? Piezo pickups capture the guitar’s full frequency range and body resonance but can sound sterile. [Magnetic pickups](https://www.sweetwater.com/c985--Magnetic_Acoustic_Guitar_Pickups) focus on string vibration, providing warmth and natural compression but missing some body resonance. Many professionals use both systems together for optimal results. ### Do I need effects for traditional bluegrass guitar tone? Traditional bluegrass emphasizes natural guitar tone, but subtle compression and reverb can enhance your sound without compromising authenticity. Focus on clarity and note definition rather than heavy processing. Less is typically more in bluegrass applications. [![bluegrass guitar tone](https://blog.artistworks.com/wp-content/uploads/2024/01/New-Lessons-Added-to-Bryan-Suttons-Bluegrass-Guitar-Course_Blog.jpg)](https://artistworks.com/bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar **Tags:** bluegrass, guitar --- ### [Earl Jam Nominated for Best Bluegrass Album at the 67th GRAMMY® Awards!](https://blog.artistworks.com/earl-jam-nominated-best-bluegrass-album-67th-grammy®-awards/) **Published:** November 15, 2024 **Author:** ArtistWorks **Excerpt:**

Incase you missed the fantastic news, Tony Trischka has been nominated for Best Bluegrass Album for the 67th GRAMMY® Awards for his ground breaking album, "Earl Jam." He took home an IBMA award in September for this remarkable work and we are elated to see the accolades continue. From all of us at ArtistWorks, congratulations on the nomination Tony, we are rooting whole-heartedly for your continued success with the Earl Jam album's legacy!

If you'd like to purchase a physical copy or stream the Earl Jam album (available on vinyl too!), please CLICK HERE to visit Tony's website

**Content:** ![]() Incase you missed the fantastic news, Tony Trischka has been nominated for Best Bluegrass Album for the 67th GRAMMY® Awards for his ground breaking album, “Earl Jam.” He took home an IBMA award in September for this remarkable work and we are elated to see the accolades continue. From all of us at ArtistWorks, congratulations on the nomination Tony, we are rooting whole-heartedly for your continued success with the Earl Jam album’s legacy! If you’d like to purchase a physical copy or stream the Earl Jam album (available on vinyl too!), please [CLICK HERE](https://www.tonytrischka.com/earl-jam) to visit Tony’s website ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddling in 2024: how it's shaping up](https://blog.artistworks.com/fiddling-2024-how-its-shaping/) **Published:** March 1, 2024 **Author:** ArtistWorks **Excerpt:**

FEBRUARY 2024

In January we got a running start with some amazing shows with The Duo (myself and fellow Artistworks professor Mike Marshall) and the incrdible string orchestra, The Berklee World Strings, led by inprovising string legend Eugene Friesen.

February got off to a banging, or rather, sawing start with the creation of a new recording by myself and renowned fiddler Bruce Molsky!

Presided over by the brilliant engineer Dave Sinko, this is a raw and very rambunctious duet record of all fiddles and some singing. Very excited about this project! Apparently we already have some festival appearances on the books for this summer, and hope to have the recording out by May 2024. [see more]

**Content:** **FEBRUARY 2024** In January we got a running start with some amazing [**shows**](https://vimeo.com/910061358) with The Duo (myself and fellow Artistworks professor Mike Marshall) and the incrdible string orchestra, The Berklee World Strings, led by inprovising string legend Eugene Friesen. February got off to a banging, or rather, sawing start with the creation of a new recording by myself and renowned fiddler **Bruce Molsky**! Presided over by the brilliant engineer Dave Sinko, this is a raw and very rambunctious duet record of all fiddles and some singing. Very excited about this project! Apparently we already have some festival appearances on the books for this summer, and hope to have the recording out by May 2024. \[see more\] Also a DEBUT (sort of) of my 3-movement Symphonic work for the wonderful West Virginia duo, fiddler Jenny Allinder and guitarist/banjoist Jim Mullins, entitled[ ](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe)[**Suite For Nelle**](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe)[.](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe) I got to appear at a lovely reception in Charleston, WV with beautiful food, meet and play music with Jim and Jenny ( and also banjo legend Adam Hurt) and play a recorded demo of this 3 movement piece which we’re hoping that some West Virginia or other regional orchestra will perform. I received a generous grant from the Nelle Ratrie Chilton Foundation to write this piece for full orchestra, using traditional West Virginia fiddle tunes and some of Jenny’s own beautiful compositions. You can hear the [orchestra demo](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing) using London Symphony samples and my live rendition of Jenny and Jim’s solo parts [**here**](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe)[.](https://soundcloud.com/user-364781862/sets/suite-for-nelle-allindermullinsanger?si=f4225920e7f249318235bbb76bfe63fe) And finally… Wintergrass, up in the land of my birth, where dreams become reality for a magic moment. So much great music at this festival! You can visit Wintergrass’ facebook site for photos, or Tony Trischka’s Facebook site for a [video](https://www.facebook.com/tonytrischkamusic) of a raging torrent of fiddles there at the fester. Going to Sweden in March to play music with Bruce Molsky and the Stinnerboms! Come on out. Spring will include Mr Sun performances at the amazing Big Ears Musivc Festival in Knoxville, Tennessee, and at Delfest in Maryland or somewhere ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mr Sun Plays Duke Ellington's Nutcracker Suite: Sugared Rum?](https://blog.artistworks.com/mr-sun-plays-duke-ellingtons-nutcracker-suite-sugared-rum/) **Published:** November 18, 2023 **Author:** ArtistWorks **Excerpt:**

To pre-order or buy the pre-release single of this very piece, go to Mr Sun's Bandcamp site

**Content:** To pre-order or buy the pre-release single of this very piece, go to [**Mr Sun’s Bandcamp site**](https://mrsun.bandcamp.com/album/mr-sun-plays-duke-ellingtons-nutcracker-suite) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Mike Marshall Lessons - Quick Links](https://blog.artistworks.com/new-mike-marshall-lessons-quick-links/) **Published:** October 31, 2023 **Author:** ArtistWorks **Excerpt:**

We recently released a batch of new lesson from Mike Marshall covering a variety of topics and tunes for the Beginner, Intermediate, and Advanced lesson sections. To find the new lessons, you can scroll down to the end of the lesson list in any of those departments. You can also type in "new" in the lesson search bar to show them all in a smaller list. Alternatively, here's a quick link directory so you can go straight to the lesson you want by clicking on the title. Happy picking!

Beginner Lessons:

Simple 2 Chord Tunes: "Shady Grove" - Key of C

**Content:** We recently released a batch of new lesson from Mike Marshall covering a variety of topics and tunes for the Beginner, Intermediate, and Advanced lesson sections. To find the new lessons, you can scroll down to the end of the lesson list in any of those departments. You can also type in “new” in the lesson search bar to show them all in a smaller list. Alternatively, here’s a quick link directory so you can go straight to the lesson you want by clicking on the title. Happy picking! Beginner Lessons: [**Simple 2 Chord Tunes: “Shady Grove” – Key of C**](https://my.artistworks.com/mike-marshall/learning/213093) [**Simple 2 Chord Tunes: “Hot Corn, Cold Corn” – Key of G**](https://my.artistworks.com/mike-marshall/learning/213088) [**Simple 2 Chord Tunes: “Bringing in the Georgia Mail” – Key of A**](https://my.artistworks.com/mike-marshall/learning/213089) [**Simple 2 Chord Tunes: “Jimmy Brown the Newsboy” – Key of D**](https://my.artistworks.com/mike-marshall/learning/213090) [**Simple 2 Chord Tunes: “Katy Daley” – Key of C**](https://my.artistworks.com/mike-marshall/learning/213091) [**Simple 2 Chord Tunes: “I’m Going Back to Old Kentucky” – Key of Bb**](https://my.artistworks.com/mike-marshall/learning/213095) Intermediate Lessons: [**Saying Goodbye to Stage Fright**](https://my.artistworks.com/mike-marshall/learning/213094) [**Ending Tags – Key of A**](https://my.artistworks.com/mike-marshall/learning/213081) [**Ending Tags – Key of E**](https://my.artistworks.com/mike-marshall/learning/213082) [**Ending Tags – Key of G**](https://my.artistworks.com/mike-marshall/learning/213083) [**Transposing Ending Tags**](https://my.artistworks.com/mike-marshall/learning/213086) [**Playing in B and Bb – “Long Journey Home”**](https://my.artistworks.com/mike-marshall/learning/213087) [**Improvising in B and Bb – “Long Journey Home”**](https://my.artistworks.com/mike-marshall/learning/213084) Advanced Lessons: [**Jazzing Up Your Bluegrass Rhythm**](https://my.artistworks.com/mike-marshall/learning/213092) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall & Darol Anger Release New Live Album, “Ook'n'm”](https://blog.artistworks.com/mike-marshall-darol-anger-live-album-2023/) **Published:** July 28, 2023 **Author:** ArtistWorks **Excerpt:**

On July 20, 2023, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, Mike Marshall, released his latest live album, Ook’n’m: Live at the Old Town School of Folk Music 2001, featuring fellow ArtistWorks instructor Darol Anger on fiddle, Todd Phillips on upright bass, and the legendary Tony Rice on guitar.

**Content:** ![]() On July 20, 2023, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), released his latest live album, [Ook’n’m: Live at the Old Town School of Folk Music 2001](https://mikemarshallf5.bandcamp.com/album/darol-anger-mike-marshall-tony-rice-todd-phillips-live-november-30th-2001), featuring fellow ArtistWorks instructor [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) on fiddle, Todd Phillips on upright bass, and the legendary Tony Rice on guitar. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Many of you may be wondering, how there could possibly be a new live recording featuring the late, great Tony Rice. This new record is actually the first-time release of a live set captured at the Old Town School of Folk Music in Chicago, IL in 2001. This amazing live recording is an opportunity for us to travel back in time over 20 years to hear a lighting-in-a-bottle performance from this all-star quartet. “\[During the set captured in this recording\], we were exploring some of the music we had recorded back in the 1980s,” Mike explains. “And, Tony was especially loose and swinging during this set!” LEARN MORE: [Want to learn how to play the fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) To listen to Ook’n’m: Live at the Old Town School of Folk Music 2001, head over to Mike’s [Bandcamp page](https://mikemarshallf5.bandcamp.com/album/darol-anger-mike-marshall-tony-rice-todd-phillips-live-november-30th-2001) to download and purchase the album. “We miss Tony just as much as you all do,” expresses Mike. “And, I hope you enjoy the moments captured in this performance as much as I do.” LEARN MORE: Have you always wanted to learn how to play the mandolin or fiddle? Through our comprehensive online [fiddle](https://artistworks.com/fiddle-lessons) and [mandolin lessons](https://artistworks.com/mandolin-lessons), and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol and Mike’s courses each start with the basics and teach everything from beginner fiddle and mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mandolin Lesson: Improvising Over the “Janice” Chord Changes with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-improvising-janice) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Rock Guitar Lesson: String Skipping](https://blog.artistworks.com/rock-guitar-lesson-string-skipping/) **Published:** July 27, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most critical elements of the shred guitar aesthetic is the quick and fluid transition from notes in the higher registers to those in the lower register and vice versa. Oftentimes, rock guitarists will execute these transitions through the use of arpeggios, outlining the song’s harmonic progressions through fast melodic lines that feature consecutive ascending or descending chord tones. However, it is also very common for guitars performing in the shred style to jump directly between notes in the higher and lower registers. Executing this properly often requires a deceptively difficult technique called string skipping.

**Content:** ![]() One of the most critical elements of the shred guitar aesthetic is the quick and fluid transition from notes in the higher registers to those in the lower register and vice versa. Oftentimes, rock guitarists will execute these transitions through the use of arpeggios, outlining the song’s harmonic progressions through fast melodic lines that feature consecutive ascending or descending chord tones. However, it is also very common for guitars performing in the shred style to jump directly between notes in the higher and lower registers. Executing this properly often requires a deceptively difficult technique called string skipping. In this [online guitar lesson](https://artistworks.com/guitar-lessons), shred guitar icon, founding member of legendary groups Mr. Big and Racer X, and ArtistWorks rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), teaches how to approach string skipping through a few quintessential shred guitar riffs. These riffs make for not only fantastic exercises through which to practice your string skipping, but they’re also very musical and can be easily incorporated into your performances. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “The important thing to focus on when you’re first learning to skip strings is your aim, both in the left and right hand,” Paul explains. “You need both your right and left to land on the same strings, and for them to move together in musical time in order to create a clean melodic run.” As mentioned above, string skipping seems like a very simple exercise in theory. However, when you’re first learning to string skip, it can feel much more arduous in practice. Our hands will often align on the proper strings at the incorrect right times, and it’s sometimes difficult to jump cleanly from a higher to lower or lower to higher string without accidentally sounding a string in between the two. Fortunately, as with most things in music and guitar playing, the more you practice the technique, the easier it will become to execute. To learn more about how to skip between strings cleanly and fluidly, and begin integrating the technique into your rock and shred guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons) from [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert): String Skipping with Paul Gilbert: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned shred guitar master [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner guitar to advanced rock riffs, shred techniques, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Paul Gilbert Celebrates 14,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-14000-video-exchanges) [Jared James Nichols Releases New Self-Titled Album](https://blog.artistworks.com/jared-james-nichols-new-self-titled-album) [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Thank You and Farewell!](https://blog.artistworks.com/thank-you-and-farewell-2/) **Published:** July 25, 2023 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Online Popular Piano School Family,

It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch - you can email me at hughsung@gmail.com, and keep up to date with my own activities at HughSung.com

One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina - you can check out our concert videos and schedule at MadaHugh.com

And if you'd like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://www.patreon.com/madahughpianoduo

Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this!

With much love,

Hugh

p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon!

**Content:** Dear ArtistWorks Online Popular Piano School Family, It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch – you can email me at hughsung@gmail.com, and keep up to date with my own activities at [HughSung.com](https://hughsung.com) One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina – you can check out our concert videos and schedule at [MadaHugh.com](https://madahugh.com) And if you’d like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://[www.patreon.com/madahughpianoduo](https://www.patreon.com/madahughpianoduo) Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this! With much love, Hugh p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Thank You and Farewell!](https://blog.artistworks.com/thank-you-and-farewell-1/) **Published:** July 25, 2023 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Online Popular Piano School Family,

It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch - you can email me at hughsung@gmail.com, and keep up to date with my own activities at HughSung.com

One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina - you can check out our concert videos and schedule at MadaHugh.com

And if you'd like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://www.patreon.com/madahughpianoduo

Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this!

With much love,

Hugh

p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon!

**Content:** Dear ArtistWorks Online Popular Piano School Family, It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch – you can email me at hughsung@gmail.com, and keep up to date with my own activities at [HughSung.com](https://hughsung.com) One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina – you can check out our concert videos and schedule at [MadaHugh.com](https://madahugh.com) And if you’d like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://[www.patreon.com/madahughpianoduo](https://www.patreon.com/madahughpianoduo) Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this! With much love, Hugh p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Thank You and Farewell!](https://blog.artistworks.com/thank-you-and-farewell-0/) **Published:** July 25, 2023 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Online Popular Piano School Family,

It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch - you can email me at hughsung@gmail.com, and keep up to date with my own activities at HughSung.com

One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina - you can check out our concert videos and schedule at MadaHugh.com

And if you'd like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://www.patreon.com/madahughpianoduo

Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this!

With much love,

Hugh

p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon!

**Content:** Dear ArtistWorks Online Popular Piano School Family, It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch – you can email me at hughsung@gmail.com, and keep up to date with my own activities at [HughSung.com](https://hughsung.com) One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina – you can check out our concert videos and schedule at [MadaHugh.com](https://madahugh.com) And if you’d like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://[www.patreon.com/madahughpianoduo](https://www.patreon.com/madahughpianoduo) Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this! With much love, Hugh p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Thank You and Farewell!](https://blog.artistworks.com/thank-you-and-farewell/) **Published:** July 25, 2023 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Online Popular Piano School Family,

It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch - you can email me at hughsung@gmail.com, and keep up to date with my own activities at HughSung.com

One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina - you can check out our concert videos and schedule at MadaHugh.com

And if you'd like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://www.patreon.com/madahughpianoduo

Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this!

With much love,

Hugh

p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon!

**Content:** Dear ArtistWorks Online Popular Piano School Family, It has been such a joy and an honor to have been your teacher for over 4500 VE videos and 9 years. Thank you for showing me how amazing you can be when you play the music you love! As I move on to the next chapter in my journey, I want to invite you to stay in touch – you can email me at hughsung@gmail.com, and keep up to date with my own activities at [HughSung.com](https://hughsung.com) One of the most exciting parts of this new journey will be the 4-hand piano duo concerts with my fiance Madalina – you can check out our concert videos and schedule at [MadaHugh.com](https://madahugh.com) And if you’d like to support our duo concerts and get special access to our duo sheet music arrangements, we invite you to become one of our patrons at https://[www.patreon.com/madahughpianoduo](https://www.patreon.com/madahughpianoduo) Please stay in touch! And as I have encouraged all of you, please continue taking piano lessons and keeping the joy of music in your life! Your hands, heart, and mind will thank you for this! With much love, Hugh p.s. check out my last monthly message video for some special performances from the Petrof Piano Factory in Prague! Posting soon! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Instructors Nominated for 2023 IBMA Awards](https://blog.artistworks.com/artistworks-2023-ibma-award-nominations/) **Published:** July 19, 2023 **Author:** ArtistWorks **Excerpt:**

This morning, the International Bluegrass Music Association announced the nominees for this year's 34th annual 2023 IBMA Bluegrass Music Awards. Among the fantastic group of talented artists nominated for awards are six of the master musicians that teach bluegrass here at ArtistWorks: bluegrass mandolin icon Sierra Hull, flatpick guitar titans Bryan Sutton and Chris Eldridge, upright bass master Missy Raines, dobro and resophonic guitar virtuoso Andy Hall, and ArtistWorks’ newest instructor, banjo guru Alison Brown.

**Content:** ![]() This morning, the International Bluegrass Music Association announced the nominees for this year’s 34th annual 2023 IBMA Bluegrass Music Awards. Among the fantastic group of talented artists nominated for awards are six of the master musicians that teach bluegrass here at ArtistWorks: bluegrass mandolin icon [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), flatpick guitar titans [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), upright bass master [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), dobro and resophonic guitar virtuoso [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall), and ArtistWorks’ newest instructor, banjo guru [Alison Brown](https://artistworks.com/banjo-lessons-alison-brown). ALISON BROWN: Alison Brown is one of the most multi-faceted minds on today’s roots music scene. As a banjo player, she has thrown out the textbook when it comes to how the banjo is played, and the result is a sound that blends the rugged drive of bluegrass with the harmonic sensibilities of jazz, earning vast acclaim and a GRAMMY award in the process. Alison has recorded 12 critically-acclaimed solo albums and has received a GRAMMY and multiple GRAMMY nominations. She has also received the USA Artists Fellowship in Music and a Distinguished Achievement Award from the International Bluegrass Music Association. This year, Alison is nominated in three categories for the 34th annual IBMA Awards: “Banjo Player of the Year,” “Collaborative Recording of the Year,” and “Instrumental Recording of the Year.” LEARN MORE: [Want to learn how to play banjo from a master musician like Alison Brown? Try some free banjo lessons now!](https://go.artistworks.com/banjo-lessons-alison-brown) SIERRA HULL: [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) has accomplished more as a singer, songwriter, and performer in the last 25 years than many musicians do in a lifetime. Having received the IBMA “Mandolin Player of the Year” Award five times already in 2016, 2017, 2018, 2021, and 2022, she is once again nominated in the category for the sixth time this year. Sierra has spent most of 2023 writing, touring, and performing her own original music alongside the members of her band, but she can also frequently be found on stage accompanying other legendary musicians from the bluegrass world and beyond including Béla Fleck, Sam Bush, Cory Wong, and more. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) BRYAN SUTTON: A ten-time recipient of the IBMA “Guitarist of the Year” Award, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) is consistently recognized as one of the premier flatpick guitar players of the modern era and a prolific musical voice within the bluegrass genre. Having performed with many of the biggest names in bluegrass throughout his career, Bryan is once again nominated in the “Guitarist of the Year” category at this year’s 34th annual IBMA Awards. In addition to his prowess as a performer, Bryan is also a masterful teacher and has taught bluegrass acoustic guitar at ArtistWorks for 12 years. LEARN MORE: [Want to learn how to flatpick from a master guitarist like Bryan Sutton? Try some free acoustic guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) MISSY RAINES: Much like Bryan, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) is also revered as a preeminent talent of the bluegrass genre. As a ten-time recipient of the IBMA “Bass Player of the Year” Award, Missy is one of the most virtuosic upright bass players in bluegrass history and is once again nominated in the category this year. Missy can most commonly be heard performing with her group Missy Raines & Allegheny and is also a member of the First Ladies of Bluegrass alongside Sierra Hull, Molly Tuttle, Becky Buller, and Alison Brown. She is the most decorated bass player in the history of the International Bluegrass Music Association. LEARN MORE: [Want to learn upright bass from a master musician like Missy Raines? Try a few free online bass lessons now!](https://go.artistworks.com/free-music-lessons-missy-raines) CHRIS ELDRIDGE: Widely considered one of the premier acoustic guitarists of the modern era, [Chris “Critter” Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) has cofounded and performed around the globe with some of the most prolific groups in the modern bluegrass scene. Most commonly known as the guitarist and co-founding member of the Grammy award-winning bluegrass outfit, Punch Brothers, Chris has brought his unique acoustic guitar stylings to a handful of bluegrass’ most successful and influential groups. In addition to eight Grammy nominations to date and one Grammy win in 2018, Chris was named “Instrumentalist of the Year” by the Americana Music Association in 2019 and is nominated for “Guitarist of the Year” at this year’s IMBA Awards. LEARN MORE: [Want to learn how to flatpick from a master guitarist like Chris Eldridge? Try some free acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) ANDY HALL: As a member of the Grammy and IBMA Award-winning outfit, The Infamous Stringdusters, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) has made his mark in the worlds of bluegrass and resophonic guitar playing since the band made its debut in 2006. Andy is recognized as a powerhouse of the dobro and lap steel guitars and is nominated this year in the category of “Resophonic Guitarist of the Year” by the IBMA. In addition to his role in The Infamous Stringdusters, Andy has also released several solo records, one of which won the IBMA’s “Instrumental Recorded Performance of the Year” Award in 2008. LEARN MORE: [Want to learn resophonic guitar from a dobro master like Andy Hall? Sign up for Andy’s Dobro & Lap Steel Guitar course!](https://artistworks.com/dobro-lessons-andy-hall) Congratulations and best of luck to all the 2023 nominees! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://www.artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “On Banjo with Alison Brown” Now Available!](https://blog.artistworks.com/pre-sale-on-banjo-alison-brown) [Bluegrass Mandolin Lesson: Tag Endings with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings) [The Virtual Banjo Roundtable with Tony Trischka, Noam Pikelny, & Alison Brown](https://blog.artistworks.com/virtual-banjo-roundtable-2023) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Grey Fox Fester Fun](https://blog.artistworks.com/grey-fox-fester-fun/) **Published:** July 17, 2023 **Author:** ArtistWorks **Excerpt:**

A beautiful long day at the Grey Fox Music Festival in New England with my increasingly excellent band Mr Sun, and leading a monster jam set Satuday night that included The Henhouse Prowlers band, banjo stars Wes Corbett and Trey Wellington, raconteur and cultural icon Joe Newberry, guitarist Scott Gates , mandolinist/vocalists A.J. Lee and the brilliant fellow Artistworks Professor Siarra Hull, Bassist & MVP Nate Sabat, and fiddlers moi, Avery Merritt and of course the President: Sam Bush. To lead a jam with these folks, just get them on stage and then stand back!

**Content:** A beautiful long day at the Grey Fox Music Festival in New England with my increasingly excellent band Mr Sun, and leading a monster jam set Satuday night that included The Henhouse Prowlers band, banjo stars Wes Corbett and Trey Wellington, raconteur and cultural icon Joe Newberry, guitarist Scott Gates , mandolinist/vocalists A.J. Lee and the brilliant fellow Artistworks Professor Siarra Hull, Bassist & MVP Nate Sabat, and fiddlers moi, Avery Merritt and of course the President: Sam Bush. To lead a jam with these folks, just get them on stage and then stand back! ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: Tag Endings](https://blog.artistworks.com/bluegrass-mandolin-lesson-tag-endings/) **Published:** July 14, 2023 **Author:** ArtistWorks **Excerpt:**

Bluegrass, like many musical traditions, is a primarily improvisational art form. When bluegrass tunes are performed, there is a common song structure that is typically followed in order to keep all the musicians organized and on the same page. A song typically begins with the band performing the tune’s predetermined melody. From there, each member of the band typically performs an improvised solo over the tune’s chord changes. After most, if not all, of the band members have performed their solos, the tune’s melody is performed once again and the band then prepares to end the song. But, how do all of the musicians end the performance in a smooth and coordinated manner? The answer: tag endings.

**Content:** ![]() Bluegrass, like many musical traditions, is a primarily improvisational art form. When bluegrass tunes are performed, there is a common song structure that is typically followed in order to keep all the musicians organized and on the same page. A song typically begins with the band performing the tune’s predetermined melody. From there, each member of the band typically performs an improvised solo over the tune’s chord changes. After most, if not all, of the band members have performed their solos, the tune’s melody is performed once again and the band then prepares to end the song. But, how do all of the musicians end the performance in a smooth and coordinated manner? The answer: tag endings. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons), Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), explains the concept of the tag ending and teaches a few of the most common tag endings that you can incorporate into your next bluegrass jam session. While Sierra does teach how to play these endings on the mandolin, these tags can be applied to any instrument. This lesson is helpful for any aspiring ‘grasser, regardless of your preferred instrument. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) “If you’re sitting in a jam session and it’s time to go ‘this is the end of the song,’ what do you do? What is the process?” Sierra asks. “In bluegrass, we usually insert what we think of as a tag ending to let the listeners and other musicians know that we’re going to wrap up the tune.” What is a tag ending? To signify the ending of a song, many musicians will play a specific series of notes that are referred to as a “tag.” The phrases that make up these “tags” are all deeply ingrained in the bluegrass musical vocabulary, and are instantly recognizable to both seasons bluegrass musicians and listeners alike. One very common tag ending is the melodic line that accompanies the old phrase, “shave and a haircut, two bits.” “In this lesson, I want to plant the idea of how tag endings work, and what to expect when you come to the end of a song—because it can vary,” explains Sierra. “But, there are some simple, general rules to follow that can make learning this process quite a bit easier.” To learn how to incorporate tag endings into your next bluegrass jam session, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Tag Endings with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, music theory, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “On Banjo with Alison Brown” Now Available!](https://blog.artistworks.com/pre-sale-on-banjo-alison-brown) [Mandolin Lesson: Improvising Over the “Janice” Chord Changes with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-improvising-janice) [Bluegrass Mandolin Lesson: Playing with Speed with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-speed-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [The Virtual Banjo Roundtable with Tony Trischka, Noam Pikelny, & Alison Brown](https://blog.artistworks.com/virtual-banjo-roundtable-2023/) **Published:** July 13, 2023 **Author:** ArtistWorks **Excerpt:**

On Wednesday, July 26, 2023, at 4:00 pm PT, ArtistWorks will be hosting a free virtual live-streamed event featuring all three of our world-renowned bluegrass banjo instructors: Tony Trischka, Noam Pikelny, and our newest banjo teacher Alison Brown (who’s course is currently available for pre-sale and will be launching to the public on August 1, 2023).

**Content:** ![]() On Wednesday, July 26, 2023, at 4:00 pm PT, ArtistWorks will be hosting a free virtual live-streamed event featuring all three of our world-renowned bluegrass banjo instructors: [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny), and our newest banjo teacher [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown) (who’s course is currently available for pre-sale and will be launching to the public on August 1, 2023). Together, these three master musicians will be discussing all things music, sharing exclusive performances, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing banjoists, now’s the perfect time to get it answered! [SIGN UP HERE](https://go.artistworks.com/2023-banjo-roundtable-giveaway) to RSVP for the event, receive FREE sample banjo lessons, and enter for your chance to WIN a Deering Goodtime 5-String Banjo! ![](https://blog.artistworks.com/wp-content/uploads/2023/01/banjo.jpg) ABOUT THE LIVE-STREAM EVENT: [The Virtual Banjo Roundtable](https://go.artistworks.com/2023-banjo-roundtable-giveaway) promises an exciting and engaging experience for banjo players and music lovers alike. The event will feature: [Live performances](https://go.artistworks.com/2023-banjo-roundtable-giveaway): Witness breathtaking banjo mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://go.artistworks.com/2023-banjo-roundtable-giveaway): Learn from the pros as they delve into the secrets of their banjo techniques, share stories from their careers, and discuss the future of banjo playing. [Q&A sessions](https://go.artistworks.com/2023-banjo-roundtable-giveaway): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://go.artistworks.com/2023-banjo-roundtable-giveaway): Sign up to RSVP for the event, receive FREE sample banjo lessons, and enter for your chance to WIN a Goodtime 5-String Banjo from Deering Banjos! Now, let’s get acquainted with our star-studded lineup: [Tony Trischka](https://www.artistworks.com/banjo-lessons-tony-trischka) For nearly 40 years, Tony Trischka has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo”. [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) Noam Pikelny has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble that The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” Noam is a two-time International Bluegrass Music Association “Banjo Player of the Year” and in 2019, Noam, along with his fellow Punch Brothers, were awarded the “Best Folk Album” Grammy® for their release, All Ashore. [Alison Brown](https://www.artistworks.com/banjo-lessons-alison-brown) Alison Brown is one of the most multi-faceted minds on today’s roots music scene. As a banjo player, she has thrown out the textbook when it comes to how the banjo is played, and the result is a sound that blends the rugged drive of bluegrass with the harmonic sensibilities of jazz, earning vast acclaim and a GRAMMY award in the process. In addition, Alison is the co-founder of the internationally recognized roots music label Compass Records Group, which Billboard Magazine has called “one of the greatest independent labels of the last decade.” ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “On Banjo with Alison Brown” Now Available!](https://blog.artistworks.com/pre-sale-on-banjo-alison-brown) [Beginner Banjo Lesson: Learn to Play “Blackberry Blossom” Using Barre Positions with Tony Trischka](https://blog.artistworks.com/beginner-banjo-lesson-blackberry-blossom-barre-positions) [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Bluegrass Guitar Lesson: The 3 Shape Method](https://blog.artistworks.com/bluegrass-guitar-lesson-3-shape-method/) **Published:** July 6, 2023 **Author:** ArtistWorks **Excerpt:**

When first learning how to play the guitar, most of us begin by studying a few fundamental major and minor chords. These chords are typically the common open-position chords, sometimes referred to as “cowboy chords,” in the lowest register on the guitar neck. However, as we progress as players, we quickly discover that each chord quality within any key offers a plethora of different chord shapes and fingerings that can be played in various octaves and inversions up and down the fingerboard.

**Content:** ![]() When first learning how to play the guitar, most of us begin by studying a few fundamental major and minor chords. These chords are typically the common open-position chords, sometimes referred to as “cowboy chords,” in the lowest register on the guitar neck. However, as we progress as players, we quickly discover that each chord quality within any key offers a plethora of different chord shapes and fingerings that can be played in various octaves and inversions up and down the fingerboard. At first, this can feel a bit daunting and overwhelming. With so many different chord qualities, keys, inversions, and octaves up and down the guitar neck, how can we as players keep track of all our different chordal options as we navigate the fretboard? In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), outlines his 3 shape method that will help you better understand how to invert and spell different chords up and down the fretboard. The three simple chord shapes that Bryan outlines in this lesson can be transposed into any key, and utilized in any register. This simple, yet elegant, method will help you unlock the fretboard, better understand the mechanics of the guitar, and ultimately grow as a player. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “Notes exist all up and down the fretboard of this guitar,” Bryan explains. “The 3 shape method is a system to help us notice, understand, and organize these notes in a way that provides us with a roadmap to better navigate the fretboard.” While the 3 shape method can be applied directly to bluegrass and flatpick guitar playing, the concepts that Bryan outlines in this lesson can be employed within just about any guitar style and genre. So, whether you’re a rock, blues, jazz, country, folk, or classical guitarist (or a guitar player of any other genre, for that matter) dive into Bryan’s lesson to unlock this critical guide to the fretboard. “I often equate playing my instrument with verbal communication,” explains Bryan. “Our goal as musicians is to have the musical vocabulary that we need to communicate what we want and intend to on our instruments. For me, this method helps me do that.” To learn more about Bryan’s 3 primary chord shapes, how they can be transposed across the guitar neck, and how you can utilize these chords in your rhythm guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): The 3 Shape Method with Bryan Sutton: LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns) [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Paul Gilbert Celebrates 14,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-14000-video-exchanges/) **Published:** June 28, 2023 **Author:** ArtistWorks **Excerpt:**

Award-winning master guitarist, co-founder of bands Racer X and Mr. Big, and internationally-renowned shred guitar icon, Paul Gilbert has been an instructor at ArtistWorks since 2012 and has played an integral role in helping us achieve, and continue to live up to, our mission to teach the world music.

**Content:** ![]() Award-winning master guitarist, co-founder of bands Racer X and Mr. Big, and internationally-renowned shred guitar icon, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) has been an instructor at ArtistWorks since 2012 and has played an integral role in helping us achieve, and continue to live up to, our mission to teach the world music. Not only is Paul a virtuosic player who has pushed the boundaries of the guitar and taken the instrument to new heights, but he’s also a phenomenal teacher with a deep passion for education and sharing the beauty of the guitar and music with others. We’re excited and beyond proud to announce that, on June 26, 2023, Paul completed his 14,000th Video Exchange. Congratulations Paul! What an amazing milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge. Thank you for all that you do! And, thank you to all of Paul’s wonderful rock guitar pupils for consistently submitting videos! LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online rock guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “What is a Video Exchange, you may be wondering? If you sign up for my online rock guitar school at ArtistWorks, you can send me a video, I’ll watch you play and listen to any of your questions, and I send a custom-made video guitar lesson back,” Paul explains. “I’ve done this over 14,000 times, and I’m having such a great time connecting and communicating with everyone at the school.” Paul is celebrating this impressive milestone by giving away an exclusive prize package to the students who submitted his 13,000th and 14,000th Video Exchanges respectively. Included in the prize package is an Overdrive Preamp Pedal from JHS Pedals signed by Paul! “So, I hope you’ll join up and I can hear you play, and I can give you the best ideas that I can think of to help you grow as a guitar player,” expresses Paul. “And, who knows, maybe you’ll be Video Exchange number 15,000!” Check out this message from Paul about reaching this outstanding achievement: LEARN MORE: Have you always wanted to learn how to shred on guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn directly from rock guitar icon [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner rock riffs to advanced shred techniques and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Rock Guitar Lesson: Bending & Vibrato with Paul Gilbert](https://blog.artistworks.com/guitar-lesson-bending-vibrato-paul-gilbert) [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Flatpick Guitar Lesson: Pentatonic Patterns Across the Fretboard](https://blog.artistworks.com/flatpick-guitar-lesson-pentatonic-patterns/) **Published:** June 23, 2023 **Author:** ArtistWorks **Excerpt:**

When learning to improvise on the guitar, the first scale that almost every player begins dissecting is the pentatonic scale. The pentatonic scale is the perfect collection of notes from which to begin one’s improvisational journey on the guitar.

**Content:** ![]() When learning to improvise on the guitar, the first scale that almost every player begins dissecting is the pentatonic scale. The pentatonic scale is the perfect collection of notes from which to begin one’s improvisational journey on the guitar. The major and minor pentatonic scales of any given key contain the vast majority of the notes employed by the critical harmonies of the key, the finger placement required for the first position of the pentatonic scale is very comfortable (making it easier for players new to the guitar to perform), and it’s utilized throughout a wide variety of styles. However, a common struggle that many guitarists face is breaking away from the first-position pentatonic shape and exploring pentatonic patterns beyond the first position. In this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant), National Flatpicking Champion and ArtistWorks guitar instructor, [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), outlines a variety of pentatonic patterns across the fingerboard in the key of G. These patterns can be transposed in any key, and are the key to breaking out of the first-position pentatonic box and unleashing your pentatonic improvisation across the guitar neck. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Tyler Grant? Try some free online flatpick guitar lessons now!](https://go.artistworks.com/guitar-lessons-tyler-grant) “The pentatonic scale of any given key features five different patterns, which correlate to five different hand positions” Tyler explains. “Each pattern or hand position begins on each of the five ascending scale tones of the pentatonic scale moving up the neck.” Wrapping your mind and fingers around the five different positions of the pentatonic scale will likely feel difficult at first. But, don’t fret, with a bit of time, analysis, and practice, these positions will quickly become second nature. They will also eventually help you understand corresponding chord shapes across the neck, which will in turn help you more easily target chord tones when you’re improvising. “After working through these patterns and practicing them for a while, the goal is to let your ear be ahead of your fingers,” explains Tyler. “What I mean by that is—I want you to be so familiar with the scale and these patterns across that neck that you’re able to hear the melodic runs you want to play in your head before you physically execute them on the instrument.” To learn more about pentatonic patterns across the fretboard and how to begin integrating them into your melodies and improvisations, dive into this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant) from [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant): Pentatonic Patterns Across the Fretboard with Tyler Grant: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [flatpick guitar lessons online](https://artistworks.com/guitar-lessons-tyler-grant) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), and get personal feedback on your playing. Tyler’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, classic bluegrass tunes, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Flatpicking Academy with Tyler Grant” is Now Open!](https://blog.artistworks.com/flatpicking-academy-tyler-grant-now-open) [Flatpick Guitar Lesson: Modified Crosspicking Patterns with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-modified-crosspicking) [Flatpick Guitar Lesson: Hammer-Ons & Grace Notes with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-hammer-ons) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing “On Banjo with Alison Brown”](https://blog.artistworks.com/new-course-banjo-alison-brown/) **Published:** June 20, 2023 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in late July 2023, “On Banjo with Alison Brown.”

**Content:** ![]() We are excited to announce our newest course coming in late July 2023, “[On Banjo with Alison Brown](https://go.artistworks.com/banjo-lessons-alison-brown).” As one of the most multi-faceted minds on today’s roots music scene, every one of Alison’s endeavors is marked by innovation, intelligence, and grace. As a banjo player, she has thrown out the textbook when it comes to how the banjo is played, and the result is a sound that blends the rugged drive of bluegrass with the harmonic sensibilities of jazz, earning vast acclaim and a GRAMMY award in the process. Alison took an unusual path to becoming an internationally recognized banjoist. After completing her undergraduate studies at Harvard University and receiving an MBA from UCLA, she pursued a career in investment banking. But, she missed the bluegrass music she’d grown up playing in Southern California so much that when Alison Krauss called looking for a banjo player, she made the decision to give up her Wall Street career to pursue music. She toured with Alison Krauss and Union Station, and Michelle Shocked before forming her own group, The Alison Brown Quartet, in 1993. Since that time, Alison and her band have been winning over traditionalists and mainstream music fans alike with her unique style. They have toured extensively throughout the US and abroad with stops at some of music’s most prestigious venues including The Kennedy Center, Newport Folk Festival, Telluride Bluegrass Festival, MerleFest, New Orleans Jazz and Heritage Festival, Philadelphia Folk Festival, FreshGrass, The Cambridge Folk Festival (England), Celtic Connections (Scotland), Dublin National Concert Hall (Ireland), Galway Arts Festival (Ireland), and Verbier Music Festival (Switzerland). The band has also traveled to Central and South America at the invitation of the US Information Agency and to Japan as Friendship Ambassadors on behalf of the Nashville Mayor’s office to celebrate a new sister city relationship between Kamakura, Japan and Music City. Alison has recorded 12 critically-acclaimed solo albums and has received a GRAMMY and multiple GRAMMY nominations. She has also received the USA Artists Fellowship in Music and a Distinguished Achievement Award from the International Bluegrass Music Association. Alison has been featured on CBS Sunday Morning, NPR’s All Things Considered, and in the pages of the Wall Street Journal and the New York Times, among many other publications. Alison is also the co-founder of the internationally recognized roots music label Compass Records Group, which Billboard Magazine has called “one of the greatest independent labels of the last decade.” Compass Records Group oversees a catalog of nearly 1,000 releases across multiple label imprints, including Red House Records, Green Linnet, and Mulligan Records. Alison currently serves on the Board of the Nashville Chapter of the Recording Academy, on the adjunct faculty of Vanderbilt’s Blair School of Music, and as co-chair of the Steve Martin Banjo Prize. Through her [online banjo lessons](https://go.artistworks.com/banjo-lessons-alison-brown) here at ArtistWorks, you’ll learn the ins and outs of Alison’s distinct approach to the instrument and the intricate methods that define her one-of-a-kind sound and style. Alison has drawn from her extensive knowledge as both a professional banjoist and educator to create a comprehensive course of [banjo lessons online](https://go.artistworks.com/banjo-lessons-alison-brown) designed to teach players of all levels how to play. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Alison and get an intimate look into her unique approach and style. Grow as a banjo player while simultaneously furthering yourself as a musician, and get direct guidance from Alison at every step of your musical journey. [Sign up now](https://go.artistworks.com/banjo-lessons-alison-brown) for news updates from Alison and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who have rich musical legacies and a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other fantastic supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner Banjo Lesson: Learn to Play “Blackberry Blossom” Using Barre Positions with Tony Trischka](https://blog.artistworks.com/beginner-banjo-lesson-blackberry-blossom-barre-positions) [Tony Trischka Celebrates 11,000 Video Exchanges!](https://blog.artistworks.com/tony-trischka-11000-video-exchanges) [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Thank you to the ArtistWorks Popular Piano Family](https://blog.artistworks.com/thank-you-artistworks-popular-piano-family/) **Published:** June 11, 2023 **Author:** ArtistWorks **Excerpt:**

Dear Friends,

It is with a heavy heart that I share the news that I will be finishing the last VE deadlines dates on July 9, July 16, and July 23. Thank you for 9 wonderful years of helping thousands of people discover the joy of playing the piano! I've just posted a video on the home page sharing some details that went into this difficult decision, so please be sure to watch it to the end.

I know many of you will be very disappointed, but rest assured the ArtistWorks team will help you either transition to another fantastic teacher here (they are ALL wonderful!), or help you get a refund for the remainder of your subscription should you choose to discontinue. Whatever you decide, it is my sincere hope that you will continue to play the piano for the rest of your lives!

I hope to see all of you for the final 3 VE dates and help you continue in your piano playing journey!

With much love,

Hugh

**Content:** Dear Friends, It is with a heavy heart that I share the news that I will be finishing the last VE deadlines dates on July 9, July 16, and July 23. Thank you for 9 wonderful years of helping thousands of people discover the joy of playing the piano! I’ve just posted a video on the home page sharing some details that went into this difficult decision, so please be sure to watch it to the end. I know many of you will be very disappointed, but rest assured the ArtistWorks team will help you either transition to another fantastic teacher here (they are ALL wonderful!), or help you get a refund for the remainder of your subscription should you choose to discontinue. Whatever you decide, it is my sincere hope that you will continue to play the piano for the rest of your lives! I hope to see all of you for the final 3 VE dates and help you continue in your piano playing journey! With much love, Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Thank you to the ArtistWorks Popular Piano Family](https://blog.artistworks.com/thank-you-artistworks-popular-piano-family-0/) **Published:** June 11, 2023 **Author:** ArtistWorks **Excerpt:**

Dear Friends,

It is with a heavy heart that I share the news that I will be finishing the last VE deadlines dates on July 9, July 16, and July 23. Thank you for 9 wonderful years of helping thousands of people discover the joy of playing the piano! I've just posted a video on the home page sharing some details that went into this difficult decision, so please be sure to watch it to the end.

I know many of you will be very disappointed, but rest assured the ArtistWorks team will help you either transition to another fantastic teacher here (they are ALL wonderful!), or help you get a refund for the remainder of your subscription should you choose to discontinue. Whatever you decide, it is my sincere hope that you will continue to play the piano for the rest of your lives!

I hope to see all of you for the final 3 VE dates and help you continue in your piano playing journey!

With much love,

Hugh

**Content:** Dear Friends, It is with a heavy heart that I share the news that I will be finishing the last VE deadlines dates on July 9, July 16, and July 23. Thank you for 9 wonderful years of helping thousands of people discover the joy of playing the piano! I’ve just posted a video on the home page sharing some details that went into this difficult decision, so please be sure to watch it to the end. I know many of you will be very disappointed, but rest assured the ArtistWorks team will help you either transition to another fantastic teacher here (they are ALL wonderful!), or help you get a refund for the remainder of your subscription should you choose to discontinue. Whatever you decide, it is my sincere hope that you will continue to play the piano for the rest of your lives! I hope to see all of you for the final 3 VE dates and help you continue in your piano playing journey! With much love, Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Flatpick Guitar Lesson: Hammer-Ons & Grace Notes](https://blog.artistworks.com/flatpick-guitar-lesson-hammer-ons/) **Published:** June 9, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most beautiful characteristics that all musical instruments share is their unique ability to mimic the emotive qualities of the human voice. Musicians are able to perform subtle inflections on their instruments that imitate the expressive nuances of the human voice in a way that speaks to us and moves us universally as people. The guitar is no exception to this trait, and there are several techniques in particular that highlight the vocal-like qualities of the instrument, including hammer-ons, pull-offs, the use of grace notes, vibrato, and more.

**Content:** ![]() One of the most beautiful characteristics that all musical instruments share is their unique ability to mimic the emotive qualities of the human voice. Musicians are able to perform subtle inflections on their instruments that imitate the expressive nuances of the human voice in a way that speaks to us and moves us universally as people. The guitar is no exception to this trait, and there are several techniques in particular that highlight the vocal-like qualities of the instrument, including hammer-ons, pull-offs, the use of grace notes, vibrato, and more. In this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant), National Flatpicking Champion and ArtistWorks guitar instructor, [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), outlines the fundamental techniques to begin performing hammer-ons, particularly in the context of executing short, expressive grace notes. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Tyler Grant? Try some free online flatpick guitar lessons now!](https://go.artistworks.com/guitar-lessons-tyler-grant) “Grace notes are created on the guitar using a variety of different techniques,” Tyler explains. “These techniques include hammer-ons, pull-offs, slides—really any method that allows us to produce a note without really picking.” What is a grace note? Grace notes are any note produced on an instrument that serves as an embellishment and is not essential to the harmony or melody of the song or piece being performed. What is a hammer-on? A hammer-on is a playing technique performed on a stringed instrument by sharply bringing a fretting-hand finger down onto the fingerboard behind a fret, causing a note to sound, after the picking hand has already plucked the string and a different note was resonating. “We’re going to be working on hammer-ons and building on that fundamental technique throughout the entire course,” explains Tyler. “As such, it’s really important to focus on these critical finger movements now. This will help you execute hammer-ons more fluidly as we continue to progress. With some practice, you’ll be seamlessly incorporating hammer-ons into the flow of your music.” To learn more about hammer-ons and integrating grace notes into your playing, dive into this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant) from [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant): Hammer-Ons & Grace Notes with Tyler Grant: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [flatpick guitar lessons online](https://artistworks.com/guitar-lessons-tyler-grant) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), and get personal feedback on your playing. Tyler’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, classic bluegrass tunes, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Flatpick Guitar Lesson: Modified Crosspicking Patterns with Tyler Grant](https://blog.artistworks.com/flatpick-guitar-lesson-modified-crosspicking) [“Flatpicking Academy with Tyler Grant” is Now Open!](https://blog.artistworks.com/flatpicking-academy-tyler-grant-now-open) [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Bluegrass Month: 1-Hour Live Lesson Giveaway!](https://blog.artistworks.com/bluegrass-live-lesson-giveaway-2023/) **Published:** June 8, 2023 **Author:** ArtistWorks **Excerpt:**

This month, we're celebrating 12 years of Bluegrass at ArtistWorks in a major way…

**Content:** ![]() This month, we’re celebrating 12 years of Bluegrass at ArtistWorks in a major way… [Sign up now](https://go.artistworks.com/2023-bluegrass-live-lesson) for a chance to win a FREE 60-minute virtual lesson, one-on-one with the ArtistWorks bluegrass instructor of your choice! There will be one lucky recipient of this amazing prize, so don’t miss your chance to win. Our grand prize winner will be announced on July 10, 2023. [Enter here now](https://go.artistworks.com/2023-bluegrass-live-lesson) and instantly receive access to free sample video lessons while you wait. One lucky grand prize winner will receive: One FREE 60-minute virtual lesson with the ArtistWorks bluegrass artist of their choice. Three runner-ups will each receive: A FREE 12-month subscription to the ArtistWorks bluegrass course of their choice. Don’t miss out on your chance to win. Hurry, the giveaway contest ends on July 7, 2023, at 12:00 pm PT! Click [here](https://go.artistworks.com/2023-bluegrass-live-lesson) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Flatpicking Academy with Tyler Grant” is Now Open!](https://blog.artistworks.com/flatpicking-academy-tyler-grant-now-open) [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) [Mandolin Lesson: Improvising Over the “Janice” Chord Changes with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-improvising-janice) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Flatpick Guitar Lesson: Modified Crosspicking Patterns](https://blog.artistworks.com/flatpick-guitar-lesson-modified-crosspicking/) **Published:** June 2, 2023 **Author:** ArtistWorks **Excerpt:**

Crosspicking is one of the most critical techniques used in flatpick and bluegrass guitar playing. It is essential to the bluegrass aesthetic and is designed to make the acoustic guitar produce a sonic characteristic similar to that of a banjo roll.

**Content:** ![]() Crosspicking is one of the most critical techniques used in flatpick and bluegrass guitar playing. It is essential to the bluegrass aesthetic and is designed to make the acoustic guitar produce a sonic characteristic similar to that of a banjo roll. Like banjo rolls, there are a near-infinite number of different crosspicking patterns that you can utilize in your guitar playing. Being able to migrate fluidly between different patterns depending on the intended feeling of the song you’re performing is critical. Therefore, it’s essential to take your time and focus on executing these techniques correctly and precisely as you begin to implement different crosspicking patterns into your playing. What is crosspicking? Crosspicking is a guitar technique in which a flatpick is used to play a rolling, syncopated pattern across three strings. This rolling pattern typically outlines chord tones; however, melodic lines can also be featured. The crosspicking technique was developed to imitate the sound and aesthetic of a banjo roll, with the primary difference being that banjo rolls are fingerpicked rather than flatpicked. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Tyler Grant? Try some free online flatpick guitar lessons now!](https://go.artistworks.com/guitar-lessons-tyler-grant) In this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant), National Flatpicking Champion and ArtistWorks guitar instructor, [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), teaches the basics of crosspicking and outlines a handful of modified crosspicking patterns that you can integrate into your playing and will allow you to execute crosspicking lines that best fit each specific song you perform. “I use modifications to a more straightforward crosspicking pattern to suit the style of the specific song I’m playing in the moment,” Tyler explains. “This is particularly important when I’m analyzing how I’d like to crosspick through specific melodies.” The manner in which you approach your crosspicking technique with your picking hand is almost more important than the chord shapes or melodies you execute with your fretting hand. There are two different schools of thought with regard to picking hand technique when crosspicking. Some players alternate consistently and evenly between down and up-strokes when crosspicking, while others play two down strokes followed by an up-stroke. Both methods are correct; however, Tyler has some thoughts on which method works best for him and why. “At slower tempos, either picking hand technique is manageable for me, and might be for you as well,” explains Tyler. “I will do both from time to time, however, once things get up to performance tempo, I almost always alternate my picking.” To learn more about crosspicking and how to integrate a variety of different crosspicking patterns into your playing, dive into this [online flatpick guitar lesson](https://artistworks.com/guitar-lessons-tyler-grant) from [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant): Modified Crosspicking Patterns with Tyler Grant: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [flatpick guitar lessons online](https://artistworks.com/guitar-lessons-tyler-grant) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant), and get personal feedback on your playing. Tyler’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation, classic bluegrass tunes, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Flatpicking Academy with Tyler Grant” is Now Open!](https://blog.artistworks.com/flatpicking-academy-tyler-grant-now-open) [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [“Flatpicking Academy with Tyler Grant” is Now Open!](https://blog.artistworks.com/flatpicking-academy-tyler-grant-now-open/) **Published:** May 31, 2023 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Flatpicking Academy with Tyler Grant,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Flatpicking Academy with Tyler Grant](https://artistworks.com/guitar-lessons-tyler-grant),” is officially here! As of 9 am PT, the course is officially live and open to all students. A National Flatpicking Champion and renowned guitarist, singer, songwriter, storyteller, producer, and educator—Tyler Grant’s adventurous career has spanned the better part of thirty years, and has taken him from sideman to bandleader; and young hotshot to mentor in the Bluegrass, Americana, and Jam Band scenes. Tyler has appeared at most major US festivals and performed thousands of concerts and guitar workshops worldwide. He was an original member of the Emmitt-Nershi Band and a sideman for Abigail Washburn, April Verch, and Adrienne Young. Tyler founded the Cosmic Americana band Grant Farm® in 2010. After five albums, a collaborative release with Fruition (the celebrated Meeting On The Mountain EP), eleven episodes of the Meeting On The Mountain LIVE Broadcast®, and hundreds of concerts and festival sets around the US, the band called an indefinite hiatus, seeking new directions during the “Great Pause” of 2020. Tyler has produced six solo albums to date, and released six albums by Grant Farm for his own Grant Central Records. Through his [online bluegrass guitar lessons](https://artistworks.com/guitar-lessons-tyler-grant) here at ArtistWorks, you’ll learn the ins and outs of Tyler’s distinct approach to flatpicking and acoustic guitar playing and the intricate methods that define his one-of-a-kind sound and style. In addition to his expertise as a performer, Tyler is also a committed educator with years of experience teaching bluegrass guitar as both a live clinician and online. Tyler has drawn from his extensive knowledge as both a professional guitarist and music instructor to create a comprehensive course of [bluegrass guitar lessons online](https://artistworks.com/guitar-lessons-tyler-grant) designed to teach players of all levels how to flatpick and play guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Tyler and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Tyler at every step of your musical journey. [SIGN UP NOW](https://artistworks.com/guitar-lessons-tyler-grant) to gain access to Tyler’s library of [bluegrass and flatpick guitar lessons](https://artistworks.com/guitar-lessons-tyler-grant), as well as our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform. Tyler reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Acoustic Fingerstyle Guitar Lesson: Alternating Bass Using The Thumb](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-alternating-bass/) **Published:** May 25, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most beautiful features of the guitar is its expansive harmonic range. Guitarists have access to notes ranging from a low E (or lower depending on the guitar’s tuning), all the way up to a high C more than three octaves above, in most cases.

**Content:** ![]() One of the most beautiful features of the guitar is its expansive harmonic range. Guitarists have access to notes ranging from a low E (or lower depending on the guitar’s tuning), all the way up to a high C more than three octaves above, in most cases. As a result of the guitar’s expansive harmonic range, guitarists are able to perform parts and pieces that utilize notes from baritone all the way up to soprano registers. The notes within these different registers have vastly different characteristics and functions, however, and it’s important for guitarists to understand that and carefully employ each note with that in mind. In this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee), world-renowned acoustic guitar virtuoso and ArtistWorks fingerstyle guitar instructor, [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), teaches how to implement alternating bass patterns into your fingerstyle guitar playing. In addition to outlining the technical requirements needed to integrate alternating bass lines into your playing, Andy also illustrates the function of alternating bass in a musical context. LEARN MORE: [Want to learn how to play acoustic fingerstyle guitar from a master musician like Andy McKee? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-andy-mckee) “Alternating bass is a pretty big part of traditional fingerstyle guitar playing,” Andy explains. “It’s a great way to get the feel of rhythm in your right hand. You end up using your thumb to keep time, and it ends up acting like a bit of a metronome.” When you’re first beginning to integrate your thumb into your fingerpicking techniques, it will likely feel a bit awkward and maybe even uncomfortable. Your thumb will likely feel a bit stiff and rigid, and alternating evenly and seamlessly across the strings may be a bit difficult. That being said, as you continue to practice, your thumb and picking hand will naturally become increasingly relaxed, muscle memory will take over, and you’ll be playing clean alternating bass lines in no time. “These techniques are just an introduction so that you can start to get a feel for using your thumb,” explains Andy. “However, as we progress in the curriculum and you continue to grow your skills, we’ll begin using these techniques with more complex fingerpicking methods that sound amazing and are a lot of fun.” To learn more about alternating bass and integrating the thumb into your fingerpicking technique, dive into this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee) from [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee): Alternating Bass Using The Thumb with Andy McKee: LEARN MORE: Have you always wanted to learn how to play acoustic fingerstyle guitar? Through our comprehensive [acoustic guitar lessons online](https://artistworks.com/guitar-lessons-andy-mckee) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, including two-hand tapping, slap harmonics, and percussion on the guitar body. Plus, you’ll learn many of Andy’s unique original compositions and imaginative covers. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Acoustic Fingerstyle Guitar Lesson: Linear Tapping with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-linear-tapping) [Guitar Lesson: Opening Up the Neck Using Triads with Guthrie Trapp](https://blog.artistworks.com/guitar-lesson-triads-guthrie-trapp) [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Guitar --- ### [Guitar Lesson: Opening Up the Neck Using Triads](https://blog.artistworks.com/guitar-lesson-triads-guthrie-trapp/) **Published:** May 18, 2023 **Author:** ArtistWorks **Excerpt:**

When learning music, it’s often the case that unpacking and understanding a seemingly small and simple concept can lead to enormous breakthroughs that have an immeasurable impact on your playing, knowledge of music theory, and musicianship. In traditional Western music, one of the most basic harmonic concepts is that of the triad.

**Content:** ![]() When learning music, it’s often the case that unpacking and understanding a seemingly small and simple concept can lead to enormous breakthroughs that have an immeasurable impact on your playing, knowledge of music theory, and musicianship. In traditional Western music, one of the most basic harmonic concepts is that of the triad. What is a Triad? A triad is any three-note chord and is almost always comprised of a root note, the third scale degree above that (either major or minor), and the fifth scale degree above the root. Understanding how these simple three-note harmonies are constructed and how to build both major and minor triads will vastly improve your understanding of music theory and, in turn, your knowledge of and abilities on your instrument. In this [online guitar lesson](https://artistworks.com/guitar-lessons), ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), teaches how to craft both major and minor triads across the guitar’s fretboard. By illustrating how these harmonies are constructed, Guthrie not only clearly shows how major and minor triads are related, improving your understanding of music theory, but also outlines critical triad fingerings and chord shapes that can be transposed across the guitar neck and used to create chords in any key. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) “Mapping out the fingerboard with chords and triads has been one of the most helpful things I’ve ever done for my playing,” Guthrie explains. “Once you understand how these chords and harmonies are built, and practice them over and over, they become second nature and give you the freedom to play without thinking. They’re an important fundamental you can always lean on.” The techniques that Guthrie outlines in this lesson will also greatly improve your ability to craft smaller chord voicings that may better fit the aesthetic of the musical context in which you’re playing. These methods will help you branch out from open position chords, or “cowboy chords,” as they’re often called, and begin crafting chords that transition better from one another and maybe feature more tasteful voice-leading. “Understanding these concepts relates directly to your ability to play any kind of blistering lead guitar or solos that you may want to be able to play,” explains Guthrie. “By understanding these concepts, you’ll better understand the foundation of why certain notes sound better over certain chords, and it will help you branch out beyond the major and minor pentatonic boxes.” To learn how to use simple music theory concepts to craft triads across the neck that will vastly expand your understanding of the fretboard, dive into this [online guitar lesson](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) from [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Opening Up the Neck Using Triads with Guthrie Trapp: [GUTHRIE’S ARTISTWORKS COURSE](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! [GUTHRIE’S TRUEFIRE COURSES](https://truefire.com/educators/guthrie-trapp/e4680): Guthrie also has two brand new courses that are now available for pre-order at our sister company, [TrueFire](https://truefire.com/): [“Roots Recharge: A Genre-Bending Masterclass in Artistic Soloing”](https://truefire.com/guthrie-trapp-guitar-lessons/roots-recharge/c1965) [“In The Jam with Guthrie Trapp”](https://truefire.com/in-the-jam/guthrie-trapp/j165) These courses are both great supplements to his curriculum at ArtistWorks. Click the links above to learn more and pre-order today! READ MORE: [The Top 4 Techniques for Country Guitar Soloing with Guthrie Trapp](https://blog.artistworks.com/top-4-techniques-country-guitar-soloing) [Blues & Americana Guitar Lesson: Small Chords & Double Stops with Keb’ Mo’](https://blog.artistworks.com/americana-guitar-lesson-small-chords-keb-mo) [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Slap Bass Lesson: An Introduction to Popping](https://blog.artistworks.com/slap-bass-lesson-popping-stu-hamm/) **Published:** May 11, 2023 **Author:** ArtistWorks **Excerpt:**

Since its inception in the 1970s, slap bass and its signature sound have become essential to the aesthetic of a variety of genres ranging from rock to funk, jazz, R&B, country, soul, and more.

**Content:** ![]() Since its inception in the 1970s, slap bass and its signature sound have become essential to the aesthetic of a variety of genres ranging from rock to funk, jazz, R&B, country, soul, and more. A Brief History of Slap Bass: The invention of slapping techniques on the electric bass is originally credited to Larry Graham, most notably known as the bassist of funk and soul groups Sly and the Family Stone and Graham Central Station. Larry is said to have pioneered this technique to fill the role and sonic space of a drummer during a time when he was playing in a drummer-less band. The slap of the thumb was said to exist in place of the bass drum while the pop of the index or middle fingers replaced the snare drum. What is Slap Bass? Traditional slap bass playing couples a percussive thumb-slapping technique of the lower strings with an aggressive finger-snap of the higher strings, often in rhythmic alternation. This combination of slapping and popping creates a thick, low-end thump and a percussive high-end attack resulting in an unmistakably unique harmonic and rhythmic musical foundation. In this [online bass guitar lesson](https://www.artistworks.com/bass-lessons), world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), outlines his approach to integrating the index and middle fingers into his slap bass playing to create the iconic popping sound we all know and love. LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) “Slapping and popping should both be really easy motions,” Stu explains. “These techniques don’t require overly exaggerated physical movements. And, when you start increasing your speed and playing more quickly, you’ll want these motions to be as streamlined as possible.” In addition to detailing the limited and relaxed motion that should be employed when slapping, Stu also illustrates how your index and middle fingers should be making contact with the strings, how to pop the high D and G strings without injuring yourself, where to attack the strings with your plucking hand as a whole when slapping, and how your bass should be set up to best facilitate slapping. “I set my basses up so that the strings are exactly the right height off the body of the bass between the pickup and the fretboard,” explains Stu. “I need just enough room to be able to get my index and middle fingers underneath the strings to pop them.” To learn more about slap bass and how to begin integrating the index and middle fingers into your popping technique, dive into this [online bass guitar lesson](https://www.artistworks.com/bass-lessons) from [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm): An Introduction to Popping with Stu Hamm: LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://www.artistworks.com/bass-lessons) and [Video Exchange Learning](https://www.artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Electric Bass Lesson: Creating Harmonic Chords with Stu Hamm](https://blog.artistworks.com/electric-bass-lesson-harmonic-chords) [Bass Guitar Lesson: An Introduction to 5-String Bass with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-5-string-bass) [Electric Bass Lesson: Arpeggios for Common Chords Found in Jazz with John Patitucci](https://blog.artistworks.com/electric-bass-lesson-arpeggios-jazz) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [The Virtual Guitar Roundtable with Jared James Nichols, Guthrie Trapp, & Richie Faulkner](https://blog.artistworks.com/virtual-guitar-roundtable-may-2023/) **Published:** May 9, 2023 **Author:** ArtistWorks **Excerpt:**

On Saturday, May 13, 2023, at 4:00 pm PT, ArtistWorks and TrueFire will be hosting a free virtual live-streamed event featuring ArtistWorks guitar instructors Jared James Nichols and Guthrie Trapp. These two guitar virtuosos will also be joined by a very special guest, Richie Faulkner of Judas Priest.

**Content:** ![]() On Saturday, May 13, 2023, at 4:00 pm PT, ArtistWorks and [TrueFire](https://truefire.com/) will be hosting a free virtual live-streamed event featuring ArtistWorks guitar instructors [Jared James Nichols](https://www.artistworks.com/guitar-lessons-jared-james-nichols) and [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp). These two guitar virtuosos will also be joined by a very special guest, Richie Faulkner of Judas Priest. Together, these three master musicians will be discussing all things music, sharing exclusive performances, and answering viewer questions in real time. So, if there’s a question that you’ve been dying to ask any of these truly amazing musicians, now’s the perfect time to get it answered! [SIGN UP HERE](https://hubs.la/Q01Pc4w40) to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks guitar course of your choice! ABOUT THE LIVE-STREAM EVENT: [The Virtual Guitar Roundtable](https://hubs.la/Q01Pc4w40) promises an exciting and engaging experience for guitar players and music lovers alike. The event will feature: [Live performances](https://hubs.la/Q01Pc4w40): Witness breathtaking guitar mastery as each artist showcases their unique skills and signature styles in individual performances. [In-depth discussions](https://hubs.la/Q01Pc4w40): Learn from the pros as they delve into the secrets of their guitar techniques, share stories from their careers, and discuss the future of guitar playing. [Q&A sessions](https://hubs.la/Q01Pc4w40): Have a burning question for one of the artists? This is your chance to get answers straight from the source during interactive Q&A sessions. [Giveaway Prizes](https://hubs.la/Q01Pc4w40): Sign up to RSVP for the event, receive FREE sample guitar lessons, and enter for your chance to WIN a 12-month subscription to the ArtistWorks guitar course of your choice! Now, let’s get acquainted with our star-studded lineup: [Jared James Nichols](https://www.artistworks.com/guitar-lessons-jared-james-nichols): Hailing from Wisconsin, Jared James Nichols is a powerful blues-rock guitarist known for his raw, emotive playing style. With his signature “Blue Power” technique, Nichols has captivated audiences worldwide and shared the stage with legends such as ZZ Top, Buddy Guy, and Lynyrd Skynyrd. [Guthrie Trapp](https://www.artistworks.com/electric-country-guitar-lessons-guthrie-trapp): A Nashville-based session guitarist and recording artist, Guthrie Trapp has played with some of the biggest names in the music industry. Trapp’s versatile and tasteful playing has graced the recordings of artists like Vince Gill, John Oates, and Alison Krauss. As an educator, he’s dedicated to sharing his wealth of knowledge and passion for the guitar with students across the globe. Richie Faulkner: As the lead guitarist of the iconic metal band Judas Priest, Richie Faulkner has made his mark with his virtuosic playing and electrifying stage presence. With influences ranging from classic rock to heavy metal, Faulkner’s guitar wizardry continues to inspire and captivate fans around the world. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jared James Nichols Releases New Self-Titled Album](https://blog.artistworks.com/jared-james-nichols-new-self-titled-album) [The Top 4 Techniques for Country Guitar Soloing](https://blog.artistworks.com/top-4-techniques-country-guitar-soloing) [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Bonus Content - A Talk with Jack Tuttle](https://blog.artistworks.com/new-bonus-content-talk-jack-tuttle/) **Published:** May 8, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a 6 part interview featuring a familiar face, Jack Tuttle. As Brittany and Jack dive into a deep discussion on everything Fiddle and Bluegrass music, we hear more about what got them playing music, techniques and discoveries through their musical journey, and much much more. You can find it under Bonus Content as “A Talk with Jack Tuttle”, or CLICK HERE to go to the first part. Enjoy!

**Content:** ![]() We’re excited to announce a 6 part interview featuring a familiar face, Jack Tuttle. As Brittany and Jack dive into a deep discussion on everything Fiddle and Bluegrass music, we hear more about what got them playing music, techniques and discoveries through their musical journey, and much much more. You can find it under Bonus Content as “A Talk with Jack Tuttle”, or [CLICK HERE](https://my.artistworks.com/brittany-haas/learning/209043) to go to the first part. Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mighty Poplar: Debut Self-Titled Album + May 2023 Tour](https://blog.artistworks.com/mighty-poplar-debut-album-2023-tour/) **Published:** May 4, 2023 **Author:** ArtistWorks **Excerpt:**

On February 1 of this year, ArtistWorks’ own Noam Pikelny and Chris Eldridge announced the formation of their brand new band and bluegrass supergroup, Mighty Poplar. Included in the group alongside the two Punch Brothers co-founders are Alex Hargreaves on fiddle (most notably known for his work with Billy Strings), Andrew Marlin of Watchhouse on vocals, mandolin, and guitar, and bassist Greg Garrison of Leftover Salmon.

**Content:** ![]() On February 1 of this year, ArtistWorks’ own [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) and [Chris Eldridge](https://www.artistworks.com/guitar-lessons-chris-eldridge) announced the formation of their brand new band and bluegrass supergroup, [Mighty Poplar](https://www.mightypoplar.com/). Included in the group alongside the two Punch Brothers co-founders are Alex Hargreaves on fiddle (most notably known for his work with Billy Strings), Andrew Marlin of Watchhouse on vocals, mandolin, and guitar, and bassist Greg Garrison of Leftover Salmon. All five of these all-star musicians are revered as some of the most talented players of their generation and are praised for their efforts and achievements in pushing American acoustic music in progressive directions. However, a deep love of traditional bluegrass has remained steadfast in the hearts of all five of these amazing musicians, which is what led to the formation of [Mighty Poplar](https://www.mightypoplar.com/). FREE LESSONS: [Want to learn how to play bluegrass banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) Joined by the desire to create a more traditional-style bluegrass record, the members of Mighty Poplar connected with Sean Sullivan at the Tractor Shed studio just outside of Nashville, TN to record their debut record. Unlike most modern, high-fidelity bluegrass albums, Mighty Poplar chose to capture the album’s performances using the same old-school recording techniques of the classic bluegrass albums they so deeply cherish. With each band member sitting knee-to-knee in the same room, Mighty Poplar captured 10 stellar performances that can only be described as, “lightning in a bottle.” Released on March 31, 2023, Mighty Poplar’s self-titled debut album was presented to the world, is currently streaming on all popular platforms, and is available for purchase on vinyl, CD, or digital download [here](https://mightypoplar.bandcamp.com/album/mighty-poplar). “At its heart, bluegrass music is about what happens when you commit to the moment,” the band expresses on their Bandcamp page. “This spirit of spontaneity is ever-present on Mighty Poplar. Across 10 songs that include bluegrass and folk classics and deep cuts from the Carter Family to Leonard Cohen, the fivesome captures the fierce and playful energy of a late-night jam between old friends.” FREE LESSONS: [Want to learn how to play from a bluegrass guitar master like Chris Eldridge? Try some free online guitar lessons here!](https://go.artistworks.com/guitar-lessons-chris-eldridge) Mighty Poplar will be taking their act on the road for the first time beginning this month on the West Coast, and will be performing in the following cities: 5/8/2023 — Boulder, CO at The Fox Theater 5/9/2023 — Fort Collins, CO at Washington’s 5/10/2023 — Denver, CO at Globe Hall 5/12/2023 — Phoenix, AZ at MIM Music Theater 5/13/2023 — Aztec, NM at Tico Time Bluegrass Festival 5/15/2023 — Pioneer Town, CA at Pappy & Harriet’s 5/16/2023 — Solana Beach, CA at Belly Up Tavern 5/17/2023 — Santa Barbara, CA at Lobero Theater 5/18/2023 — Los Angeles, CA at Pico Union Project 5/20/2023 — Felton, CA at Felton Music Hall 5/21/2023 — Grass Valley, CA at The Center for the Arts 5/22/2023 — Berkeley, CA at Freight & Salvage 5/23/2023 — Seattle, WA at Neptune Theatre 5/25/2023 — Portland, OR at Alladin Theater They will be continuing their tour this fall through the Midwest and East Coast to perform in the following cities: 9/13/2023 — Chicago, IL at Old School Town of Folk Music 9/14/2023 — Ann Arbor, MI at The Ark 9/15/2023 — Kent, OH at The Kent Stage 9/16/2023 — Buffalo, NY at Borderland Festival 9/17/2023 — Nelsonville, OH at Stuart’s Opera House 9/19/2023 — Asheville, NC at The Grey Eagle 9/20/2023 — Nashville, TN at Americana Fest (at the Station Inn) 9/22/2023 — New York, NY at Music Hall of Williamsburg 9/23/2023 — Woodstock, NY at Levon Helm Studios 9/24/2023 — North Adams, MA at Freshgrass Festival 9/25/2023 — Boston, MA at The Sinclair 9/27/2023 — Philadelphia, PA at Ardmore Music Hall 9/28/2023 — Washington, DC at The Hamilton 9/29/2023 — Raleigh, NC at IMBA (Red Hat Amphitheater) To purchase tickets to any of the above shows, head to Mighty Poplar’s website [here](https://www.mightypoplar.com/). LEARN MORE: Have you always wanted to learn how to play bluegrass guitar or banjo? Through our comprehensive [online music lessons](https://www.artistworks.com/all-courses) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from many of the most renowned players in bluegrass, like [Noam Pikelny](https://www.artistworks.com/banjo-lessons-noam-pikelny) and [Chris Eldridge](https://www.artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Both Noam’s and Chris’ courses start with the basics and teach everything from beginner guitar and banjo to advanced performance techniques, improvisation methods, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) [Banjo Lesson: An Introduction to Melodic Style with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style) [Bluegrass Guitar Lesson: Relating Chords & Scales with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Piano Lesson: The ii-V-I Progression](https://blog.artistworks.com/jazz-piano-lesson-ii-v-i-progression/) **Published:** May 3, 2023 **Author:** ArtistWorks **Excerpt:**

The single most common chord progression found in jazz music is the ii-V-I. In fact, entire jazz compositions are crafted around this seemingly simple, yet harmonically rich and attention-grabbing progression. One such example is the Miles Davis classic, “Tune Up,” which almost exclusively features a series of cascading ii-V-I chord progressions rotating through various key centers.

**Content:** ![]() The single most common chord progression found in jazz music is the ii-V-I. In fact, entire jazz compositions are crafted around this seemingly simple, yet harmonically rich and attention-grabbing progression. One such example is the Miles Davis classic, “Tune Up,” which almost exclusively features a series of cascading ii-V-I chord progressions rotating through various key centers. Considering that the ii-V-I is the most common chord progression in the genre, it’s important for jazz musicians of all instruments and levels to analyze this progression intimately, unpack its nuances, understand its applications, and be able to implement it into their playing and vocabulary. In this [online jazz piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist, recording artist, producer, and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), explains the concept of the ii-V-I, details how the progression is constructed, dissects its theoretical applications, and illustrates how it’s used in the context of Miles Davis’ “Tune Up.” LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) “The ii-V-I is the most important sequence of chords in jazz, and, to be honest, has been the most important chord progression for centuries,” George explains. “I’ve always thought that there’s some sort of universal human instinct to want to hear the progression from the ii to the V chord, almost like moving from a sad sound to a hopeful sound, and then from the V to the I chord as a final happy resolution.” What is a ii-V-I Chord Progression? A ii-V-I is progression comprised of a series of three chords. The first chord is a minor triad (although often times a minor seventh chord) whose root note is the second scale degree of the key center in which you’re playing. The second chord is a major triad (although often a dominant seventh chord) whose root note is the fifth scale degree of the key center in which you’re playing. The final chord onto which the progression resolves is a major triad (although typically a major seventh chord in most jazz contexts) whose root note is the tonic, or first scale degree, of the key center in which you’re playing. “The strongest tonal resolution that you can get is a note packed with tension resolving a half-step down to a chord tone of the next harmony,” explains George. “The beauty of the ii-V-I cadence is that it’s packed with these half-step resolutions. It’s part of why the progression is so pleasing to the ear and why jazz music employs these harmonies so frequently.” To learn more about the ii-V-I chord progression, its significance in jazz music, and how to begin navigating it when comping and improvising, dive into this [online piano lesson](https://artistworks.com/piano-lessons) from [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): The ii-V-I Progression with George Whitty: While this lesson is extremely content-rich, this is only the first of a vast series of lessons from George on the ii-V-I chord progression. To access more of these lessons and dive into the intricacies and nuances of this critical progression further, sign up for George’s online jazz piano course [here](https://artistworks.com/jazz-piano-lessons-george-whitty). LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive [piano lessons online](https://artistworks.com/piano-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), and get personal feedback on your playing. George’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: Learn How to Play “Tune Up” with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-learn-how-play-tune-up-george-whitty) [Jazz Piano Lesson: An Intro to Improv Using the Pentatonic Scale with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-pentatonic-scale) [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Bluegrass Guitar Lesson: Relating Chords & Scales](https://blog.artistworks.com/bluegrass-guitar-lesson-relating-chords-scales/) **Published:** April 27, 2023 **Author:** ArtistWorks **Excerpt:**

Music theory establishes the backbone of everything that we play on our instruments as musicians. And, while parsing through complex music theory concepts can sometimes feel tedious or maybe overwhelming, the key is to break down one simpler topic at a time and apply it on our instrument. One such concept is the relationship between the major scale and the quality of the chord associated with each note in the major scale. Understanding how the major scale and these major and minor chord qualities relate will help take both your improvisation and rhythm guitar playing to the next level.

**Content:** ![]() Music theory establishes the backbone of everything that we play on our instruments as musicians. And, while parsing through complex music theory concepts can sometimes feel tedious or maybe overwhelming, the key is to break down one simpler topic at a time and apply it on our instrument. One such concept is the relationship between the major scale and the quality of the chord associated with each note in the major scale. Understanding how the major scale and these major and minor chord qualities relate will help take both your improvisation and rhythm guitar playing to the next level. In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), outlines the quality of each chord associated with all seven degrees of the major scale. Using the key of G major as an example, Bryan explains why understanding the quality of the chord associated with each scale degree is important, and how you can use that knowledge to improve and expand your rhythm guitar playing and improvisation. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “When we’re in a key center, the major scale of that key center becomes the primary informant of most everything I’m ever going to need in the context of most bluegrass tunes,” Bryan explains. “That’s the reason understanding this concept is so important and impacts so many facets of our playing.” By understanding the quality of the chord associated with each degree of the major scale, you’ll be able to craft unique harmonies and more fluidly build chords in the context of a song when supporting other players as a rhythm guitarist. Additionally, you’ll be able to better create improvised lines that directly correlate with the harmony of any given tune when soloing. “In simplified terms, the overall concept is this: every note, or degree, of the major scale of any given key center can represent a chord,” explains Bryan. “Exploring and experimenting with this concept is really useful in creating a little bit more musical depth in your playing.” To learn more about the relationship between chord qualities and scales, and how these relationships can be applied in your rhythm guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): Relating Chords & Scales with Bryan Sutton: LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: An Introduction to Crosspicking with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-crosspicking) [Pre-Sale VIP Memberships for “Flatpicking Academy with Tyler Grant” Now Available!](https://blog.artistworks.com/pre-sale-flatpicking-academy-tyler-grant) [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues & Americana Guitar Lesson: Small Chords & Double Stops with Keb’ Mo’](https://blog.artistworks.com/americana-guitar-lesson-small-chords-keb-mo/) **Published:** April 15, 2023 **Author:** ArtistWorks **Excerpt:**

When first learning to play guitar, most students begin by focusing on full, open-position chords, sometimes referred to as “cowboy chords.” From there, tackling barre chords and learning comprehensive, multi-octave harmonic voicings is next. However, in many styles of music and guitar playing, the use of larger multi-octave chord voicings and barre chords is not always necessary or even encouraged. In Americana and blues guitar styles, for example, smaller two, three, and four-note chords are frequently used and are critical to the aesthetic of the genre and style.

**Content:** ![]() When first learning to play guitar, most students begin by focusing on full, open-position chords, sometimes referred to as “cowboy chords.” From there, tackling barre chords and learning comprehensive, multi-octave harmonic voicings is next. However, in many styles of music and guitar playing, the use of larger multi-octave chord voicings and barre chords is not always necessary or even encouraged. In Americana and blues guitar styles, for example, smaller two, three, and four-note chords are frequently used and are critical to the aesthetic of the genre and style. In this online guitar lesson from [Keb’ Mo’](https://artistworks.com/guitar-lessons-keb-mo)s brand new [Americana Roots](https://artistworks.com/guitar-lessons-keb-mo) interactive video masterclass, Keb’ explains why the use of double stops and smaller chord voicings are essential to the Americana and blues styles and outlines a few of his favorite voicings and chord shapes so that you can quickly begin implementing them into your playing. He also performs his iconic song, “Just Like You,” and uses the piece as an example of how he uses smaller chord voicings in the context of one of his original songs. LEARN MORE: [Want to learn how to play the acoustic & electric guitar from a master musician like Keb’ Mo’? Try some free online Americana & blues guitar lessons now!](https://go.artistworks.com/guitar-lessons-keb-mo) “To start getting comfortable with the idea of playing smaller chords, take a chord progression you already know and play only a few of the notes from each of the chords’ original voicings,” Keb’ explains. “Take your thumb and index fingers on your picking hand, select two of the notes that you like from each original chord, and just play those.” What is a double stop? A double stop is an informal term for a dyad, meaning two notes that are played at the same time. Double stops are commonly used across a variety of stringed instruments, including guitar, violin, cello, mandolin, and more. In the context of guitar performance, Double stops are frequently used in rhythm playing to add texture to chord progressions or as transitions between chords. “It takes a little bit of getting used to, but, with some practice, these smaller chord voicings will begin feeling like second nature,” explains Keb’. “And, over time, you’ll discover which voicings you like best and begin using them in other songs in your repertoire.” To learn more about how Keb’ utilizes small chords and double stops in his original compositions and how to apply them in your own playing, dive into this [online blues & Americana guitar lesson](https://artistworks.com/guitar-lessons-keb-mo) from [Keb’ Mo’](https://artistworks.com/guitar-lessons-keb-mo): Small Chords & Double Stops with Keb’ Mo’: ABOUT “KEB’ MO’ AMERICANA ROOTS: INTERACTIVE VIDEO MASTERCLASS SERIES:” Presented across 3 standalone editions, Keb’s Masterclass Series features 10+ hours of detailed video lessons, 29 song performances, and a wealth of creative insight from “one of the most important and influential musicians of our time.” Keb’ uses his songs as the framework for this series—providing the perfect framework through which to learn the true feel of his guitar playing, songwriting, and creative process. Individual Editions and the 3 Edition Collection are available now! Americana Roots: Series Secure lifetime access to the entire three-volume guitar course taught by legendary blues master, Keb’ Mo’! Americana Roots: Origins 64 multi-angle video lessons & 10 song performances from Keb’ Mo’s first two albums: Keb’ Mo’ & Just Like You. Americana Roots: Progression 54 multi-angle video lessons & 9 song performances from Keb’s The Door, Big Wide Grin, & Suitcase albums. Americana Roots: Evolution 55 video lessons & 10 performances from Keb’s The Reflection, BLUESAmericana, Oklahoma, & Good To Be albums. READ MORE: [“Americana Roots with Keb’ Mo’” is Now Open!](https://blog.artistworks.com/americana-roots-keb-mo-now-open) [Blues & Americana Guitar Lesson: Keb’ Mo’s Approach to Fingerpicking](https://blog.artistworks.com/americana-guitar-lesson-keb-mo-fingerpicking) [New Course: Announcing “Flatpicking Academy with Tyler Grant”](https://blog.artistworks.com/announcing-flatpicking-academy-tyler-grant) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing “Flatpicking Academy with Tyler Grant”](https://blog.artistworks.com/announcing-flatpicking-academy-tyler-grant/) **Published:** April 11, 2023 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in May 2023, “Flatpicking Academy with Tyler Grant.”

**Content:** ![]() We are excited to announce our newest course coming in May 2023, “[Flatpicking Academy with Tyler Grant](https://go.artistworks.com/guitar-lessons-tyler-grant).” A National Flatpicking Champion and renowned guitarist, singer, songwriter, storyteller, producer, and educator—Tyler Grant’s adventurous career has spanned the better part of thirty years, and has taken him from sideman to bandleader; and young hotshot to mentor in the Bluegrass, Americana, and Jam Band scenes. Tyler has appeared at most major US festivals and performed thousands of concerts and guitar workshops worldwide. He was an original member of the Emmitt-Nershi Band and a sideman for Abigail Washburn, April Verch, and Adrienne Young. Tyler founded the Cosmic Americana band Grant Farm® in 2010. After five albums, a collaborative release with Fruition (the celebrated Meeting On The Mountain EP), eleven episodes of the Meeting On The Mountain LIVE Broadcast®, and hundreds of concerts and festival sets around the US, the band called an indefinite hiatus, seeking new directions during the “Great Pause” of 2020. Tyler has produced six solo albums to date, and released six albums by Grant Farm for his own Grant Central Records. Through his online bluegrass guitar lessons here at ArtistWorks, you’ll learn the ins and outs of Tyler’s distinct approach to flatpicking and acoustic guitar playing, and the intricate methods that define his one-of-a-kind sound and style. In addition to his expertise as a performer, Tyler is also a committed educator with years of experience teaching bluegrass guitar as both a live clinician and online. Tyler has drawn from his extensive knowledge as both a professional guitarist and music instructor to create a comprehensive course of bluegrass guitar lessons online designed to teach players of all levels how to flatpick and play guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Tyler and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Tyler at every step of your musical journey. [Sign up now](https://go.artistworks.com/guitar-lessons-tyler-grant) for news updates from Tyler and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Americana Roots with Keb’ Mo’” is Now Open!](https://blog.artistworks.com/americana-roots-keb-mo-now-open) [Bluegrass Guitar Lesson: Playing in Open D](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) [Bluegrass Guitar Lesson: An Introduction to Crosspicking](https://blog.artistworks.com/bluegrass-guitar-lesson-crosspicking) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Just Added!](https://blog.artistworks.com/new-lessons-just-added-1/) **Published:** April 7, 2023 **Author:** ArtistWorks **Excerpt:**

“Salt Creek” has been updated and two new lessons have just been added! An advanced version of a very popular tune “Salt Creek”, and “Pity the Poor Pinky” to strengthen the pinky! Happy Fiddling!

**Content:** ![]() [“Salt Creek”](https://my.artistworks.com/darol-anger/learning/26187) has been updated and two new lessons have just been added! An [advanced version](https://my.artistworks.com/darol-anger/learning/208036) of a very popular tune “Salt Creek”, and [“Pity the Poor Pinky”](https://my.artistworks.com/darol-anger/learning/208034) to strengthen the pinky! Happy Fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Just Added!](https://blog.artistworks.com/new-lessons-just-added-0/) **Published:** April 7, 2023 **Author:** ArtistWorks **Excerpt:**

A new collection of lessons has just been added to Tony Trischka’s school! In these new lessons, Tony teaches a few new tunes, and dives into interesting topics on composing music! You can find these new lessons at the top of each department Beginner through Advanced. Or click through this lesson list! Enjoy!

"Jesse James" - Eric Weissberg

"Raise a Ruckus" - Eric Weissberg

**Content:** ![]() A new collection of lessons has just been added to Tony Trischka’s school! In these new lessons, Tony teaches a few new tunes, and dives into interesting topics on composing music! You can find these new lessons at the top of each department Beginner through Advanced. Or click through this lesson list! Enjoy! [“Jesse James” – Eric Weissberg](https://my.artistworks.com/tony-trischka/learning/206657) [“Raise a Ruckus” – Eric Weissberg](https://my.artistworks.com/tony-trischka/learning/207712) [Travis Style – “Freight Train”](https://my.artistworks.com/tony-trischka/learning/207711) [Melodic Style – “Molly Bloom” – Alan Munde](https://my.artistworks.com/tony-trischka/learning/207710) [Sixths: “Dark Hollow” – Sammy Shelor](https://my.artistworks.com/tony-trischka/learning/207709) [Ideas for Composing on the Banjo](https://my.artistworks.com/tony-trischka/learning/207769) [Playing in the Key of E without a Capo](https://my.artistworks.com/tony-trischka/learning/207790) [Single String – “New Bedford”](https://my.artistworks.com/tony-trischka/learning/207771) [Playing in Bb without a Capo – “Sally Goodin”](https://my.artistworks.com/tony-trischka/learning/207772) [Playing in Bb without a Capo – “New Camptown Races”](https://my.artistworks.com/tony-trischka/learning/207773) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bonus Content Just Added! Hawktail Live in Berkeley California](https://blog.artistworks.com/bonus-content-just-added-hawktail-live-berkeley-california/) **Published:** April 4, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that we just added a big batch of exclusive bonus content here for you to enjoy as students of Brittany Haas at ArtistWorks. The crew went out to Berkeley in February to film live concert footage of Hawktail’s set at the beloved Freight & Salvage! Hawktail performs tunes from their three albums Place of Growth, Formations, and Unless. We’ll be adding more great exclusive new content to this new “Bonus Content” section that can be found in the LESSONS section. Check it out HERE!

**Content:** ![]() We’re excited to announce that we just added a big batch of exclusive bonus content here for you to enjoy as students of Brittany Haas at ArtistWorks. The crew went out to Berkeley in February to film live concert footage of Hawktail’s set at the beloved Freight & Salvage! Hawktail performs tunes from their three albums Place of Growth, Formations, and Unless. We’ll be adding more great exclusive new content to this new “Bonus Content” section that can be found in the LESSONS section. Check it out [HERE](https://my.artistworks.com/brittany-haas/learning/207961)! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues & Americana Guitar Lesson: Keb’ Mo’s Approach to Fingerpicking](https://blog.artistworks.com/americana-guitar-lesson-keb-mo-fingerpicking/) **Published:** March 30, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most beautiful elements of blues, country, and Americana guitar playing is the flow between acoustic and electric tonalities, gritty and clean soundscapes, slow and fast tempos, fingerstyle and flatpick techniques, and more. All of these different approaches and tonal textures are utilized throughout these iconic genres, and thus, it’s important for blues, country, and Americana guitarists to be able to execute all these various methods. An artist who consistently accomplishes this in spades is five-time Grammy Award-winning guitarist, singer, songwriter, and performer, Keb’ Mo’.

**Content:** ![]() One of the most beautiful elements of blues, country, and Americana guitar playing is the flow between acoustic and electric tonalities, gritty and clean soundscapes, slow and fast tempos, fingerstyle and flatpick techniques, and more. All of these different approaches and tonal textures are utilized throughout these iconic genres, and thus, it’s important for blues, country, and Americana guitarists to be able to execute all these various methods. An artist who consistently accomplishes this in spades is five-time Grammy Award-winning guitarist, singer, songwriter, and performer, [Keb’ Mo’](https://artistworks.com/guitar-lessons-keb-mo). In this online guitar lesson from [Keb’ Mo’](https://artistworks.com/guitar-lessons-keb-mo)s brand new [Americana Roots](https://artistworks.com/guitar-lessons-keb-mo) interactive video masterclass, Keb’ outlines his unique approach to fingerstyle guitar playing, and provides a handful of exercises to improve finger independence and dexterity. He also provides insight on ways to create your own exercises that will not only strengthen your fingerpicking but also allow you to express yourself creatively. LEARN MORE: [Want to learn how to play the acoustic & electric guitar from a master musician like Keb’ Mo’? Try some free online Americana & blues guitar lessons now!](https://go.artistworks.com/guitar-lessons-keb-mo) “To learn how to finger pick, I started by taking one chord that I knew and selecting two notes from it,” Keb’ explains. “Then, I would take my thumb and index finger on my picking hand and alternate between the two notes from the chord in different rhythmic patterns. I would then repeat the process using my thumb and middle finger, thumb and ring finger, etc.” Learning to fingerpick can feel like a tedious process when you’re first working out the technique. It’s often helpful to fingerpick different rhythmic patterns along to a metronome, first starting slowly and gradually increasing the tempo as your fingers become more dextrous and your confidence grows. That being said, there is still plenty of room for creativity and musical exploration when learning to fingerpick. This is a huge part of [Keb’Mo’](https://artistworks.com/guitar-lessons-keb-mo)s philosophy on musical education. “If you make up your own exercises when learning to fingerpick, that’s a great way to become musically unique,” Keb’ expresses. “Even though these are very technical exercises, there’s always room for bringing out your unique personality in everything musical.” To learn more about Keb’s unique approach to fingerpicking and how to apply it in your own playing, dive into this [online blues & Americana guitar lesson](https://artistworks.com/guitar-lessons-keb-mo) from [Keb’ Mo’](https://artistworks.com/guitar-lessons-keb-mo): Keb’ Mo’s Approach to Fingerpicking: ABOUT “KEB’ MO’ AMERICANA ROOTS: INTERACTIVE VIDEO MASTERCLASS SERIES:” Presented across 3 standalone editions, Keb’s Masterclass Series features 10+ hours of detailed video lessons, 29 song performances, and a wealth of creative insight from “one of the most important and influential musicians of our time.” Keb’ uses his songs as the framework for this series—providing the perfect framework through which to learn the true feel of his guitar playing, songwriting, and creative process. Individual Editions and the 3 Edition Collection are available now! Americana Roots: Series Secure lifetime access to the entire three-volume guitar course taught by legendary blues master, Keb’ Mo’! Americana Roots: Origins 64 multi-angle video lessons & 10 song performances from Keb’ Mo’s first two albums: Keb’ Mo’ & Just Like You. Americana Roots: Progression 54 multi-angle video lessons & 9 song performances from Keb’s The Door, Big Wide Grin, & Suitcase albums. Americana Roots: Evolution 55 video lessons & 10 performances from Keb’s The Reflection, BLUESAmericana, Oklahoma, & Good To Be albums. READ MORE: [“Americana Roots with Keb’ Mo’” is Now Open!](https://blog.artistworks.com/americana-roots-keb-mo-now-open) [Keb’ Mo’ Live: Meet Our Newest Instructor!](https://blog.artistworks.com/keb-mo-live) [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Darol gets an Artist-Teacher Award from American String Teachers Association](https://blog.artistworks.com/darol-gets-artist-teacher-award-american-string-teachers-association/) **Published:** March 30, 2023 **Author:** ArtistWorks **Excerpt:**

A nice thing that happened in March: I received the American String Teachers' Association Artist-Teacher Award, for services rendered over 30 years of teaching folks how to achieve their goals on bowed string instruments. ASTA is a fantastic organization and I have learned so much from the other dedicated string teachers from all over the world who convene every year. It's a great honor, and I'm grateful and it makes me want to do better.

Here are my acceptance speech notes, cleaned up slightly. I was admonshed to keep it short, but here is the speech! Guess you have to click on the title above to see it!

**Content:** ![]() A nice thing that happened in March: I received the American String Teachers’ Association Artist-Teacher Award, for services rendered over 30 years of teaching folks how to achieve their goals on bowed string instruments. ASTA is a fantastic organization and I have learned so much from the other dedicated string teachers from all over the world who convene every year. It’s a great honor, and I’m grateful and it makes me want to do better. Here are my acceptance speech notes, cleaned up slightly. I was admonshed to keep it short, but here is the speech! Guess you have to click on the title above to see it! ARTIST-TEACHER AWARD NOTES- ASTA CONFERENCE 2023 Artist-Teacher: a nice distinction, and a real honor to be acknowledged to be sharing both descriptors. This observation may be obvious, but I feel that I’m in a category of humans who found it much more challenging to be a teacher than an artist. As in the art, I had to make my own way to some extent, because of lack of a clear path, my contrariness and bull-headedness, and some bad examples early on – which did help me decide how not to be. Thanks to Bob Phillips for his surprising, steady, appreciations and advocacy. Also to my fellow Artist-Teachers who share this hallowed patch of musical ground and have given me crucial help to develop what skills I have: Matt Glaser David Baker Julie Lyonn Leiberman David Balakrishnan Renata Bratt Chris Howes Mike Marshall Miriam Rabson Rob Thomas Tracy Silverman Alasdair Fraser Their generosity boggles my mind. My inspirers are too many to name here – The few most important who come to mind are David Grisman, Tony Rice, Marsh Leicester, David Baker, Dr. Billy Taylor – but it’s important to note, I think, that so many teach by example and the lessons are thick on the ground if you can learn to find them. That’s teachable. Also important to note that some of the best lessons come from your students. And Apologies to the many, both older and younger and brilliant, who share this same role whom I haven’t named here. Thanks also to the people who have believed in me from a place of pure love: Sharon, Emy, Joe, Grant, the Haas family, and many beloved others. Previous Awardees Itzhak Perlman, 2022 Edgar Meyer, 2021 Jeffrey Irvine, 2020 Mimi Zweig, 2019 Roland and Almita Vamos, 2018 Jamie Laredo, 2017 Sylvia Rosenberg, 2016 Kim Kashkashian, 2015 Paul Kantor, 2014 Matt Glaser, 2013 Paul Rolland (posthumous), 2012 Donald Weilerstein, 2011 Hans Jorgen Jensen, 2010 William Preucil, Sr., 2009 Alice Schoenfeld, 2008 Eleonore Schoenfeld (posthumous), 2008 Lynn Harrell, 2007 Helen Kwalwasser, 2006 Lawrence Hurst, 2005 Donald McInnes, 2004 Paul Katz, 2003 Heidi Castleman, 2002 Robert Mann, 2000 Fritz Magg (posthumous), 1998 Franco Gulli, 1997 Gary Karr, 1996 George Neikrug, 1995 Karen Tuttle, 1994 Nathan Gordon, 1993 Warren Benfield, 1992 Alice Chalifoux, 1991 Jascha Brodsky, 1990 Orlando Cole, 1990 Harvey Shapiro, 1989 Janos Starker, 1988 Zara Nelsova, 1987 Jascha Heifetz (emeritus), 1986 William Lincer, 1986 Efrem Zimbalist (emeritus), 1985 Leonard Sorkin, 1985 Eudice Shapiro, 1984 Aldo Parisot, 1983 Bernard Greenhouse, 1982 Roman Totenberg, 1981 Oscar Shumsky, 1980 Lillian Fuchs, 1979 Raya Garbousova, 1978 Paul Doktor, 1977 Rafael Bronstein, 1976 Dorothy DeLay, 1975 Yehudi Menuhin, 1974 David Walter, 1973 Gabor Rejto, 1972 Joseph Fuchs, 1971 William Primrose, 1970 Gregor Piatigorsky, 1969 Joseph Gingold, 1968 Samuel Applebaum, 1967 Ivan Galamian, 1966 Pablo Casals, 1965 Hans Letz, 1964 Isaac Stern, 1963 Hans Hess, 1962 Samuel Gardner, 1961 Louis Persinger, 1960 Joesph Szigeti, 1959 ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Americana Roots with Keb’ Mo’” is Now Open!](https://blog.artistworks.com/americana-roots-keb-mo-now-open/) **Published:** March 28, 2023 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Keb’ Mo’s Americana Roots: Interactive Video Masterclass Series,” is officially here! As of 10 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Keb’ Mo’s Americana Roots: Interactive Video Masterclass Series](https://artistworks.com/guitar-lessons-keb-mo),” is officially here! As of 10 am PT, the course is officially live and open to all students. Born and raised in Compton, CA, 5-time Grammy Award-winner, Keb’ Mo’, began his remarkable musical journey at the age of 21, when he landed his first major gig playing with Jefferson Airplane violinist Papa John Creach. Over the next 20 years, Keb’ worked primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. “In this series, what I’ve done is put together a representation of all the styles that I do from acoustic fingerpicking to more hardcore electric blues that will help players move along in their musical journeys,” Keb’ explains. “This course will increase your knowledge of music, and also help you better understand what you already know.” Though he recorded a one-off album in 1980 under his birth name, Kevin Moore, it wasn’t until 1994 that he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of Keb’s modern, genre-bending take on old-school sounds, and two years later, he garnered his first GRAMMY Award for Best Contemporary Blues Album with Just Like You. “My aim is to give you tools to help you get to where you need to go musically,” explains Keb’. “There’s something here for every level of player ’cause we’re all doing the same thing. There’s a lot of commonality in music, in life, and in everything.” In the decades to come, Keb’ would take home four more GRAMMY Awards; top the Billboard Blues Chart seven times; perform everywhere from Carnegie Hall to The White House; collaborate with many including Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance. [SIGN UP NOW](https://artistworks.com/guitar-lessons-keb-mo) to access Keb’ Mo’s comprehensive library of [blues and Americana guitar lessons](https://artistworks.com/guitar-lessons-keb-mo), complete with exclusive performances, premier supplemental learning materials, and more! ABOUT “KEB’ MO’ AMERICANA ROOTS: INTERACTIVE VIDEO MASTERCLASS SERIES:” Presented across 3 standalone editions, Keb’s Masterclass Series features 10+ hours of detailed video lessons, 29 song performances, and a wealth of creative insight from “one of the most important and influential musicians of our time.” Keb’ uses his songs as the framework for this series—providing the perfect framework through which to learn the true feel of his guitar playing, songwriting, and creative process. Individual Editions and the 3 Edition Collection are available now! Americana Roots: Series Secure lifetime access to the entire three-volume guitar course taught by legendary blues master, Keb’ Mo’! Americana Roots: Origins 64 multi-angle video lessons & 10 song performances from Keb’ Mo’s first two albums: Keb’ Mo’ & Just Like You. Americana Roots: Progression 54 multi-angle video lessons & 9 song performances from Keb’s The Door, Big Wide Grin, & Suitcase albums. Americana Roots: Evolution 55 video lessons & 10 performances from Keb’s The Reflection, BLUESAmericana, Oklahoma, & Good To Be albums. READ MORE: [Keb’ Mo’ Live: Meet Our Newest Instructor!](https://blog.artistworks.com/keb-mo-live) [Slide Guitar Lesson: Choosing a Slide with Keith Wyatt](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide) [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [April 2023 VE Submission Deadline Dates](https://blog.artistworks.com/april-2023-ve-submission-deadline-dates/) **Published:** March 28, 2023 **Author:** ArtistWorks **Excerpt:**

Happy April 2023 Everyone!

Here are the next VE Submission Deadline Dates for April:

Remember to keep your submissions to no more than 5 minutes and one song.

Take care!

Hugh

**Content:** Happy April 2023 Everyone! Here are the next VE Submission Deadline Dates for April: - Sunday, April 9 - Sunday, April 30 Remember to keep your submissions to no more than 5 minutes and one song. Take care! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [April 2023 VE Submission Deadline Dates](https://blog.artistworks.com/april-2023-ve-submission-deadline-dates-0/) **Published:** March 28, 2023 **Author:** ArtistWorks **Excerpt:**

Happy April 2023 Everyone!

Here are the next VE Submission Deadline Dates for April:

Remember to keep your submissions to no more than 5 minutes and one song.

Take care!

Hugh

**Content:** Happy April 2023 Everyone! Here are the next VE Submission Deadline Dates for April: - Sunday, April 9 - Sunday, April 30 Remember to keep your submissions to no more than 5 minutes and one song. Take care! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Ukulele Lesson: An Introduction to Chord Melody](https://blog.artistworks.com/ukulele-lesson-chord-melody/) **Published:** March 22, 2023 **Author:** ArtistWorks **Excerpt:**

When performing a piece as a solo instrumentalist on the ukulele, it often creates a more captivating performance to not only showcase the song’s melody, but also support the melody with chordal harmony. The act of playing a song’s chord progression while simultaneously executing the piece’s melody is a performance technique called chord melody.

**Content:** ![]() When performing a piece as a solo instrumentalist on the ukulele, it often creates a more captivating performance to not only showcase the song’s melody, but also support the melody with chordal harmony. The act of playing a song’s chord progression while simultaneously executing the piece’s melody is a performance technique called chord melody. In this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor, [Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), introduces us to the concept of chord melody and teaches how to approach crafting an arrangement of a tune using a chord melody structure. She also presents a few techniques to help simplify the chord melody concept, which can sometimes feel daunting to players preparing to attempt it for the first time. LEARN MORE: [Want to learn how to play the ukulele from a master musician like Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) “Instead of just playing single notes, you can fill some of the space by playing the chords behind the melody line,” Sarah explains. “Often times, the key melody notes are found within the chords of the song’s progression. So, isolating those notes first is the best place from which to start.” When crafting a tune’s chord melody arrangement, it’s best to begin by first properly mapping out the piece’s chord progression and melody lines independently. From there, you’ll be able to deduce which notes of the melody are specific chord tones that connect to a common chord fingering. Then, you can begin connecting those chord tones together using the remaining notes of the tune’s melody. “The way that I tend to look at things is actually chords first versus melody first,” explains Sarah. “Then, I’ll typically expand on that to learn the chord progression of the song in a few different places up the neck. This allows me to easily identify the melodic chord tones as I start to map out the melody line.” To learn more about the chord melody approaches and how to apply them in your own playing, dive into this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah) from [Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah): An Introduction to Chord Melody with Sarah Maisel: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) 30-Day[ Ukulele Challenge: “Brown Eyed Girl” Collaboration](https://blog.artistworks.com/30-day-ukulele-challenge-brown-eyed-girl) [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mandolin Lesson: Improvising Over the "Janice" Chord Changes](https://blog.artistworks.com/mandolin-lesson-improvising-janice/) **Published:** March 16, 2023 **Author:** ArtistWorks **Excerpt:**

One of the most prolific songwriters, composers, and performers in the history of acoustic music is the great mandolinist, David “Dawg” Grisman. Combining elements of bluegrass, folk, and jazz, Grisman has crafted a unique boundary-pushing sound over his nearly 60-year career that he has dubbed, “Dawg Music.” As a band leader, Grisman has released over 50 albums to date and has collaborated with some of the biggest names in acoustic and electric folk, rock, bluegrass, and jazz music including Doc Watson, Stephane Grappelli, Tony Rice, Jerry Garcia, Martin Taylor, and many more.

**Content:** ![]() One of the most prolific songwriters, composers, and performers in the history of acoustic music is the great mandolinist, David “Dawg” Grisman. Combining elements of bluegrass, folk, and jazz, Grisman has crafted a unique boundary-pushing sound over his nearly 60-year career that he has dubbed, “Dawg Music.” As a band leader, Grisman has released over 50 albums to date and has collaborated with some of the biggest names in acoustic and electric folk, rock, bluegrass, and jazz music including Doc Watson, Stephane Grappelli, Tony Rice, Jerry Garcia, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and many more. Grisman also has a long track record of kickstarting the careers of young virtuosic musicians who have many times gone on to have amazingly prolific careers of their own. One such musician is master mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). In this [online mandolin lesson](https://artistworks.com/mandolin-lessons), world-renowned mandolinist, Grammy-nominated musician, and former member of the David Grisman Quintet, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), teaches the improvisational approaches and techniques that he employs when soloing over the chord changes of the classic David Grisman tune, “Janice.” In addition to outlining specific licks and phrases, Mike also details essential scales, modes, and music theory knowledge to provide you with an intimate understanding of not only what he’s playing but also why. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “D Major is the primary scale that we’ll be using to play over a bulk of these chords,” Mike explains. “However, when we get to the E-flat and B-flat chords, we’ll want to pivot to different scales. The scales we choose, however, will still be related to the D major key center to a degree and pull the listeners’ ears back to that home key.” In addition to teaching improvisational techniques over the “Janice” chord changes, Mike has an entire expansive collection of lessons on his ArtistWorks course specifically dedicated to teaching David Grisman tunes. These lessons cover topics ranging from melody to chord changes, to improvisation, and more, and feature exclusive videos of Mike performing David’s iconic “Dawg Music.” The lesson section is entitled “Dawg Tunes,” and can be accessed by any of Mike’s ArtistWorks online mandolin students. “When migrating between chords and scales while improvising, it’s important to highlight both the notes that the scales and chords share and those that are different,” explains Mike. “How you go about this has to be thoughtful. Essentially, you want the listener to hear how the chords relate and flow from one to the next, but you also want to make it clear in your improvised lines that the harmony is changing. It’s a delicate balance, but, with some practice, you’ll find it!” To learn more about improvising over the chord changes to the David Grisman classic, “Janice,” as well as many of Mike’s soloing techniques, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons) from [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall): Improvising Over the “Janice” Chord Changes with Mike Marshall: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Going Live: “Gator Meets The Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman) [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges) [Bluegrass Mandolin Lesson: Playing with Speed with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-speed-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Violin Lesson: How to Play Chords](https://blog.artistworks.com/violin-lesson-how-to-play-chords/) **Published:** March 8, 2023 **Author:** ArtistWorks **Excerpt:**

For many, the violin is traditionally thought of as a primarily melodic instrument, meaning that its predominant role in the context of an ensemble is to perform the main melodies of the piece rather than the supporting chordal harmony. That being said, it is certainly possible to play chords on the violin. Many professional players use a variety of different tactics to play violin chords, which produce a full, rich tonality that often stands out within a performance in an enormously pleasing way.

**Content:** ![]() For many, the violin is traditionally thought of as a primarily melodic instrument, meaning that its predominant role in the context of an ensemble is to perform the main melodies of the piece rather than the supporting chordal harmony. That being said, it is certainly possible to play chords on the violin. Many professional players use a variety of different tactics to play violin chords, which produce a full, rich tonality that often stands out within a performance in an enormously pleasing way. In this [online classical violin lesson](https://artistworks.com/violin-lessons-richard-amoroso), Philadelphia Orchestra first section violinist and ArtistWorks instructor, [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), teaches his techniques for performing two-note chords, also known as double-stops, as well as three and even four note chords on the violin. He also outlines common situations in which violin chords will be employed and provides a few helpful exercises so that you can begin incorporating these techniques into your playing. LEARN MORE: [Want to learn how to play the classical violin from a master musician like Richard Amoroso? Try some free online violin lessons now!](https://go.artistworks.com/free-online-violin-lessons-richard-amoroso) “Playing chords on the violin can often feel very difficult,” Richard explains. “The reason being is that we’re usually playing combinations of double-stops, usually in the form of three-note chords. We sometimes play four-note chords, but those often manifest as a combination of two double-stops.” After double-stops, three-note chords are typically the most common harmonies performed on the violin. Executing three-note chords can feel difficult on the violin, especially as you first dive in and begin learning the technique. Placing the bow just right across the strings can prove to be difficult, but it will quickly become second nature and the movements will be ingrained in your muscle memory. “The difficult part about playing three-note chords is finding a sweet spot where the bow can balance across three strings without squashing the strings and creating an abrasive sound,” explains Richard. “It takes a little bit of finesse, but, with some practice, you’ll be playing three-note chords in no time!” To learn more about violin chords and how to incorporate them into your playing, dive into this [online violin lesson](https://artistworks.com/violin-lessons-richard-amoroso) from [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso): How to Play Chords with Richard Amoroso: LEARN MORE: Have you always wanted to learn how to play the classical violin? Through our comprehensive [violin lessons online](https://artistworks.com/violin-lessons-richard-amoroso) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), and get personalized feedback on your playing. Richard’s course starts with the basics and teaches everything from beginner violin to advanced performance techniques, iconic classical compositions, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as violinists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Cello Lesson: Finding the Right Bow with Mike Block](https://blog.artistworks.com/cello-lesson-finding-right-bow) [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges) [Classical Violin Lesson: Dynamics & Color with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-dynamics-color) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Cello Lesson: Finding the Right Bow](https://blog.artistworks.com/cello-lesson-finding-right-bow/) **Published:** March 3, 2023 **Author:** ArtistWorks **Excerpt:**

The bow plays an enormous role in the quality of the tone one produces when playing the cello. At first glance, it might seem that every cello bow is relatively identical. However, in reality, all bows are drastically different, and each bow has its own unique strengths and weaknesses.

**Content:** ![]() The bow plays an enormous role in the quality of the tone one produces when playing the cello. At first glance, it might seem that every cello bow is relatively identical. However, in reality, all bows are drastically different, and each bow has its own unique strengths and weaknesses. In this [online cello lesson](https://artistworks.com/cello-lessons-mike-block), Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block), outlines the critical elements that one should look for when shopping for a new bow. He also provides a few strategic tips to help you organize your thoughts and opinions on each bow while navigating the shopping process so that you ultimately end up with the perfect bow for you and your cello. LEARN MORE: [Want to learn how to play the cello from a master musician like Mike Block? Try some free online cello lessons now!](https://go.artistworks.com/free-online-cello-lessons-mike-block) “Different bows have different strengths and weaknesses,” Mike explains. “Some bows have a really great staccato and just bounce really easily, for example. Other bows have a really rich sound that’s perfect for slower legato melodies. I think you’ll be very surprised by how much the bow impacts the sound of your cello.” Not only do bows each produce their own individual tone, but they also each have their own unique feel when they’re being played as well. It’s extremely important when you’re shopping for a new bow to take note of the feel of each bow. The weight of a bow, for example, will have an enormous impact on the bow’s tone and playability and will influence its strengths and weaknesses greatly. “When I got a new cello last year, it was also time for me to get a new bow,” Mike expresses. “So, I tried to get a bow that matched my cello. That’s an important thing to keep in mind. The strengths and weaknesses of your cello can hopefully be complementary to the strengths and weaknesses of your bow.” To learn more about what to look for when on the hunt for the right cello bow for you, dive into this [online cello lesson](https://artistworks.com/cello-lessons-mike-block) from [Mike Block](https://artistworks.com/cello-lessons-mike-block): Finding the Right Cello Bow with Mike Block: LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques, classic popular songs in various genres and styles, [improvisation](https://artistworks.com/music-improvisation), [music theory](https://artistworks.com/music-theory-and-musicianship), and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Block Trio Releases New Album, What Now?](https://blog.artistworks.com/mike-block-trio-new-album-what-now) [Cello Lesson: Bluegrass Bowing Techniques with Mike Block](https://blog.artistworks.com/cello-lesson-bluegrass-bowing-techniques) [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Brittany Haas: A Reflection on Her First 100 Video Exchanges](https://blog.artistworks.com/brittany-haas-first-100-video-exchanges/) **Published:** March 2, 2023 **Author:** ArtistWorks **Excerpt:**

On December 14, 2022, our latest ArtistWorks Video Exchange course, Old Time & Bluegrass Fiddle with Brittany Haas, was launched to the public.

**Content:** ![]() On December 14, 2022, our latest ArtistWorks Video Exchange course, [Old Time & Bluegrass Fiddle with Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), was launched to the public. Since its debut at the end of 2022, Brittany’s course has become extremely popular, with a highly engaged community of like-minded fiddle players from around the globe connecting and learning together. Considering Brittany is one of the premier fiddle players of her generation, a musical virtuoso who’s shared the stage with countless greats, and a co-founding member of the popular string outfit Hawktail, it’s not a wonder that her course has garnered so much interest since launching and continues to grow. We are beyond proud that Brittany is a member of our esteemed faculty of bluegrass instructors here at ArtistWorks, and are very excited to announce that, after less than 3 months since launching her course, she has already completed more than 100 Video Exchanges with her online fiddle students. Thank you, Brittany, for your continued dedication and commitment to your musical community, and thank you to all of Brittany’s wonderful fiddle students for your amazing engagement and consistently submitting videos! To celebrate this fantastic milestone, we asked Brittany to reflect on her experience teaching at ArtistWorks thus far and posed a few questions about her first 100 Video Exchanges. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Brittany Haas? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-brittany-haas) ArtistWorks: What do you enjoy most about teaching through the Video Exchange platform? Brittany Haas: The best part \[about teaching at ArtistWorks\] is hearing everyone play. \[Video Exchange offers\] a cool window into people’s musical lives, and allows me to get to see folks in their spaces playing whatever they are working on. I feel very privileged to be a part of their musical journeys. AW: Have there been any common questions that you’ve received from your students up to this point? BH: Not exactly… There have been a bunch of folks working on “Angeline the Baker” and “Soldier’s Joy.” It’s so cool to hear all the different versions. I find myself talking a lot about slurring in my response videos, which is not a topic I foresaw coming up so much. I’ve heard other teachers talk about the bow arm as a source of musical personality and I think it’s so true—bowing styles are so individual and it’s exciting to see folks at different stages along the journey of finding their right arm approach. AW: Do you have any recommendations for your current or future students on how to get the most out of their Video Exchanges? BH: I like it when folks ask specific questions. It helps me provide a direct, focused response and give as much precise, helpful guidance as possible. AW: Were there any Video Exchanges that were particularly memorable from your first 100 that you especially enjoyed responding to? BH: Every Video Exchange is memorable in its own way! It’s such a pleasure getting to know all my students through the ArtistWorks platform. Thanks again to Brittany and all of her amazing fiddle students for creating such a fantastic online learning community! We look forward to all that the next 100 Video Exchanges and beyond have in store… LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), and get personal feedback on your playing. Brittany’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation methods, classic old time and bluegrass tunes, and Brittany’s unique and critically acclaimed approach to the instrument. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddle players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Learn to Play “Whiskey Before Breakfast”](https://blog.artistworks.com/fiddle-lesson-whiskey-before-breakfast) [Fiddle Lesson: Bowing Patterns for Melodies with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Just Announced: 2 Brand New Production + Recording “Add-On” Courses](https://blog.artistworks.com/announcing-science-sound-add-on-courses/) **Published:** February 24, 2023 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce two brand new “add-on” courses designed to teach players the ins and outs of using critical effects including reverb, delay, chorus, phaser, & flanger when producing their own music—introducing Science of Sound: Reverb + Time-Based Effects and Science of Sound: Compression + Equalization!

**Content:** ![]() We’re excited to announce two brand new “add-on” courses designed to teach players the ins and outs of using critical effects including reverb, delay, chorus, phaser, & flanger when producing their own music—introducing [Science of Sound: Reverb + Time-Based Effects](https://artistworks.com/sound-reverb-time-based-effects) and [Science of Sound: Compression + Equalization](https://artistworks.com/sound-compression-equalization)! Regardless of your instrument or style, these brand new “add-on” courses will teach you invaluable skills that will make you a more complete, well-rounded musician, and guide you through the process of elevating your home recordings using reverb, time-based effects, compression, and EQ. Turn your musical ideas into high-quality, finished recordings, & take your production skills to the next level! Add the course to your lessons list with just a few simple clicks… Plus, current ArtistWorks students have access to special VIP pricing! Add either Science of Sound “add-on” course (normally $59.00 each) and receive lifetime access for a one-time payment of $39 per course! Click [here](https://artistworks.com/add-on-courses) to purchase. Learn more about the Science of Sound courses below: [Science of Sound: Reverb + Time-Based Effects](https://artistworks.com/sound-reverb-time-based-effects) Taught by master producer Jono Buchanan, this course gives players a deep dive into reverb and time-based effects, and how to use them to the fullest in their recordings and mixes. Covering everything from natural and artificial reverb to effects like delay, chorus, phaser, and flanger, Jono details the various methods of utilizing these effects in a recording within the Logic Pro DAW. [Science of Sound: Compression + Equalization](https://artistworks.com/sound-compression-equalization) In this course, master producers Vincent di Pasquale and Jono Buchanan take a deep dive into the worlds of compression and equalization, breaking down the effects, their types, and their applications. Through this course, players will gain a deep understanding of these complex effects, and learn the proper and most impactful ways to utilize them within their recordings and mixes. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner Banjo Lesson: Learn to Play "Blackberry Blossom" Using Barre Positions](https://blog.artistworks.com/beginner-banjo-lesson-blackberry-blossom-barre-positions/) **Published:** February 22, 2023 **Author:** ArtistWorks **Excerpt:**

“Blackberry Blossom” is a tune that is synonymous with the bluegrass genre. Players of essentially every instrument within bluegrass learn to play this classic tune at some point while on their musical journey.

**Content:** ![]() “Blackberry Blossom” is a tune that is synonymous with the bluegrass genre. Players of essentially every instrument within bluegrass learn to play this classic tune at some point while on their musical journey. A fiddle tune most commonly performed in the key of G Major, “Blackberry Blossom” is firmly within the repertoire of bluegrass, old-time, and Celtic musical traditions. In the bluegrass world, “Blackberry Blossom” most famously made its mark as a banjo tune, catching the attention of bluegrass aficionados in the form of an arrangement by the great Bill Keith. Since then, it has been recorded and performed by countless bluegrass artists of various instruments, including Tony Rice, Mark O’Connor, Doc Watson, Norman Blake, and more. In this beginner [online banjo lesson](https://artistworks.com/banjo-lessons), world-renowned bluegrass banjo player and member of our premier faculty here at ArtistWorks, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), teaches how to play “Blackberry Blossom” using barre positions on the banjo. This is a great introductory arrangement for a beginner looking to add “Blackberry Blossom” to their banjo repertoire and is a great stepping stone toward playing the tune using full-fledged melodic-style techniques. As a member of [Tony’s course](https://artistworks.com/banjo-lessons-tony-trischka), students have access to accompanying tablature outlining the tune and all the notes that Tony covers in this lesson, plus the opportunity to exchange videos with Tony to get feedback on their playing and progress. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) “‘Blackberry Blossom’ is one of the all-time great fiddle tunes, and I’ve got three versions of it that I teach in my course,” Tony explains. “This is the simplest of the three versions and is a great starting point from which to learn the tune. It’s a beautiful way to play the tune, working more with chords than melody notes.” In addition to learning how to play “Blackberry Blossom,” this lesson teaches and will help you strengthen a very important technique fundamental to your banjo playing as a whole. This lesson focuses on playing “Blackberry Blossom” using barre chords, through which you will be required to play the same fret across multiple strings simultaneously. As a result, mastering the material in this lesson will increase your finger strength and understanding of the function of barre chords. “The main focus of this lesson is going to be the barre position,” explains Tony. “The barre position most often involves the index finger and requires you to push your finger across multiple strings on the same fret at once. It requires some strength, but, with practice, will become second nature.” To learn how to play “Blackberry Blossom” using barre positions, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons) from [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka): “Blackberry Blossom” Using Barre Positions with Tony Trischka: LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, improvisation, and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Tony Trischka Celebrates 11,000 Video Exchanges!](https://blog.artistworks.com/tony-trischka-11000-video-exchanges) [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Tony Trischka Celebrates 11,000 Video Exchanges!](https://blog.artistworks.com/tony-trischka-11000-video-exchanges/) **Published:** February 17, 2023 **Author:** ArtistWorks **Excerpt:**

For nearly 40 years, Tony Trischka has been a pillar of the bluegrass genre. Over the course of his prolific career, Tony has become an icon of the banjo, a mentor to countless bluegrass legends, and an inspiration to innumerable musicians around the globe.

**Content:** ![]() For nearly 40 years, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has been a pillar of the bluegrass genre. Over the course of his prolific career, Tony has become an icon of the banjo, a mentor to countless bluegrass legends, and an inspiration to innumerable musicians around the globe. Since joining the ArtistWorks roster as our instructor of [bluegrass banjo](https://artistworks.com/banjo-lessons-tony-trischka) in 2009, Tony has played an integral role in helping us achieve our mission—to “Teach the World Music”—and continues to bring his passion, dedication, and musical mastery to his online instruction. We’re excited and proud to announce that last week, Tony completed his 11,000th Video Exchange. Congratulations Tony! What a fantastic milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge and skills. Thank you for all that you do! We’d also like to thank all of Tony’s wonderful bluegrass banjo pupils for consistently submitting videos and for being a part of this amazing online musical community! LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) “I’ve been teaching banjo since 1970—with students privately and also hosting clinics and whatnot” Tony explains. “There is something completely unique about the Video Exchange experience that allows me to teach differently, and I’ve been able to refine this approach over the last 14 years teaching at ArtistWorks. I’m able to analyze the details of someone’s playing with a careful eye when watching them on video in a way that allows me to provide them with the best possible guidance on next steps.” Judging by this wonderful Video Exchange milestone, Tony’s teaching techniques have clearly made an impact, as he’s had the opportunity to meet, mentor, and guide a vast array of bluegrass banjo players worldwide. “I think all of us have a profound innate creativity,” explains Tony. “It’s been amazing to watch my students’ creativity blossom on the banjo, and I’m routinely astounded by the progress they make and what they come up with. For example, I’ll share a simple, fundamental technique with my students, and they’ll take that technique and use it to craft beautiful original compositions that they share with me in Video Exchanges. It’s really amazing!” Interested in learning more about our patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) [Bluegrass Banjo Lesson: Leapfrogging 6ths with Tony Trischka](https://blog.artistworks.com/bluegrass-banjo-lesson-leapfrogging-6ths-tony-trischka) [ArtistWorks Summer Series—Week 1: Tony Trischka](https://blog.artistworks.com/artistworks-summer-series-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Slide Guitar Lesson: Choosing a Slide](https://blog.artistworks.com/slide-guitar-lesson-choosing-slide/) **Published:** February 16, 2023 **Author:** ArtistWorks **Excerpt:**

For many of us, especially those who’ve been playing guitar for a while using more traditional flatpick or fingerstyle techniques, learning to play slide guitar can feel a bit daunting, even intimidating. We’ve all heard claims like, “you need a special guitar setup specifically to play slide,” or, “you can only play slide guitar in specific tunings.” It makes learning to play slide sound about as complicated as learning a brand new instrument. However, that is truly not the case…

**Content:** ![]() For many of us, especially those who’ve been playing guitar for a while using more traditional flatpick or fingerstyle techniques, learning to play slide guitar can feel a bit daunting, even intimidating. We’ve all heard claims like, “you need a special guitar setup specifically to play slide,” or, “you can only play slide guitar in specific tunings.” It makes learning to play slide sound about as complicated as learning a brand new instrument. However, that is truly not the case… In this [online slide guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), debunks these slide guitar myths. He explains how and why you don’t need to have a special guitar setup for slide, that you can in fact play using a slide in standard tuning, and, most importantly, he outlines the difference between the various slide types and materials and walks through how to find the right slide for you. LEARN MORE: [Want to learn how to play blues guitar from a master musician like Keith Wyatt? Try some free online blues guitar lessons now!](https://go.artistworks.com/free-online-blues-guitar-lessons) “All you need to play slide guitar is a slide,” Keith explains. “You don’t need to have a fancy guitar setup or a spare guitar that’s rigged out for slide. The guitar I’m playing in this lesson is a standard guitar that I play all the time, and is setup just like the rest of my guitars are.” How do I pick the right slide? There are three different types of guitar slides that are commonly used, and each one is made out of a unique material. The material of the slide is primarily what dictates the tone. Glass slides are used most often, and produce a warm, fat, and round sound. They have been famously used throughout blues and rock ‘n’ roll history, and are the preferred slide material of artists ranging from Duane Allman to Ry Cooder, Derek Trucks, and beyond. Metal slides, most commonly made of brass, are another popular material, and create a much brighter, more focused tone compared to glass. Metal was the preferred slide material of blues guitar icon, Muddy Waters, and has become the preferred material of modern gurus such as Ariel Posen and Joey Landreth. Ceramic slides are another popular choice, and split the difference tonally between glass and metal. Ceramic slides tend to be slightly brighter and punchier than glass, but warmer and rounder than metal, and have been used over the years by artists such as Billy Gibbons, [Keb’ Mo’](https://artistworks.com/kebmo-presale), Joe Perry, and more. “Each slide material sounds a little bit different,” explains Keith. “But, fortunately, slides aren’t tremendously expensive. I recommend purchasing a few made out of different materials, and experimenting with them to find the sound and feel that most inspires you.” To learn more about slide guitar playing and finding the right slide for you, dive into this [online slide guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): Choosing a Slide with Keith Wyatt: LEARN MORE: Have you always wanted to learn how to play the blues guitar? Through our comprehensive [blues guitar lessons online](https://artistworks.com/guitar-lessons-keith-wyatt) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and get personal feedback on your playing. Keith’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic blues tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as blues guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Guitar Lesson: Soloing Over the 12 Bar Blues Changes with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-soloing-12-bar-blues) [Rock Guitar Lesson: Bending & Vibrato with Paul Gilbert](https://blog.artistworks.com/guitar-lesson-bending-vibrato-paul-gilbert) [Jared James Nichols Releases New Self-Titled Album](https://blog.artistworks.com/jared-james-nichols-new-self-titled-album) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [March VE Submission Deadline Dates](https://blog.artistworks.com/march-ve-submission-deadline-dates/) **Published:** February 13, 2023 **Author:** ArtistWorks **Excerpt:**

Hello Everyone! Here are the March VE submission deadline dates:

Remember to use the extra time to watch each other's VE lessons - that will help you tremendously as you work on your pieces!

Hugh

**Content:** Hello Everyone! Here are the March VE submission deadline dates: - Sunday March 12 - Sunday March 26 Remember to use the extra time to watch each other’s VE lessons – that will help you tremendously as you work on your pieces! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks February Gear Giveaway!](https://blog.artistworks.com/february-2023-gear-giveaway/) **Published:** February 10, 2023 **Author:** ArtistWorks **Excerpt:**

Our ultimate gear giveaway is here! And, what better time to share the love of music than during the month of February?!

**Content:** ![]() Our ultimate [gear giveaway](https://go.artistworks.com/gear-giveaway-feb-2023) is here! And, what better time to share the love of music than during the month of February?! So, we’ve partnered with leading gear manufacturers and “friends of ArtistWorks” from across the industry to give away a handful of amazing instruments to those we value the most—our players! Think of it as our musical Valentine’s gift to you. Enter before March 3, 2023, at 12:00 pm PST for a chance to win one of these fantastic prizes: Epiphone [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) “Gold Glory” Les Paul Custom Deering “Goodtime” 5-String Banjo Kanile’a Islander SAS-4 Ukulele Blackstar Fly 3w Combo Amplifier Don’t miss out on your chance to win. Hurry, the contest ends on 3/3! Click [HERE](https://go.artistworks.com/gear-giveaway-feb-2023) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to learn at their own pace and interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Banjo Lesson: An Introduction to Single String Playing with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny) [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview - Ronnie, Rob, and Del McCoury](https://blog.artistworks.com/special-guest-interview-ronnie-rob-and-del-mccoury-0/) **Published:** February 9, 2023 **Author:** ArtistWorks **Excerpt:**

A new 9 part interview has just been added! In this series we watch Michael Daves and Tony Trischka sit down with Ronnie, Rob, and Del McCoury where they talk shop about old recordings, touring, and vocal and Banjo techniques, all topped with some exciting stories and jokes. Check out the first part of the interview HERE. Enjoy!

**Content:** ![]() A new 9 part interview has just been added! In this series we watch Michael Daves and Tony Trischka sit down with Ronnie, Rob, and Del McCoury where they talk shop about old recordings, touring, and vocal and Banjo techniques, all topped with some exciting stories and jokes. Check out the first part of the interview [HERE](https://my.artistworks.com/michael-daves/learning/204140). Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview - Ronnie, Rob, and Del McCoury](https://blog.artistworks.com/special-guest-interview-ronnie-rob-and-del-mccoury/) **Published:** February 9, 2023 **Author:** ArtistWorks **Excerpt:**

A new 9 part interview has just been added! In this series we watch Tony Trischka and Michael Daves sit down with Ronnie, Rob, and Del McCoury where they talk shop about old recordings, touring, and vocal and Banjo techniques, all topped with some exciting stories and jokes. Check out the first part of the interview HERE. Enjoy!

**Content:** ![]() A new 9 part interview has just been added! In this series we watch Tony Trischka and Michael Daves sit down with Ronnie, Rob, and Del McCoury where they talk shop about old recordings, touring, and vocal and Banjo techniques, all topped with some exciting stories and jokes. Check out the first part of the interview [HERE](https://my.artistworks.com/tony-trischka/learning/204151). Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Saxophone Lesson: Producing a Great Tone](https://blog.artistworks.com/saxophone-lesson-tone-eric-marienthal/) **Published:** February 8, 2023 **Author:** ArtistWorks **Excerpt:**

The techniques and elements that impact the quality and characteristics of the tone a musician creates are multifaceted on just about every instrument. For example, how a guitarist plucks the strings with their picking hand and how they apply pressure to the strings with their fretting hand affects the tone they produce greatly.

**Content:** ![]() The techniques and elements that impact the quality and characteristics of the tone a musician creates are multifaceted on just about every instrument. For example, how a guitarist plucks the strings with their picking hand and how they apply pressure to the strings with their fretting hand affects the tone they produce greatly. Wind instruments are no different. How the musician pushes air into the horn from the diaphragm, how they contract the muscles in their throat, and the amount of pressure they apply on the mouthpiece all play a role in the quality of their tone. Saxophones are no exception to this rule. In this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), Grammy Award-winning saxophonist, lead alto chair of Gordon Goodwin’s Big Phat Band, and former member of the Chick Corea Elektric Band, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), teaches the ins and outs of what goes into producing a truly great tone on the saxophone. In addition to outlining all the performance elements that impact the quality of tone a saxophonist produces, Eric also provides a handful of exercises that you can practice to help improve your tone on the saxophone. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) “When it comes to tone on the saxophone, everything comes down to how the reed vibrates,” Eric explains. “This is what I’m thinking about when I’m working on refining my own tone, and when I’m working with my students like you. How the reed is vibrating should be at the forefront of our minds.” The more the reed can vibrate on your saxophone, the more sound you’ll be able to produce. Now, more sound if it is uncontrolled does not equate to a better tone. The trick is to find the balance between producing a lot of sound and letting the reed vibrate at its maximum potential while still having complete control over the instrument, your volume, your articulation, and musical inflections. “There are three elements that are important as far as making sure that your reed is vibrating correctly,” explains Eric. “Those three things are your embouchure, your throat, and your diaphragm—all of which we’ll be discussing in this lesson.” To learn more about the different elements and techniques that impact your tone and how to improve them to produce a great sound, dive into this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) from [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal): Producing a Great Tone with Eric Marienthal: LEARN MORE: Have you always wanted to learn how to play the jazz saxophone? Through our comprehensive [saxophone lessons online](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and get personal feedback on your playing. Eric’s course starts with the basics and teaches everything from beginner saxophone to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as saxophonists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Saxophone Lesson: An Introduction to Modes with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-modes-eric-marienthal) [The Dave Stryker Trio Releases New Album, Prime](https://blog.artistworks.com/dave-stryker-trio-new-album-prime) [Saxophone Lesson: Basic Embouchure with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-basic-embouchure-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Dave Stryker Trio Releases New Album, "Prime"](https://blog.artistworks.com/dave-stryker-trio-new-album-prime/) **Published:** February 3, 2023 **Author:** ArtistWorks **Excerpt:**

This morning, award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, Dave Stryker, released his 35th recording as a bandleader, and first with his current working trio, in the form of a brand new album entitled Prime.

**Content:** ![]() This morning, award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), released his 35th recording as a bandleader, and first with his current working trio, in the form of a brand new album entitled Prime. Featuring critically acclaimed organist, Jared Gold, Grammy-nominated drummer, McClenty Hunter, and, of course, Dave on the guitar, The Dave Stryker Trio showcases eight of Dave’s new original compositions on the new album, as well as a modern rendition of the traditional jazz standard, “I Should Care.” Fresh off their 2022 summer stint opening for world-renowned fusion act, Steely Dan, The Dave Stryker Trio demonstrates their decade of road-tested precision through the tasteful grooves of Prime. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) “In October of 2020, my long-standing trio featuring organist Jared Gold and drummer McClenty Hunter was booked to play a concert out of town. Due to the pandemic, we weren’t able to perform in front of a live audience, and, instead, were given the opportunity to tape a show that could be streamed by the venue,” Dave explains. “Inspired by the chance to play together again after eight months in lockdown, and knowing we would be capturing this live performance in the studio, I was motivated to write an album of new music—my first featuring this trio exclusively.” From Prime’s burning title track to songs penned for Dave’s first musical boss, Jack McDuff (“Captain Jack” and “Dude’s Lounge”), Dave showcases his prowess as a composer, and the trio illustrates their ability to create a beautifully progressive, yet simultaneously nostalgic, sound that’s both amazingly unique and comfortingly familiar. In addition to Dave’s brand new compositions, Prime features trio versions of “Hope” and “As We Were” from Stryker’s 2022 album release, As We Are. “I decided we would record the album live in the studio, with just one take per song and no overdubbing,” explains Dave. “The connection, interplay, and fire of the group were captured on that day, and we’re happy to now share with you the music of our trio in its Prime.” The Dave Stryker Trio – “Prime” (Live in the Studio): To purchase or download your copy of Prime, head to Dave’s brand new website [here](https://www.davestryker.com/), his Bandcamp page [here](https://davestryker.bandcamp.com/), or listen on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Guitar Lesson: Soloing Ideas for Miles Davis’ “So What” with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-miles-davis-so-what) [Celebrating 12 Years of “Fingerstyle Guitar with Martin Taylor”](https://blog.artistworks.com/celebrating-12-years-fingerstyle-guitar-martin-taylor) [The Dave Stryker Trio Opening for Steely Dan’s Summer Tour](https://blog.artistworks.com/dave-stryker-trio-opening-steely-dan-summer-tour) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Learn to Play "Whiskey Before Breakfast"](https://blog.artistworks.com/fiddle-lesson-whiskey-before-breakfast/) **Published:** January 31, 2023 **Author:** ArtistWorks **Excerpt:**

As a bluegrass musician of any instrument, it’s important to have a handful of classic tunes under your belt as part of your repertoire and know how to play them. These tunes are often performed by aspiring players and professionals alike and are frequently requested at everything from jam sessions to formal concerts and beyond. Therefore, it’s essential to learn these classic pieces as you progress on your musical bluegrass journey.

**Content:** ![]() As a bluegrass musician of any instrument, it’s important to have a handful of classic tunes under your belt as part of your repertoire and know how to play them. These tunes are often performed by aspiring players and professionals alike and are frequently requested at everything from jam sessions to formal concerts and beyond. Therefore, it’s essential to learn these classic pieces as you progress on your musical bluegrass journey. One such piece, in particular, is a classic fiddle tune called “Whiskey Before Breakfast.” While the origin of the tune and the identity of its original composer are highly controversial, the first written arrangement of the tune has been credited to Canadian fiddler and composer, Andy de Jarlis, who published a chart in his book Canadian Fiddle Tunes from Red River Valley in 1957. Since then, “Whiskey Before Breakfast” has become a staple of the bluegrass genre, and has been performed and recorded by artists ranging from Doc Watson to Norman Blake, Bobby Hicks, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) & Julian Lage, and more. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons), master fiddler, ArtistWorks bluegrass instructor, and founding member of the popular string outfit Hawktail, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), teaches how to play “Whiskey Before Breakfast” in the popular key of D Major. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Brittany Haas? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-brittany-haas) “‘Whiskey Before Breakfast’ is a total classic and it’s a really important tune to have in your repertoire,” Brittany explains. “We’re going to learn it in one of the more popular keys that it’s typically performed in—D major.” The melody of “Whiskey Before Breakfast” is comprised mostly of consistent, flowing 8th-note phrases that fall solely on the scale tones of the key. If you’re just beginning your musical journey on the fiddle, make sure to cut yourself some slack and remain patient as you learn this tune. The longer 8th-note melodies require some finger strength and stamina. As a result, it may take a little time to develop the finger muscles that will allow you to really nail this piece. “We’ve got a lot of scalar stuff going on in the melody of this tune,” explains Brittany. “It may feel tricky to get under your fingers at first, but, because the melody is so scalar, this piece will quickly become second nature.” To learn how to play “Whiskey Before Breakfast” on the fiddle in the key of D Major, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons) from [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas): Learn to Play “Whiskey Before Breakfast” with Brittany Haas: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), and get personal feedback on your playing. Brittany’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation methods, classic old time and bluegrass tunes, and Brittany’s unique and critically acclaimed approach to the instrument. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddle players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Bowing Patterns for Melodies with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies) [Celebrating 12 Years of Darol Anger’s ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course) [Fiddle Lesson: The Concept of Tone with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-tone-brittany-haas) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Darol,John Hartford, and Vassar Clements at Mark O'Connor's Fiddle Camp, 1996 (probably)](https://blog.artistworks.com/daroljohn-hartford-and-vassar-clements-mark-oconnors-fiddle-camp-1996-probably/) **Published:** January 27, 2023 **Author:** ArtistWorks **Excerpt:**

Mark O'Connor's Fiddle Camps in Tennessee during the late 90's pretty much changed the Fiddle world, bringing together legends and young hotshots from all over to share their knowledge and brilliance.

Because of these camps, we now have an explosion of interest, virtuosity, and knowledge that informs every part of fiddling, and those pioneering camps run by Mark, Alasdair Fraser and Jay Ungar have resulted in the present unimaginable richness of Fiddle Culture.

Where else could a youngish jazz-obsessed fiddler from California sit down with his greatest musical heroes and jam for hours?

**Content:** ![]() Mark O’Connor’s Fiddle Camps in Tennessee during the late 90’s pretty much changed the Fiddle world, bringing together legends and young hotshots from all over to share their knowledge and brilliance. Because of these camps, we now have an explosion of interest, virtuosity, and knowledge that informs every part of fiddling, and those pioneering camps run by Mark, Alasdair Fraser and Jay Ungar have resulted in the present unimaginable richness of Fiddle Culture. Where else could a youngish jazz-obsessed fiddler from California sit down with his greatest musical heroes and jam for hours? Thanks to Mark and all his amazing administrator-volunteers such as the Holzen family and Crystal Wiegman. That’s Vassar on the left , most likely, though the fiddle seems not right. Oh! John’s got Vassar’s iconic fiddle!… which started out as John’s. Ha ha! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Rock Guitar Lesson: Bending & Vibrato](https://blog.artistworks.com/guitar-lesson-bending-vibrato-paul-gilbert/) **Published:** January 25, 2023 **Author:** ArtistWorks **Excerpt:**

One of the innate characteristics of the human voice that we as listeners find to be so musical and pleasing is a singer’s ability to glide seamlessly from one note to the next, bending the pitch and sliding across micro-tonalities as they transition between a whole or half step. Just about every melodic musical instrument that humans have designed incorporates a feature of some kind intended to mimic this quality of the human voice.

**Content:** ![]() One of the innate characteristics of the human voice that we as listeners find to be so musical and pleasing is a singer’s ability to glide seamlessly from one note to the next, bending the pitch and sliding across micro-tonalities as they transition between a whole or half step. Just about every melodic musical instrument that humans have designed incorporates a feature of some kind intended to mimic this quality of the human voice. Stringed instruments, including the guitar, are a perfect example of this. Like the human voice, stringed instruments offer players the ability to easily raise the pitch of a note smoothly across microtonalities in real-time using techniques called bending and vibrato. In this [online guitar lesson](https://artistworks.com/guitar-lessons), shred guitar icon, founding member of legendary groups Mr. Big and Racer X, and ArtistWorks rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), teaches his unique approaches to string bending and vibrato. In addition to providing instruction on the physical elements required to execute these techniques, Paul also delivers guidance on using these methods to add tasteful musicality to your licks, riffs, and solos. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “Bending strings is one of the coolest things that you can do on an electric guitar,” Paul explains. “Bending and shaking the strings creates such a unique effect that you can hear across all kinds of different rock guitar styles.” For many guitarists, particularly in the rock and blues genres, the manner in which a player bends the strings, produces their vibrato, and integrates these techniques into their phrasing becomes a huge part of their sonic signature. Therefore, as you begin exploring these methods, be thoughtful about how you incorporate your bends and vibrato into your playing, and how it will influence the musical message you want to convey. “How you execute your vibrato can convey a huge array of emotions,” explains Paul. “Sometimes I play a really smooth gentle wavering vibrato, and other times I put some anger behind it and add some speed to the vibrato and it conveys a totally different emotion.” To learn more about how to integrate bending and vibrato into your rock and shred guitar techniques, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons) from [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert): Bending & Vibrato with Paul Gilbert: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned shred guitar master [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner guitar to advanced rock riffs, shred techniques, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) [Announcing the TrueFire Collection at ArtistWorks](https://blog.artistworks.com/announcing-truefire-collection-artistworks) [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Harmonica Lesson: Circular Breathing](https://blog.artistworks.com/harmonica-lesson-circular-breathing/) **Published:** January 18, 2023 **Author:** ArtistWorks **Excerpt:**

One of the beautiful qualities of wind instruments is that, much like singing, they are directly connected to the human breath. As a result, players of wind instruments are often able to more easily tap into the expressive nature of the human voice and mimic its unique emotive characteristics that we appreciate in music.

**Content:** ![]() One of the beautiful qualities of wind instruments is that, much like singing, they are directly connected to the human breath. As a result, players of wind instruments are often able to more easily tap into the expressive nature of the human voice and mimic its unique emotive characteristics that we appreciate in music. Unfortunately, like when singing, playing a wind instrument also comes with difficulties due to being connected so directly to the human breath. For example, holding a single note for an extended period of time can prove to be strenuous, or maybe even feel impossible, when playing a wind instrument because the player is only able to produce a finite amount of air to produce said note. Fortunately, there is a technique that wind players can learn that can allow them to produce a note for an unlimited duration. In this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy), Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), teaches a technique called circular breathing that allows players to inhale through the harmonica while simultaneously exhaling through their nose, or vice versa, in order to produce an endless note through their instrument. LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) “This is a technique that I use every once in a while when I need to hold a note for an extended period of time,” Howard explains. “The basic concept is that, while I’m inhaling through the harmonica, I’m using my nose as a safety valve to release the air that I’ve taken in through my mouth.” What is Circular Breathing? Circular breathing is a technique that allows a musician to inhale through their nose while simultaneously exhaling through their mouth or vice versa. As a result, they are able to produce a clear, consistent note for an extended period of time. The musician accomplishes this by fully inhaling while beginning to exhale and blow air outward. When the lungs are nearly empty, the last volume of air is released into the mouth and temporarily stored there. Then, while still blowing out this last bit of air stored in the mouth, the musician very quickly inhales through the nose to fill the lungs prior to running out of the air in the mouth. If done correctly, by the time the air in the mouth is nearly exhausted, the musician can begin to exhale from the lungs once more. The process is then repeated to produce a consistent, droning tone. “Circular breathing also allows you to create really unique and interesting droning sounds,” explains Howard. “You can create a phase-y sound almost like a drone box or a didgeridoo by shifting the muscles in your mouth as you circular breath.” To learn more about circular breathing on the harmonica and how to implement this technique into your playing, dive into this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy) from [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy): Circular Breathing with Howard Levy: LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“The Amazing Howard Levy:” Howard Performs with the Elmhurst Symphony Orchestra](https://blog.artistworks.com/howard-levy-elmhurst-symphony-orchestra) [Howard Levy Releases New Harmonica Instructional Book](https://blog.artistworks.com/howard-levy-new-harmonica-instructional-book) [Harmonica Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jared James Nichols Releases New Self-Titled Album](https://blog.artistworks.com/jared-james-nichols-new-self-titled-album/) **Published:** January 13, 2023 **Author:** ArtistWorks **Excerpt:**

This morning, blues rock powerhouse and ArtistWorks guitar instructor, Jared James Nichols released his brand new, highly anticipated self-titled album on Black Hill Records.

**Content:** ![]() This morning, blues rock powerhouse and ArtistWorks guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) released his brand new, highly anticipated self-titled album on Black Hill Records. Following up on his 2021 EP release, Shadow Dancer, and his last full-length record, Black Magic, released in 2017, Jared showcases his guitar and songwriting prowess on a whole new level in this 2023 album. In line with Jared’s signature sonic blend of vintage-inspired blues and modern hard rock, Jared James Nichols is packed with gut-punching guitar riffs and technically impeccable solos that are both soulful and nothing short of face-melting. In addition to Jared’s masterful guitar playing featured throughout the record, the new album is also full of anthemically catchy lyrics and vocal melodies that are sure to have you bobbing your head and singing along. LEARN MORE: [Want to learn how to play blues and hard rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “The one aspect that really excites me about music is live performance. I live to be in the moment on stage, playing music and connecting with the listener,” Jared explains. “When it was time to make my latest record, that was the biggest goal for me. I wanted to BE the music, take the listener on a sonic journey, and ultimately put my stamp as an artist to record.” Jared certainly achieved his goal in this latest record release. When listening to Jared James Nichols, it’s hard not to feel like you’re watching the band on stage. The recording is raw, gritty, and live in all the right ways, yet simultaneously polished to perfection. The energy of Jared James Nichols is nothing less than infectious. Jared James Nichols Track List: My Delusion Easy Come, Easy Go Down the Drain Hard Wired Bad Roots Skin ‘n Bone Long Way to Go Shadow Dancer Good Time Girl Hallelujah Saint or Fool Out of Time “I cannot wait to tour this album, what you hear on record is exactly what you’ll get in the flesh,” Jared expresses. “These songs were made to be played live and played loud!” Jared James Nichols is now available and streaming across all popular platforms. For more information on the record, and to catch Jared live at a venue near you, head to Jared’s website [here](https://www.jaredjamesnichols.com/). LEARN MORE: Have you always wanted to learn how to play blues rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, “Blues Power” anthems, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) [Blues Rock Guitar Lesson: Playing with Attitude with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols) [Jared James Nichols Restores One of the First Gibson Les Pauls Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Banjo Lesson: An Introduction to Single String Playing](https://blog.artistworks.com/banjo-lesson-single-string-noam-pikelny/) **Published:** January 10, 2023 **Author:** ArtistWorks **Excerpt:**

In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by rolling 16th-note arpeggios outlining the song’s harmonic movement and structure.

**Content:** ![]() In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by rolling 16th-note arpeggios outlining the song’s harmonic movement and structure. In more modern and progressive schools of bluegrass banjo playing, many banjoists will utilize two different techniques that allow them to play more streamlined melodies (much like a mandolinist, fiddler, or guitarist would) rather than constraining them to the focused rolling patterns heard in traditional 3-finger Scruggs-style banjo. These two approaches are called “melodic” and “single string” style banjo. To learn more about melodic-style banjo playing, check out Noam’s lesson [here](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style). In his collection of [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) here at ArtistWorks, Punch Brothers co-founder and Grammy Award-winning banjoist, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), teaches all three of these schools of banjo playing—Scruggs-style, melodic, and single-string. In this lesson, Noam introduces us to the single-string approach and explains the critical differences that set this style apart from melodic and Scruggs-style playing. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) “So, what is single-string?” Noam asks. “Well, single-string is a technique that allows us to simulate the up and down motion of a flatpick, much like a guitar or mandolin player would use. Through the single-string approach on banjo, we emulate this flatpick sound by alternating between our thumb and index finger on our picking hand.” Single-string technique allows banjoists the opportunity to play scales and scale-based melodies on the banjo in a completely different way. Instead of playing consecutive scale notes on different strings (as one would using melodic style), the single-string approach allows the player to perform the first few notes of a scale or melody on the same string before moving to another string. “I just want to put this out there right now—single-string playing is not that hard,” Noam expresses. “I think playing traditional Scruggs-style banjo is infinitely more difficult than playing single-string. So, with that being said, I want to dispel any feelings of intimidation that you may have around single-string playing. If you’ve been playing Scruggs or melodic-style banjo for a little while, you can learn to play single-string.” To learn more about single-string style banjo and how to implement the approach into your own playing, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons-noam-pikelny) from [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny): An Introduction to Single String Playing with Noam Pikelny: LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-noam-pikelny) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and get personal feedback on your playing. Noam’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, improvisation, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjoists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Melodic Style Banjo Lesson: Learn to Play “Blackberry Blossom” with Noam Pikelny](https://blog.artistworks.com/melodic-style-banjo-lesson-blackberry-blossom) [Bluegrass Mandolin Lesson: Playing with Speed with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-speed-sierra-hull) [ArtistWorks Summer Series—Week 1: Tony Trischka](https://blog.artistworks.com/artistworks-summer-series-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [January/February VE Submission Deadline Dates](https://blog.artistworks.com/januaryfebruary-ve-submission-deadline-dates-0/) **Published:** January 10, 2023 **Author:** ArtistWorks **Excerpt:**

Happy New Year Everyone! Here are the next January / February VE submission deadline dates:

The February dates may be subject to change, as I have a lot of concerts and travels to fit in - I will make an updated welcome video in the event that this happens.

See you soon!

Hugh

**Content:** Happy New Year Everyone! Here are the next January / February VE submission deadline dates: - Sunday, January 22 - Sunday, February 5 - Sunday, February 12 The February dates may be subject to change, as I have a lot of concerts and travels to fit in – I will make an updated welcome video in the event that this happens. See you soon! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [January/February VE Submission Deadline Dates](https://blog.artistworks.com/januaryfebruary-ve-submission-deadline-dates/) **Published:** January 10, 2023 **Author:** ArtistWorks **Excerpt:**

Happy New Year Everyone! Here are the next January / February VE submission deadline dates:

The February dates may be subject to change, as I have a lot of concerts and travels to fit in - I will make an updated welcome video in the event that this happens.

See you soon!

Hugh

**Content:** Happy New Year Everyone! Here are the next January / February VE submission deadline dates: - Sunday, January 22 - Sunday, February 5 - Sunday, February 12 The February dates may be subject to change, as I have a lot of concerts and travels to fit in – I will make an updated welcome video in the event that this happens. See you soon! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Celebrating 12 Years of Darol Anger's ArtistWorks Fiddle Course](https://blog.artistworks.com/12-years-darol-anger-fiddle-course/) **Published:** January 6, 2023 **Author:** ArtistWorks **Excerpt:**

We’re beyond excited to announce that 2023 marks the 12-year anniversary of Darol Anger’s online fiddle course here at ArtistWorks.

**Content:** ![]() We’re beyond excited to announce that 2023 marks the 12-year anniversary of [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger)’s online fiddle course here at ArtistWorks. A founding member of the David Grisman Quintet and true master of the bluegrass genre, Darol has committed over a decade to teaching students around the globe his musical skills, and has played an integral role in helping us achieve, and continue to live up to, our mission to “Teach the World Music.” Congratulations on achieving this amazing 12-year milestone, Darol! What an amazing accomplishment, and a true testament to your continued dedication to your students and commitment to sharing your knowledge. Thank you for all that you do! Over the last 12 years, Darol has amassed hundreds of videos as part of his course’s online lesson library, which is constantly growing and evolving. Darol has also provided direct, personal guidance and feedback to thousands of his students over the years, and has built a collection of over 4,200 Video Exchanges that all of his students can access and learn from as members of his course. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) “Take the plunge!” Darol exclaims. “One day, you can be working on real playing issues and master clearly explained technical challenges on the site, and the next day you can be inspired and entertained by fiddle geek-outs and extraordinary, intimate performances by great fiddlers. It’s all at your fingertips through my course!” In addition to all his detailed lessons and Video Exchanges, Darol also proactively and routinely publishes interviews and exclusive performance videos featuring professional guest fiddlers on his course site. Over the years, Darol’s guests have included world-renowned fiddlers like Bruce Molsky, Casey Driessen, Bronwyn Keith-Hynes, Mike Barnett, Kimber Ludiker, Alex Hargreaves, and his long-time student and now fellow ArtistWorks teacher, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas). Last year, Darol invited fiddle genius, Alex Hargreaves into his ArtistWorks fiddle studios for an interview and mini-concert. Darol and Alex played songs by their old boss, David “The Dawg” Grisman, a Bill Monroe standard, and quite a bit of jazz. Alex, who now is a full-time member of the Billy Strings band, has also been a guest professor on Darol’s fiddle course more than once, and he’ll be back. Meanwhile, his vast range and incredible playing are on display via Darol’s course, where he demonstrates a number of great musical ideas and patterns to try on the fiddle. Below is an exclusive performance from their 2022 interview: If you’re a current student of Darol’s, keep checking in because Darol is constantly updating his course with brand-new exclusive interviews, performance videos, and lessons. If you’re not yet one of Darol’s students, there’s never been a better time to join and start exploring the site’s amazing content! Click [HERE](https://artistworks.com/fiddle-lessons-darol-anger) to learn more about Darol’s [online fiddle lessons](https://artistworks.com/fiddle-lessons-darol-anger). LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, Blues and Jazz improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Learning the Blues Scale with Darol Anger](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger) [Darol Anger & Mr. Sun Release Vinyl Pressing of Extrovert](https://blog.artistworks.com/darol-anger-mr-sun-vinyl-extrovert) [Fiddle Lesson: Bowing Patterns for Melodies with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Bluegrass Mandolin Lesson: Playing with Speed](https://blog.artistworks.com/bluegrass-mandolin-lesson-speed-sierra-hull/) **Published:** January 4, 2023 **Author:** ArtistWorks **Excerpt:**

Classic bluegrass repertoire is historically packed with fast, uptempo songs, often presented in the form of danceable fiddle tunes that feature a flurry of playful sixteenth-note melodies. As a result, students of bluegrass music often focus heavily on improving their playing speed and ability to play quickly while retaining accuracy. Mandolin players are no exception to this trend and often look for methods to help increase their playing speed.

**Content:** ![]() Classic bluegrass repertoire is historically packed with fast, uptempo songs, often presented in the form of danceable fiddle tunes that feature a flurry of playful sixteenth-note melodies. As a result, students of bluegrass music often focus heavily on improving their playing speed and ability to play quickly while retaining accuracy. Mandolin players are no exception to this trend and often look for methods to help increase their playing speed. Unfortunately, there are no easy shortcuts to increase your playing speed overnight. It requires practice, patience, and focus. That being said, there are techniques and practice methods available to help facilitate consistent improvements to your playing speed while retaining proper form and accuracy. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons), Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), provides a handful of tips and tricks to keep in mind when practicing to increase your playing speed, as well as a few techniques to help you maintain proper form as you learn to play faster. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) “The truth of it is, there’s no secret answer to playing fast,” Sierra explains. “In order to work up to faster tempos, we have to practice slowly. That’s the key takeaway here. Playing accurately at fast speeds takes time to develop.” A critical tool that is tremendously helpful when practicing to increase your playing speed is a metronome. Practicing routinely with a metronome helps players strengthen their internal sense of time, improve their rhythmic accuracy when playing at all tempos (fast or slow), and set measurable goals when steadily increasing the tempo at which they perform a tune. “I’ve found that recording myself on video when practicing can be a great tool when I’m learning a new tune and working on bringing it up to tempo,” explains Sierra. “It’s a great way to review your performance and listen back, and also keep all the facets of our playing in order and in check—our technique, note accuracy, improvisations, and more.” To learn more tips and techniques to help increase your playing speed on the mandolin while remaining articulate and accurate, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Playing with Speed with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, music theory, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Sierra Hull Wins IBMA’s 2022 “Mandolin Player of the Year” Award](https://blog.artistworks.com/sierra-hull-ibma-mandolin-award-2022) [Going Live: “Gator Meets The Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman) [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Fiddle Lesson: The Concept of Tone](https://blog.artistworks.com/fiddle-lesson-tone-brittany-haas/) **Published:** December 29, 2022 **Author:** ArtistWorks **Excerpt:**

When most fiddlers are first learning to play, their primary focus is on performing the proper notes of the tune, intonating those notes correctly, and producing a generally pleasing sound. However, as students of the fiddle progress, they quickly discover that there are a plethora of ways in which they can create various sounds and tonalities on their instrument that greatly expand the realm of expressive possibilities.

**Content:** ![]() When most fiddlers are first learning to play, their primary focus is on performing the proper notes of the tune, intonating those notes correctly, and producing a generally pleasing sound. However, as students of the fiddle progress, they quickly discover that there are a plethora of ways in which they can create various sounds and tonalities on their instrument that greatly expand the realm of expressive possibilities. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons), master fiddler, ArtistWorks bluegrass instructor, and founding member of the popular string outfit Hawktail, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), discusses the concept of tone on the fiddle and provides a handful of techniques that you can employ to create a wider range of expressive sounds on the instrument. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Brittany Haas? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-brittany-haas) “At the beginning of your journey with the fiddle, you might be thinking about just sounding ‘good’ or making a ‘pretty’ sound,” Brittany explains. “But, I always want my students to keep in mind that it’s so much broader than just that. There’s such a wide range of sounds that you can produce on this instrument, and tone can be really personal.” If you’re in the early stages of your musical journey on the fiddle, try your best not to let the broad concept of tone overwhelm you. It’s an important facet of your playing to always keep in the back of your mind, but it’s also an element of your playing that will constantly evolve and grow. Your tonal preferences will naturally ebb and flow, and your ability to produce a wider variety of tones will grow as you continue to explore the fiddle. “It’s important to be aware of the range of tonal capabilities on the fiddle,” explains Brittany. “I always recommend listening to a lot of different styles of music, because then you can take in more ideas and decide what you want to use when you’re creating your own sound.” To learn more about the concept of tone and ways that you can expand your tonal palette on the fiddle, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons) from [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas): The Concept of Tone with Brittany Haas: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), and get personal feedback on your playing. Brittany’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation methods, classic old time and bluegrass tunes, and Brittany’s unique and critically acclaimed approach to the instrument. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddle players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Bowing Patterns for Melodies with Brittany Haas](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies) [“Old Time & Bluegrass Fiddle with Brittany Haas” is Now Open!](https://blog.artistworks.com/old-time-bluegrass-fiddle-brittany-haas-now-open) [Fiddle Lesson: Learning the Blues Scale with Darol Anger](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-6/) **Published:** December 27, 2022 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added to the Advanced department! In this lesson, Darol teaches and performs the tune “Bury Me Beneath the Willow” in three different keys. Happy Fiddling!

**Content:** ![]() A new lesson has just been added to the Advanced department! In this lesson, Darol teaches and performs the tune [“Bury Me Beneath the Willow”](https://my.artistworks.com/darol-anger/learning/192023) in three different keys. Happy Fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Bowing Patterns for Melodies](https://blog.artistworks.com/fiddle-lesson-bowing-patterns-melodies/) **Published:** December 22, 2022 **Author:** ArtistWorks **Excerpt:**

A unique characteristic that sets bowed stringed instruments, including the fiddle, apart from others is the vast array of bowing techniques and patterns that a player can employ to alter a performance and the manner in which they execute a melody. These various bowing methods and patterns greatly impact the tonality of a tune and can drastically change the way a piece is performed.

**Content:** ![]() A unique characteristic that sets bowed stringed instruments, including the fiddle, apart from others is the vast array of bowing techniques and patterns that a player can employ to alter a performance and the manner in which they execute a melody. These various bowing methods and patterns greatly impact the tonality of a tune and can drastically change the way a piece is performed. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons), master fiddler, ArtistWorks bluegrass instructor, and founding member of the popular string outfit Hawktail, [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), teaches a handful of common bowing patterns to provide players with a few helpful starting points from which to approach various melodies. She also shows how these different patterns can be used depending on the number of notes, note grouping, and the number of strings on which a melody is played. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Brittany Haas? Try some free online fiddle lessons now!](https://go.artistworks.com/fiddle-lessons-brittany-haas) “When I’m thinking about bowing patterns and how I’ll bow a specific melody, I try not to mentally separate how I’ll approach things with my right and left hands too much,” Brittany explains. “That being said, when you’re learning or reading a melody, it’s important to look at the number of notes, the way that they’re grouped, and the way that they lay out across the strings when you begin thinking about how you’ll bow that melody with your right hand.” There are a few common bowing patterns, however, that are frequently utilized across classic old time and bluegrass fiddle repertoire. Despite not wanting to mentally separate the movement within your right and left hands too much, these classic patterns can be helpful when learning classic melodies, and will likely become second nature over time. “Shuffle bowing is incredibly common across old time and bluegrass fiddle music,” Brittany explains. “This is the classic long, short, short, long, short, short pattern. If you’re playing a melody that features a quarter note followed by two eighth notes, this is the perfect bowing pattern to employ.” To learn several bowing patterns that will allow you to vary your approach to performing melodies, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons) from [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas): Bowing Patterns for Melodies with Brittany Haas: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas), and get personal feedback on your playing. Brittany’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, improvisation methods, classic old time and bluegrass tunes, and Brittany’s unique and critically acclaimed approach to the instrument. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddle players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [SAVE 50%—ArtistWorks Annual Holiday Sales Event 2022](https://blog.artistworks.com/artistworks-annual-holiday-sales-event-2022) [“Old Time & Bluegrass Fiddle with Brittany Haas” is Now Open!](https://blog.artistworks.com/old-time-bluegrass-fiddle-brittany-haas-now-open) [Fiddle Lesson: Learning the Blues Scale with Darol Anger](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat in Sicily, Italy 2023](https://blog.artistworks.com/mike-marshall-caterina-lichtenberg-mandolin-retreat-italy-2023/) **Published:** December 21, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, Mike Marshall and Caterina Lichtenberg, will once again be taking their “Mandolin World Retreat” to Sicily, Italy this autumn. Hosted in the beautiful city of Siracusa on the island of Ortigia off the coast of Sicily, the retreat will feature four days and four nights of immersive mandolin music and fun-filled Italian vacationing from September 4-8, 2023.

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will once again be taking their “[Mandolin World Retreat](https://mandolinworldretreats.com/)” to Sicily, Italy this autumn. Hosted in the beautiful city of Siracusa on the island of Ortigia off the coast of Sicily, the retreat will feature four days and four nights of immersive mandolin music and fun-filled Italian vacationing from September 4-8, 2023. As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their Mandolin World Retreat will offer a small number of students the opportunity to work hands-on with Mike and Caterina in person, and do so in gorgeous Siracusa, Sicily. Don’t wait—registration is now open! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “We’re looking forward to celebrating and playing music and our mandolins non-stop during the retreat,” Caterina explains. “And, Ortigia couldn’t be a better place to do so. It’s a beautiful little island surrounded by the water, rich with culture and delicious food.” Caterina and Mike will be covering a vast array of musical styles and topics at the retreat including bluegrass, swing, jazz, Brazilian choro, improvisation, and chord theory to the entire history of classical mandolin techniques spanning 300 years. LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) “We’ll be hosting classes during the daytime, teaching all different styles of mandolin playing,” explains Mike. “And, at night, we’ll have our own little private cantina for jam sessions, where we’ll be enjoying plenty of music and delicious food and drink.” For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented [Video Exchange Learning](https://artistworks.com/video-exchange)®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat in Siracusa, Sicily, Italy this September, click [here](https://mandolinworldretreats.com/). LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [SAVE 50%—ArtistWorks Annual Holiday Sales Event 2022](https://blog.artistworks.com/artistworks-annual-holiday-sales-event-2022) [Going Live: “Gator Meets the Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman) [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### ["Time Traveler" is here!](https://blog.artistworks.com/time-traveler-here-0/) **Published:** December 21, 2022 **Author:** ArtistWorks **Excerpt:**

I’m proud to present my latest musical offering, which includes an improvisational approach to 2 classic 15th and 16th century tunes, the FIRST-EVER recording of a Telemann Canonic Sonata on 2 diatonic harmonicas, and 6 improvised compositions which I played on piano, harmonica, percussion, and keyboard, all inspired by Renaissance Music.

Putting myself into a kind of trance, I imagined myself being back in the time of the Renaissance. Come travel with me!

**Content:** ![]() I’m proud to present my latest musical offering, which includes an improvisational approach to 2 classic 15th and 16th century tunes, the FIRST-EVER recording of a Telemann Canonic Sonata on 2 diatonic harmonicas, and 6 improvised compositions which I played on piano, harmonica, percussion, and keyboard, all inspired by Renaissance Music. Putting myself into a kind of trance, I imagined myself being back in the time of the Renaissance. Come travel with me! Stream or download: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### ["Time Traveler" is here!](https://blog.artistworks.com/time-traveler-here/) **Published:** December 21, 2022 **Author:** ArtistWorks **Excerpt:**

I’m proud to present my latest musical offering, which includes an improvisational approach to 2 classic 15th and 16th century tunes, the FIRST-EVER recording of a Telemann Canonic Sonata on 2 diatonic harmonicas, and 6 improvised compositions which I played on piano, harmonica, percussion, and keyboard, all inspired by Renaissance Music.

Putting myself into a kind of trance, I imagined myself being back in the time of the Renaissance. Come travel with me!

**Content:** ![]() I’m proud to present my latest musical offering, which includes an improvisational approach to 2 classic 15th and 16th century tunes, the FIRST-EVER recording of a Telemann Canonic Sonata on 2 diatonic harmonicas, and 6 improvised compositions which I played on piano, harmonica, percussion, and keyboard, all inspired by Renaissance Music. Putting myself into a kind of trance, I imagined myself being back in the time of the Renaissance. Come travel with me! Stream or download: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Just Added!](https://blog.artistworks.com/new-lessons-just-added/) **Published:** December 16, 2022 **Author:** ArtistWorks **Excerpt:**

Two new lessons have just been added! “Sitting on Top of the World” in the Beginner department, and an original tune “Riding Mower Cuts the Bluegrass” by Darol himself in the Intermediate department. Happy fiddling!

**Content:** ![]() Two new lessons have just been added! [“Sitting on Top of the World”](https://my.artistworks.com/darol-anger/learning/203476) in the Beginner department, and an original tune [“Riding Mower Cuts the Bluegrass”](https://my.artistworks.com/darol-anger/learning/203479) by Darol himself in the Intermediate department. Happy fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Annual Holiday Sales Event 2022](https://blog.artistworks.com/artistworks-annual-holiday-sales-event-2022/) **Published:** December 16, 2022 **Author:** ArtistWorks **Excerpt:**

Our annual ArtistWorks Holiday Sale is officially on! This holiday season, save 50% on any 12-month plan at ArtistWorks and start learning directly from a master musician today.

**Content:** ![]() Our annual ArtistWorks Holiday Sale is officially on! This holiday season, save 50% on any 12-month plan at ArtistWorks and start learning directly from a master musician today. We only offer these kinds of savings once a year, so now’s the time to sign up or renew your current membership at an amazing price. Those joining or renewing now will be part of an exciting 2023 with lots of new additions and collaborations coming from many of our artists. Use code WISH50 at checkout to save 50% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through December 27, 2022. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons, and join today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Old Time & Bluegrass Fiddle with Brittany Haas” is Now Open!](https://blog.artistworks.com/old-time-bluegrass-fiddle-brittany-haas-now-open) [Keb’ Mo’ Live: Meet Our Newest Instructor!](https://blog.artistworks.com/keb-mo-live) [4 ArtistWorks Instructors Nominated for 2023 Grammy Awards](https://blog.artistworks.com/4-artistworks-instructors-nominated-2023-grammy-awards) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Just Announced: Brand New Basics of Home Recording “Add-On” Course](https://blog.artistworks.com/new-basics-home-recording-course/) **Published:** December 15, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a brand new “add-on” course designed to teach players how to capture and produce high-quality recordings of their music from home—introducing the Basics of Home Recording!

**Content:** ![]() We’re excited to announce a brand new “add-on” course designed to teach players how to capture and produce high-quality recordings of their music from home—introducing the [Basics of Home Recording](https://artistworks.com/home-recording-course)! Regardless of your instrument or style, this brand new “add-on” course will teach you invaluable skills that will make you a more complete, well-rounded musician, and guide you through the process of capturing your musical ideas one track at a time. Add the course to your lessons list with just a few simple clicks… Plus, current ArtistWorks students have access to special VIP pricing! Add the Basics of Homes Recording “add-on” course (normally $59.00) and receive lifetime access for a one-time payment of $39! Click [here](https://artistworks.com/home-recording-course) to purchase. Learn more about the [Basics of Home Recording](https://artistworks.com/home-recording-course) course below: [Basics of Home Recording](https://artistworks.com/home-recording-course): Taught by master producer Jono Buchanan, this course walks players through the process of creating high-quality recordings from home. Start from the beginning and learn how to capture your musical ideas one track at a time. Viewers will learn the language of production and how to use all the gear needed to record. Turn your ideas into a beautiful finished product and do it all from home! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Old Time & Bluegrass Fiddle with Brittany Haas” is Now Open!](https://blog.artistworks.com/old-time-bluegrass-fiddle-brittany-haas-now-open/) **Published:** December 14, 2022 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Old Time & Bluegrass Fiddle with Brittany Haas,” is officially here! As of 9 am PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Old Time & Bluegrass Fiddle with Brittany Haas](https://artistworks.com/fiddle-lessons-brittany-haas),” is officially here! As of 9 am PT, the course is officially live and open to all students. Brittany Haas is widely considered to be one of the most influential fiddlers of her generation. Her unique style and approach to the instrument have garnered her international acclaim and established her as a pioneer of traditional old time and bluegrass music. Throughout her career, Brittany has shared the stage with countless musical greats including Béla Fleck, Abigail Washburn, Yonder Mountain String Band, The Waybacks, Chris Thile, and fellow ArtistWorks masters [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger). Known most for her fresh take on a wide variety of classic fiddling traditions, Brittany draws influence from not only old time and bluegrass styles but an array of Celtic and Scandinavian genres as well. She began her career as a professional musician at age fourteen, touring nationally as a member of [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger)’s Republic of Strings, and released her debut, self-titled record at seventeen. Currently, Brittany resides in Nashville, TN, where she is a highly sought-after recording artist, songwriter, and session musician. In addition to collaborating on a wide variety of projects with some of the biggest names in bluegrass, Brittany also leads her own quartet alongside bassist Paul Kowert of Punch Brothers, guitarist Jordan Tice, and mandolinist Dominick Leslie called Hawktail. Brittany’s technical abilities combined with her deep knowledge of a vast array of fiddling traditions truly elevate her above the rest. Through her online fiddle lessons here at ArtistWorks, you’ll learn the ins and outs of Brittany’s distinct approach to the fiddle, and the intricate methods that define her one-of-a-kind sound and style. “My fiddle curriculum spans a lot of bluegrass tunes and old time tunes, as well as some Celtic and Scandinavian tunes,” Brittany explains. “Fiddle is such a versatile instrument, and I want my students to get a well-rounded view of all these different traditions.” In addition to her expertise as a performer, Brittany is also a committed educator with years of experience teaching fiddle both at string camps nationwide and online. Brittany has drawn from her extensive knowledge as both a professional fiddler and music instructor to create a comprehensive course of [fiddle lessons online](https://artistworks.com/fiddle-lessons-brittany-haas) designed to teach players of all levels how to play bluegrass and old time fiddle. “There are lessons here for every level,” explains Brittany. “So, wherever you’re at in your playing right now, there’s going to be something for you and something to help you get to the next level.” So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Brittany and get an intimate look into her unique approach and style. Grow as a fiddler while simultaneously furthering yourself as a musician, and get direct guidance from Brittany at every step of your musical journey. “The goal here is to develop all of my students into full and complete musicians,” Brittany explains. “I want my students to have all of the knowledge and abilities to do whatever they want as a musician.” [SIGN UP NOW](https://artistworks.com/fiddle-lessons-brittany-haas) to gain access to Brittany’s library of [old time & bluegrass fiddle lessons](https://artistworks.com/fiddle-lessons-brittany-haas), as well as our patented Video Exchange Learning® platform. Brittany reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Special Guest Interview: Alex Hargreaves](https://blog.artistworks.com/special-guest-interview-alex-hargreaves/) **Published:** December 6, 2022 **Author:** ArtistWorks **Excerpt:**

We’re happy to announce a new interview with Alex Hargreaves - the innovative, cross-genre violinist described as “one of the greatest improvising violinists in America today” and most recently as part of the Billy Strings band lineup. Alex has a long relationship with Darol and has subbed in right here doing video exchanges as a guest instructor at ArtistWorks. Darol and Alex talk about technique, their history, and perform a couple of tunes in this 6-part interview. To go to the first part, click HERE. Enjoy!

**Content:** ![]() We’re happy to announce a new interview with Alex Hargreaves – the innovative, cross-genre violinist described as “one of the greatest improvising violinists in America today” and most recently as part of the Billy Strings band lineup. Alex has a long relationship with Darol and has subbed in right here doing video exchanges as a guest instructor at ArtistWorks. Darol and Alex talk about technique, their history, and perform a couple of tunes in this 6-part interview. To go to the first part, click [HERE](https://my.artistworks.com/darol-anger/learning/203172). Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Piano Lesson: Tips To Get You Sight Reading Music](https://blog.artistworks.com/piano-lesson-sight-reading-music/) **Published:** December 6, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most critical skills that many professional musicians will tell you is essential to master is the ability to sight read music. But, learning to sight read music is no small task. Not only do you have to be able to think linearly and perform the music on the page accurately in time, but you also have to be able to think vertically to effectively perform chords and harmonies correctly. Fortunately, world-renowned pianist and ArtistWorks popular piano instructor, Hugh Sung, has a few tremendously helpful tips to get you sight reading more quickly, effectively, and accurately.

**Content:** ![]() One of the most critical skills that many professional musicians will tell you is essential to master is the ability to sight read music. But, learning to sight read music is no small task. Not only do you have to be able to think linearly and perform the music on the page accurately in time, but you also have to be able to think vertically to effectively perform chords and harmonies correctly. Fortunately, world-renowned pianist and ArtistWorks popular piano instructor, [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung), has a few tremendously helpful tips to get you sight reading more quickly, effectively, and accurately. In this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung), Hugh provides helpful guidance to improve your fluency when reading in both the treble and bass clefs (sometimes referred to as the G and F clefs, respectively). He also outlines a few exercises designed to improve your ability to sight read effectively in time, while simultaneously strengthening your ability to read vertical chords and harmonies more quickly and accurately. LEARN MORE: [Want to learn how to play the piano from a master musician like Hugh Sung? Try some free online piano lessons now! ](https://go.artistworks.com/free-online-piano-lessons-hugh-sung) “Learning to read music is just like learning to read a foreign language,” Hugh explains. “The first step is to get comfortable with the musical alphabet within each clef. From there, you want to focus on the very outer edges—the very top and very bottom—of your music.” You may be wondering, “why should I focus on the very top and very bottom lines of the music on the staff? What’s so important about those two parts in particular?” In most written music, the top line of notes typically makes up the piece’s melody, while the bottom line outlines the bass part. These two voices—the melody and the bass—define the framework of the piece. The melody provides the piece’s fundamental tune and the bass indicates the harmonic structure. Thus, when learning to sight read, it’s important to start with those two voices. Once you’ve mastered reading the melody and bass parts quickly, you can fill in the other parts of the piece from there. Eventually, you’ll get to a point where you can read all the parts fluently in time. “It’s no surprise that the best way to improve your sight reading abilities is just like improving your ability to speak or read in a foreign language,” Hugh explains. “It just takes practice, practice, practice. The more you read, the better you’ll get.” To learn more about sight reading music and get some tips to help you sight read more quickly and effectively, dive into this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung) from [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung): Tips to Get You Sight Reading Music with Hugh Sung: LEARN MORE: Have you always wanted to learn how to play the piano? Through our comprehensive [piano lessons online](https://artistworks.com/piano-lessons-hugh-sung) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung), and get personal feedback on your playing. Hugh’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, popular piano tunes, sight reading music, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: An Intro to Improv Using the Pentatonic Scale with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-pentatonic-scale) [Beginner Piano Lesson: Major vs. Minor Pentascales with Zachary Deak](https://blog.artistworks.com/beginner-piano-lesson-major-vs-minor-pentascales-zachary-deak) [Piano Lesson: Creating an Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Keb’ Mo’ Live: Meet Our Newest Instructor!](https://blog.artistworks.com/keb-mo-live/) **Published:** December 1, 2022 **Author:** ArtistWorks **Excerpt:**

Five-time GRAMMY Award winner Keb’ Mo’ today announced the upcoming release of his first-ever Interactive Video Masterclass Series produced in partnership with TrueFire Studios—a family of brands that includes ArtistWorks, TrueFire, JamPlay, and FaderPro.

**Content:** ![]() Five-time GRAMMY Award winner [Keb’ Mo’](https://kebmo.com/) today announced the upcoming release of his first-ever Interactive Video Masterclass Series produced in partnership with TrueFire Studios—a family of brands that includes [ArtistWorks](https://artistworks.com/), [TrueFire](https://truefire.com/), [JamPlay](https://jamplay.com/), and [FaderPro](https://faderpro.com/). The course will officially launch in February 2023, but you can purchase now to secure lifetime access to the course upon launch PLUS exclusive video content sent directly to your inbox as it becomes available and a special VIP discount. Sign up [here](https://artistworks.com/kebmo-presale)! ABOUT KEB’S COURSE: The extensive and immersive masterclass examines all aspects of Keb’s innovative, genre-bending songwriting and guitar artistry. The series of online blues guitar lessons will be presented in a variety of interactive formats including streaming for all desktop and mobile devices. Using his extensive discography as the framework for the masterclass, Keb’ will perform and then share insights about his creative songwriting approaches as well as his signature acoustic and electric guitar techniques. “I am beyond excited to share my process with other singer-songwriters and students of guitar. It’s an honor to collaborate with TrueFire Studios to bring these lessons to life,” said Keb’ Mo’. Keb’ shares insights and performs many of his fans’ favorite songs from his early recordings and present-day albums. Students can play and practice along with Keb’ using our interactive learning tools. Tab, notation, and other supplemental learning materials are provided so students can learn at their own pace. LIVESTREAM WITH KEB – DECEMBER 1, 2022 @ 12pm PT: To celebrate the announcement, we’ll be hosting a live-stream event with Keb’ today, December 1, 2022, at 12 pm PT. Keb’ will be discussing the course in more detail, sharing some of the knowledge that will be covered in detail in his course, and answering viewer questions in real-time. Tune in here to watch: Keb’ Mo’ Live: Online Teaching Session || ArtistWorks: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols’ New Single, “Down the Drain”](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain) [Blues Guitar Lesson: Soloing Over the 12 Bar Blues Changes with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-soloing-12-bar-blues) [Top 4 Techniques for Country Guitar Soloing ](https://blog.artistworks.com/top-4-techniques-country-guitar-soloing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [December VE Submission Deadline Dates](https://blog.artistworks.com/december-ve-submission-deadline-dates-0/) **Published:** November 29, 2022 **Author:** ArtistWorks **Excerpt:**

Hello Everyone! Wow, where has this year gone? Wishing all of you a happy, healthy, and musical holiday season!

**Content:** Hello Everyone! Wow, where has this year gone? Wishing all of you a happy, healthy, and musical holiday season! - Sunday Dec. 4 - Sunday Dec. 18 ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [December VE Submission Deadline Dates](https://blog.artistworks.com/december-ve-submission-deadline-dates/) **Published:** November 29, 2022 **Author:** ArtistWorks **Excerpt:**

Hello Everyone! Wow, where has this year gone? Wishing all of you a happy, healthy, and musical holiday season!

**Content:** Hello Everyone! Wow, where has this year gone? Wishing all of you a happy, healthy, and musical holiday season! - Sunday Dec. 4 - Sunday Dec. 18 ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Cyber Week Sales Event 2022](https://blog.artistworks.com/artistworks-cyber-week-sale-2022/) **Published:** November 28, 2022 **Author:** ArtistWorks **Excerpt:**

It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! SAVE 40% on any 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today.

**Content:** ![]() It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! SAVE 40% on any 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today. Use code CW40 at checkout to save 40% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through December 4, 2022. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video. Our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Playing in Open D with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d) [4 ArtistWorks Instructors Nominated for 2023 Grammy Awards](https://blog.artistworks.com/4-artistworks-instructors-nominated-2023-grammy-awards) [Going Live: “Gator Meets The Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Playing in Open D](https://blog.artistworks.com/bluegrass-guitar-lesson-playing-open-d/) **Published:** November 23, 2022 **Author:** ArtistWorks **Excerpt:**

An essential element of the bluegrass guitar aesthetic is the strategic use of open strings to craft fluid, tasteful melodic runs. Without the use of a capo or altered tuning, well-versed bluegrass acoustic guitar players frequently utilize open strings within their melodic phrases when playing in both the major and minor key centers of E, A, G, C, and D. Due to the nature of the guitar’s construction and where the notes happen to fall on the fretboard in standard tuning, integrating open string lines within these five key centers is exceptionally natural. That being said, it’s important for aspiring bluegrass guitarists to be intimately familiar with playing in the open position of these five keys, and, as such, it’s critical to invest time into learning them.

**Content:** ![]() An essential element of the bluegrass guitar aesthetic is the strategic use of open strings to craft fluid, tasteful melodic runs. Without the use of a capo or altered tuning, well-versed bluegrass acoustic guitar players frequently utilize open strings within their melodic phrases when playing in both the major and minor key centers of E, A, G, C, and D. Due to the nature of the guitar’s construction and where the notes happen to fall on the fretboard in standard tuning, integrating open string lines within these five key centers is exceptionally natural. That being said, it’s important for aspiring bluegrass guitarists to be intimately familiar with playing in the open position of these five keys, and, as such, it’s critical to invest time into learning them. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Punch Brothers co-founder, Grammy Award-winning guitarist, and ArtistWorks bluegrass acoustic guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), teaches the ins and outs of playing in the open position in the key of D major. To clarify, Chris is not teaching how to play in open D tuning. His guitar is tuned in standard tuning in this lesson. What Chris does provide, however, is detailed guidance on how to craft melodies and improvised lines in the key of D major within the hand position and register of an open D chord. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) “Crafting lines around the position of an open D chord is really a beautiful thing on the guitar,” Chris explains. “Below your open D chord, you have all the open strings at your disposal, which allows for so many unique opportunities to create complex and beautiful melodies.” Chris outlines the entire D major scale at your disposal within the hand position of an open D chord—running all the way from the open E on the lowest string, all the way to the A on the fifth fret of the highest string. Getting this series of notes firmly under your fingers will be critical as you begin crafting your own improvised lines or learning your favorite tunes in open D. “Playing in the open D position allows you to perform arrangements that feature these low notes that can ring effortlessly,” explains Chris. “The open A string provides a really strong tonality of a 5th that makes this position so unique and powerful.” To learn more about playing in the open D position and begin playing, improvising, and writing in this critical register and key center, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Playing in Open D with Chris Eldridge: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [4 ArtistWorks Instructors Nominated for 2023 Grammy Awards](https://blog.artistworks.com/4-artistworks-instructors-nominated-2023-grammy-awards) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Bluegrass Guitar Lesson: An Introduction to Crosspicking with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-crosspicking) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [4 ArtistWorks Instructors Nominated for 2023 Grammy Awards](https://blog.artistworks.com/4-artistworks-instructors-nominated-2023-grammy-awards/) **Published:** November 18, 2022 **Author:** ArtistWorks **Excerpt:**

On Tuesday, November 15, 2022, the 65th annual Grammy nominations recognizing the best recordings, albums, and musical artists of the last year were announced to the public. We are beyond excited to report that four current ArtistWorks instructors (as well as a few soon-to-be-announced educators!) have been nominated for Grammy Awards this year—Peter Erskine, Noam Pikelny, Chris Eldridge, and Andy Hall.

**Content:** ![]() On Tuesday, November 15, 2022, the 65th annual Grammy nominations recognizing the best recordings, albums, and musical artists of the last year were announced to the public. We are beyond excited to report that four current ArtistWorks instructors (as well as a few soon-to-be-announced educators!) have been nominated for Grammy Awards this year—[Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall). [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine): World-renowned drummer and ArtistWorks instructor of jazz drums, [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), has been nominated in the category of “Best Jazz Instrumental Album” for the prolific work on his recent live trio record entitled [Live in Italy](https://petererskine.com/featured-album/live-in-italy/). Peter Erskine Trio—“The Honeymoon” (Live Performance Video): LEARN MORE: [Want to learn how to play jazz drums from a master musician like Peter Erskine? Try some free online drum lessons now!](https://go.artistworks.com/free-online-drum-lessons-peter-erskine) Released on May 20, 2022, Live in Italy features jazz giants Alan Pasqua on piano and Darek Oles on bass alongside Erskine and was recorded live in concert on November 19, 2021, at the Teatro Sociale in Camogli, Italy. The ten track album features eight original compositions written by Pasqua, Oles, and Erskine, as well as two classic jazz standards—”Nuages” by Django Reinhardt and “Con Alma” by Dizzy Gillespie. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) & [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Banjoist Noam Pikelny and guitarist Chris Eldridge are not only virtuosic musicians and bluegrass instructors here at ArtistWorks but are also co-founding members of the iconic acoustic quintet, Punch Brothers. Alongside mandolinist Chris Thile, fiddler Gabe Witcher, and bassist Paul Kowert, Pikelny and Eldridge are nominated in the category of “Best Folk Album” for their work on Punch Brothers’ most recent record, [Hell on Church Street](https://kf-merch.com/collections/punch-brothers/products/hell-on-church-street-vinyl-lp), which was released in January 2022. LEARN MORE: [Want to learn how to play banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) Punch Brothers—“Pride of Man” (Live Studio Performance Video): LEARN MORE: [Want to learn how to play guitar from a bluegrass master like Chris Eldridge? Try some free online guitar lessons now! ](https://go.artistworks.com/guitar-lessons-chris-eldridge) Notes about [Hell on Church Street](https://kf-merch.com/collections/punch-brothers/products/hell-on-church-street-vinyl-lp) from Punch Brothers’ website: “In November of 2020, when the world felt so full of uncertainty, the Grammy-winning folk band Punch Brothers did the one thing that they could rely on: they stood in a circle, facing one another, and made music together. A weeklong recording session, after quarantining and little rehearsal outside of a few Zoom calls, had culminated in their new record, Hell on Church Street—a reimagining of bluegrass great Tony Rice’s landmark solo album, Church Street Blues.” [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall): Resophonic guitar master and ArtistWorks dobro and lap steel guitar instructor, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall), is also nominated for a Grammy Award this year alongside fellow members of his critically acclaimed bluegrass outfit, The Infamous Stringdusters. The group is up for an award in the category of “Best Bluegrass Album” for their recent record release, [Toward the Fray](https://thestringdusters-store.com/collections/toward-the-fray), which debuted this past February. The Infamous Stringdusters—“I’m Not Alone” (Official Music Video): LEARN MORE: [Want to learn dobro or lap steel guitar from a master musician like Andy Hall? Try some free online dobro lessons now!](https://go.artistworks.com/free-online-dobro-lessons-andy-hall) Powerful notes about [Toward the Fray](https://thestringdusters-store.com/collections/toward-the-fray) from the Infamous Stringdusters’ website: “Music brought us all together some 16 years ago, but life and our evolution as people, not just musicians, is what keeps us together and keeps things interesting. Now we have something to say, and the experience to seize that moment in a meaningful way. Maybe this is just a first step in this new direction, and we are certainly not claiming to have all the answers–after all, the irony of growth is that there is a humility in it. But as we gain a sense of awareness and responsibility, we want to do everything we can to honor that and do some good in the world. That’s what this album is all about.” ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video. Our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Melodic Style Banjo Lesson: Learn to Play “Blackberry Blossom” with Noam Pikelny](https://blog.artistworks.com/melodic-style-banjo-lesson-blackberry-blossom) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Jazz Drum Lesson: Learning ‘Elvin Triplets’ with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-learning-elvin-triplets-peter-erskine) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Black Friday Sales Event 2022](https://blog.artistworks.com/artistworks-black-friday-sale-2022/) **Published:** November 17, 2022 **Author:** ArtistWorks **Excerpt:**

Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No crowds, no shortages, no delays—it's all right here online.

**Content:** ![]() Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No crowds, no shortages, no delays—it’s all right here online. ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Those who join during our Black Friday sales event will be part of an exciting 2023 with lots of new additions and collaborations coming from many of our artists. Use code 40FRIDAY at checkout to save 40% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through November 27, 2022. So, take advantage now and start playing at a higher level! READ MORE: [Pre-Sale VIP Memberships for “Old Time & Bluegrass Fiddle with Brittany Haas” Now Available!](https://blog.artistworks.com/pre-sale-memberships-old-time-bluegrass-fiddle-brittany-haas) [Announcing the TrueFire Collection at ArtistWorks](https://blog.artistworks.com/announcing-truefire-collection-artistworks) [Going Live: “Gator Meets The Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ Practical Music Theory for Ukulele: New Lesson Department and Batch of New Lessons Just Added!](https://blog.artistworks.com/practical-music-theory-ukulele-new-lesson-department-and-batch-new-lessons-just-added/) **Published:** November 11, 2022 **Author:** ArtistWorks **Excerpt:**

We're excited to announce the launch of a brand new lesson department here at the ArtistWorks Ukulele school with Craig & Sarah; Practical Music Theory for Ukulele. This new lesson department can be found with the other lessons in the main Lessons tab and is filled with a fresh batch of new lessons and accompanying study guide.

**Content:** ![]() We’re excited to announce the launch of a brand new lesson department here at the ArtistWorks Ukulele school with Craig & Sarah; Practical Music Theory for Ukulele. This new lesson department can be found with the other lessons in the main Lessons tab and is filled with a fresh batch of new lessons and accompanying study guide. “This is just part 1 of a larger series, where we are taking you through the practical uses of theory for ‘ukulele. This is something that we’ve wanted to add to our school for a long time, and it’s wonderful to finally have the time to get it ready for our students. Don’t forget to download the study materials with your lessons so you can follow along and fill in your study guide.” -Sarah Maisel These new lessons will help you to learn basic music theory concepts that are directly useful and applicable to the Ukulele. This first round of lessons in this series include topics such has how scales formed, how to build and interpret many different types of chors, common progressions, how to transpose tunes, and more. To get started now [CLICK HERE](https://my.artistworks.com/craig-sarah/learning/202290) to go directly to the first lesson. Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Going Live: “Gator Meets The Dawg” with Mike Marshall & David Grisman](https://blog.artistworks.com/going-live-mike-marshall-david-grisman/) **Published:** November 11, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that at 12:00 pm PST on Friday, November 18, 2022, ArtistWorks will be hosting a free virtual live-streamed event featuring world-renowned mandolinist and ArtistWorks instructor, Mike Marshall, and bluegrass mandolin legend, David Grisman.

**Content:** ![]() We are excited to announce that at 12:00 pm PST on Friday, November 18, 2022, ArtistWorks will be hosting a free virtual live-streamed event featuring world-renowned mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and bluegrass mandolin legend, David Grisman. Together, these two master musicians will be discussing all things music. They’ll be sharing stories about how they met, chatting about their time playing together in the David Grisman Quintet, answering viewer questions in real-time, and performing a handful of tunes. So, if there’s a question that you’ve been dying to ask either of these mandolin masters, now’s the perfect time to get it answered! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Mike and David will also be detailing and providing updates on another major facet of David’s career—the record label that he founded in 1990 and is still managing to this day, “[Acoustic Disc](https://acousticdisc.com/).” In addition to frequent releases of his own music via [Acoustic Disc](https://acousticdisc.com/), David also produces, supports, promotes, and distributes recordings from some of the biggest names in acoustic music, including Sam Bush, Del McCoury, Bill Monroe, Tony Rice, Doc Watson, and more. We’re eagerly awaiting to learn more about how these two master musicians met, hear more about what they’ve been up to this year and their plans for the future, see what tunes they might perform, and get your fantastic questions answered by these virtuosic musicians. The discussion and performances are sure to be lively and exciting, and we look forward to seeing you there! Tune in here on Friday, November 18, 2022, at 12:00 pm PT to join the event: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2023](https://blog.artistworks.com/mike-marshall-caterina-lichtenberg-mandolin-retreat-2023) [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Rock Guitar Lesson: Learn to Play Jared James Nichols' New Single, "Down the Drain"](https://blog.artistworks.com/guitar-lesson-jared-james-nichols-down-the-drain/) **Published:** November 11, 2022 **Author:** ArtistWorks **Excerpt:**

On October 26, 2022, blues rock powerhouse and ArtistWorks instructor, Jared James Nichols released his latest single, “Down the Drain,” on Black Hill Records.

**Content:** ![]() On October 26, 2022, blues rock powerhouse and ArtistWorks instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) released his latest single, “Down the Drain,” on Black Hill Records. Featuring swirling modulated effects, a psychedelic trance-inducing descending chord pattern, and signature screaming guitar solos from Jared, “Down the Drain” continues to showcase the “Blues Power” titan’s unique ability to push the limits of blues rock into new sonic territory while remaining authentic and true to the sound and aesthetic of the genre. In this detailed [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), Jared teaches exactly how to play “Down the Drain” step-by-step, outlining all the critical techniques needed to master the tune’s intoxicating riffs and licks. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “‘Down the Drain’ is very special to me, and really near and dear to my heart,” Jared explains. “So, with that in mind, I wanted to take an opportunity to really teach each part of the song here, exclusively for my ArtistWorks family.” From tuning to picking, chord fingerings, vibrato, song structure, and more, Jared outlines everything you need to know to play “Down the Drain” with a genuine “Blues Power” attitude. “I want to hear you all jam this,” exclaims Jared. “I want to hear you jam the riffs. I want to hear you shred the solos. Send them over via Video Exchange in my course! I would love to see that and hear your progress. And, I hope that this lesson sheds a light on a few helpful things that you can work on and apply to all parts of your playing!” Learn to Play Jared James Nichols’ New Single, “Down the Drain:” “Down the Drain” is currently available to stream on all major platforms, and the official music video can be viewed on Jared’s YouTube channel here: Jared James Nichols—“Down the Drain” (Official Music Video): LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: Playing with Attitude with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols) [Blues Guitar Lesson: Soloing Over the 12 Bar Blues Changes with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-soloing-12-bar-blues) [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Important Message from Stu Hamm!](https://blog.artistworks.com/important-message-stu-hamm/) **Published:** November 10, 2022 **Author:** ArtistWorks **Excerpt:**

Hello fellow bass players!

I had to have some surgical junk done that will sideline me for 3-6 weeks. Nothing too serious, I’ll be back soon and stronger than ever! I wanted you all to know, and I hope you'll understand, that I will be delayed responding to your videos until mid-November at the earliest.

See you soon, keep practicing!

**Content:** ![]() *Hello fellow bass players!* *I had to have some surgical junk done that will sideline me for 3-6 weeks. Nothing too serious, I’ll be back soon and stronger than ever! I wanted you all to know, and I hope you’ll understand, that I will be delayed responding to your videos until mid-November at the earliest.* *See you soon, keep practicing!* ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: An Introduction to Crosspicking](https://blog.artistworks.com/bluegrass-guitar-lesson-crosspicking/) **Published:** November 3, 2022 **Author:** ArtistWorks **Excerpt:**

As is the case with most genres, there are a handful of guitar techniques that must be utilized to accurately capture the aesthetic of the bluegrass style. Picking techniques, such as alternate picking and crosspicking, in particular, are tremendously important when playing bluegrass guitar. Therefore, it’s critical to take your time and focus on executing these techniques correctly and precisely as you begin to implement them into your playing. Eventually, the physical mechanics of these methods will become ingrained into your muscle memory, and they must be properly established from the get-go.

**Content:** ![]() As is the case with most genres, there are a handful of guitar techniques that must be utilized to accurately capture the aesthetic of the bluegrass style. Picking techniques, such as alternate picking and crosspicking, in particular, are tremendously important when playing bluegrass guitar. Therefore, it’s critical to take your time and focus on executing these techniques correctly and precisely as you begin to implement them into your playing. Eventually, the physical mechanics of these methods will become ingrained into your muscle memory, and they must be properly established from the get-go. In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), teaches the basics of crosspicking and outlines the process for integrating melodies into crosspicked patterns and arpeggios. LEARN MORE: [Want to learn how to play acoustic guitar from a bluegrass master like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “Once you have the core melody of a tune internalized in your mind, you’re then ready to think about piecing together a crosspicking arrangement,” Bryan explains. “It’s critical to be equally aware of where the notes of the melody fall and where there’s space. Only then will we understand how we’ll fill the spaces with a crosspicking pattern.” What is crosspicking? Crosspicking is a guitar technique in which a flatpick is used to play a rolling, syncopated pattern across three strings. This rolling pattern typically outlines chord tones; however, melodic lines can be featured as well. The crosspicking technique was developed to imitate the sound and aesthetic of a banjo roll, with the primary difference being that banjo rolls are fingerpicked rather than flatpicked. “Creating crosspicking arrangements is all about incorporating supportive harmonic information alongside the melody,” explains Bryan. “When I put the chords and the melody together, I’m filling the spaces between the core sequence of melody notes with supporting harmony in the form of crosspicked passages.” To learn more about crosspicking and how to begin implementing the technique into your own playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): An Introduction to Crosspicking with Bryan Sutton: LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Walking Bass Runs with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-walking-bass-lines) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Bluegrass Guitar Lesson: Embellishing Your Boom Chuck Strumming with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-embellishing-your-boom-chuck-strumming-bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Bluegrass Vocal Lesson: An Introduction to Vocal Harmony](https://blog.artistworks.com/bluegrass-vocal-lesson-harmony/) **Published:** October 27, 2022 **Author:** ArtistWorks **Excerpt:**

As a vocalist, it's essential to not only be able to sing in a solo setting, but also perform with other singers and instrumentalists as well. When performing in an ensemble with multiple vocalists, it’s sometimes the case that the singers will all sing the same notes of a melody in unison. However, more often than not, vocalists in an ensemble will sing melodic lines that complement one another alongside the piece’s primary melody. This common practice is referred to as vocal harmony.

**Content:** ![]() As a vocalist, it’s essential to not only be able to sing in a solo setting, but also perform with other singers and instrumentalists as well. When performing in an ensemble with multiple vocalists, it’s sometimes the case that the singers will all sing the same notes of a melody in unison. However, more often than not, vocalists in an ensemble will sing melodic lines that complement one another alongside the piece’s primary melody. This common practice is referred to as vocal harmony. In this [online vocal lesson](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), critically acclaimed multi-instrumentalist and ArtistWorks instructor of bluegrass vocals, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), teaches the basics of vocal harmony, explains the concept, and provides a handful of helpful exercises so that you can not only sing harmony parts accurately and in tune, but also begin crafting your own. LEARN MORE: [Want to learn how to sing in the bluegrass style from a master vocalist like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-bluegrass-vocals-lessons-michael-daves) “When learning how to sing vocal harmonies, it’s important to understand how the harmony parts relate to the chords of the song and also to the melody,” Michael explains. “I want to give you the behind-the-scenes look so that you really understand what’s going on on both a theoretical and technical level.” What is harmony? In its most general terms, harmony is the combination of simultaneously sounded musical notes intended to produce chords, chord progressions, parallel melodies, and counter melodies. These note combinations are typically intended to have a pleasing sonic effect. In the context of bluegrass vocals, harmonies most commonly occur in the form of parallel melodies and counter melodies that highlight the primary tune of each song. “A great way to start internalizing various vocal harmonies is to take each root note of the major scale and practice singing the next chord tone up from that note,” explains Michael. “It’s a fantastic way to practice your technique, and, as it becomes internalized, will also allow you to begin predicting in advance what the next harmony note in a melody will likely be.” To learn more and unpack critical exercises to help you begin constructing vocal harmonies, dive into this [online vocal lesson](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) from [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves): An Introduction to Vocal Harmony with Michael Daves: LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and [Video Exchange Learning](https://artistworks.com/video-exchange) platform here at ArtistWorks, you can learn from internationally renowned musicians, like [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), and get personal feedback on your singing. Michael’s course starts with the basics and teaches everything from beginner vocal methods to advanced performance techniques, classical bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Summer Series—Week 6: Michael Daves](https://blog.artistworks.com/artistworks-summer-series-michael-daves) [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) [Michael Daves Celebrates 2,000 Video Exchanges!](https://blog.artistworks.com/michael-daves-celebrates-2000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing “Old Time & Bluegrass Fiddle with Brittany Haas”](https://blog.artistworks.com/new-course-old-time-bluegrass-fiddle-brittany-haas/) **Published:** October 26, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming in December 2022, “Old Time & Bluegrass Fiddle with Brittany Haas.”

**Content:** ![]() We are excited to announce our newest course coming in December 2022, “[Old Time & Bluegrass Fiddle with Brittany Haas](https://go.artistworks.com/fiddle-lessons-brittany-haas).” Brittany Haas is widely considered to be one of the most influential fiddlers of her generation. Her unique style and approach to the instrument have garnered her international acclaim and established her as a pioneer of traditional old time and bluegrass music. Throughout her career, Brittany has shared the stage with countless musical greats including Béla Fleck, Abigail Washburn, Yonder Mountain String Band, The Waybacks, Chris Thile, and fellow ArtistWorks masters [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger). Known most for her fresh take on a wide variety of classic fiddling traditions, Brittany draws influence from not only old time and bluegrass styles but an array of Celtic and Scandinavian genres as well. She began her career as a professional musician at age fourteen, touring nationally as a member of [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger)’s Republic of Strings, and released her debut, self-titled record at seventeen. Currently, Brittany resides in Nashville, TN, where she is a highly sought-after recording artist, songwriter, and session musician. In addition to collaborating on a wide variety of projects with some of the biggest names in bluegrass, Brittany also leads her own quartet alongside bassist Paul Kowert of Punch Brothers, guitarist Jordan Tice, and mandolinist Dominick Leslie called Hawktail. Brittany’s technical abilities combined with her deep knowledge of a vast array of fiddling traditions truly elevate her above the rest. Through her online fiddle lessons here at ArtistWorks, you’ll learn the ins and outs of Brittany’s distinct approach to the fiddle, and the intricate methods that define her one-of-a-kind sound and style. “My fiddle curriculum spans a lot of bluegrass tunes and old time tunes, as well as some Celtic and Scandinavian tunes,” Brittany explains. “Fiddle is such a versatile instrument, and I want my students to get a well-rounded view of all these different traditions.” In addition to her expertise as a performer, Brittany is also a committed educator with years of experience teaching fiddle both at string camps nationwide and online. Brittany has drawn from her extensive knowledge as both a professional fiddler and music instructor to create a comprehensive course of fiddle lessons online designed to teach players of all levels how to play bluegrass and old time fiddle. “There are lessons here for every level,” explains Brittany. “So, wherever you’re at in your playing right now, there’s going to be something for you and something to help you get to the next level.” So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Brittany and get an intimate look into her unique approach and style. Grow as a fiddler while simultaneously furthering yourself as a musician, and get direct guidance from Brittany at every step of your musical journey. “The goal here is to develop all of my students into full and complete musicians,” Brittany explains. “I want my students to have all of the knowledge and abilities to do whatever they want as a musician.” [Sign up now](https://go.artistworks.com/fiddle-lessons-brittany-haas) for news updates from Brittany and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with notation and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented [Video Exchange Learning®](https://artistworks.com/video-exchange) platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fiddle Lesson: Learning the Blues Scale with Darol Anger](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger) [Darol Anger & Mr. Sun Release Vinyl Pressing of Extrovert](https://blog.artistworks.com/darol-anger-mr-sun-vinyl-extrovert) [Classical Violin Lesson: Dynamics & Color with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-dynamics-color) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Blues Guitar Lesson: Soloing Over the 12 Bar Blues Changes](https://blog.artistworks.com/blues-guitar-lesson-soloing-12-bar-blues/) **Published:** October 21, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore.

**Content:** ![]() One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore. For guitarists in particular, especially within the blues genre, it is not uncommon to perform an improvised solo over one or more verses of a 12 bar blues. Therefore, it’s critical for blues guitarists to learn how to improvise over a 12 bar blues chord progression in a way that is both tasteful and outlines the song’s form. In this [blues guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), teaches how to elegantly improvise over a 12 bar blues using a technique that Keith refers to as “Key Center Soloing.” Using this method, Keith illustrates how you can craft phrases using the minor pentatonic scale that both adhere to the song’s key and also naturally highlight the chord progression of the 12 bar blues. LEARN MORE: [Want to learn how to play blues guitar from a master musician like Keith Wyatt? Try some free online blues guitar lessons now!](https://go.artistworks.com/free-online-blues-guitar-lessons) “Blues is not about how much you play or how far you go up and down the neck,” Keith explains. “It’s about what you do with your individual phrases, and how much content each note carries. It comes down to the note.” When soloing over any chord progression, and the 12 bar blues is no exception, it’s essential to balance two critical elements—the tonality (or key center) of the song, and the harmony (or individual chord changes) of the song. Using the approach presented in this lesson, Keith shows how you can craft phrases that will accurately highlight the harmony of a blues while remaining focused specifically on the piece’s key center. “When using this technique, our concentration is on the key center,” Keith explains. “This is the idea behind the traditional, ‘down home’ blues. We don’t want to get distracted by the chord changes. We want to recognize them and highlight them, but mostly focus on the key center of the specific blues we’re playing.” To learn more about soloing over a 12 bar blues using the “Key Center Soloing” method, dive into this [online blues guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): Soloing Over the 12 Bar Blues Changes with Keith Wyatt: LEARN MORE: Have you always wanted to learn how to play the blues guitar? Through our comprehensive [blues guitar lessons online](https://artistworks.com/guitar-lessons-keith-wyatt) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and get personal feedback on your playing. Keith’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic blues tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as blues guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Guitar Lesson: Variations on the 12 Bar Blues with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-variations-12-bar-blues) [Blues Rock Guitar Lesson: Playing with Attitude with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols) [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2023](https://blog.artistworks.com/mike-marshall-caterina-lichtenberg-mandolin-retreat-2023/) **Published:** October 20, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, Mike Marshall and Caterina Lichtenberg, will once again be hosting their annual “Mandolin World Retreat” in Benicia, CA. This coming year, it will be over an extended, 3-day weekend from March 3-5, 2023.

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will once again be hosting their annual “[Mandolin World Retreat](https://www.musicworldretreats.com/mandolin-world-2023-mike-marshall)” in Benicia, CA. This coming year, it will be over an extended, 3-day weekend from March 3-5, 2023. As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their Mandolin World Retreat will provide a small number of students with the opportunity to work hands-on with Mike and Caterina in person. Don’t wait—registration begins on Monday, October 24, 2022. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “We keep the size \[of the Retreat\] small so that all the attendees can really interact with us,” Mike and Caterina explain. “This gives everyone ample opportunity for questions, to work with us hands-on, and to discuss some of our favorite tips and tricks. All the while, we make sure to create a warm, energetic, and joy-filled learning environment.” Caterina and Mike will be covering a vast array of musical styles and topics at the retreat including bluegrass, swing, jazz, Brazilian choro, improvisation, and chord theory to the entire history of classical mandolin techniques spanning 300 years. LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) “We started the Mandolin World Retreats as a way to create an intimate, relaxed environment where each mandolinist (no matter their level or style of player) could find inspiration, be propelled forward on their musical journey, and leave with some new music under their fingers,” Mike and Caterina explain. “We love to find that magic spot where you are being challenged but aren’t in over your head.” For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented [Video Exchange Learning](https://artistworks.com/video-exchange)®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2023, click [here](https://www.musicworldretreats.com/mandolin-world-2023-mike-marshall). LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music) [ArtistWorks Summers Series—Week 5: Caterina Lichtenberg](https://blog.artistworks.com/artistworks-summer-series-caterina-lichtenberg) [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Bryan Sutton’s Blue Ridge Guitar Camp 2023](https://blog.artistworks.com/bryan-sutton-blue-ridge-guitar-camp-2023/) **Published:** October 18, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that, after facilitating a fantastic five-day musical event this past June, Grammy Award-winning guitarist and ArtistWorks bluegrass guitar instructor, Bryan Sutton, will once again be hosting his Blue Ridge Guitar Camp in 2023 from May 31 through June 4.

**Content:** ![]() We are excited to announce that, after facilitating a fantastic five-day musical event this past June, Grammy Award-winning guitarist and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-bryan-sutton) instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), will once again be hosting his Blue Ridge Guitar Camp in 2023 from May 31 through June 4. Located in Brevard, NC on the western end of the state at the entrance of the Pisgah National Forest, Bryan’s guitar summit will be a five-day celebration of bluegrass and all things guitar. During the retreat, attendees will call the beautiful, newly-renovated Brevard Music Center home. Featuring multiple auditoriums, numerous large rehearsal spaces, over 100 practice rooms, on-site housing and dining, and outdoor recreation areas, the Brevard Music Center offers not only world-class performance facilities but a remote, picturesque setting that’s sure to inspire days of creativity and music-making. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “I was fortunate to grow up in the mountains of Western North Carolina, surrounded by family and friends sharing in rich musical tradition,” Bryan explains. “A big part of this experience was the impactful and lasting instruction I received. I’m thrilled to host the Blue Ridge Guitar Camp in Brevard, NC.” After two years of waiting as a result of the pandemic, Bryan kicked off his first annual Blue Ridge Guitar Camp in June 2022. Teaching alongside Bryan were guest instructors and fellow guitar masters David Grier, Courtney Hartman, Grant Gordy, and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), who is also a member of our faculty and teaches [bluegrass vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) here at ArtistWorks. Joining Bryan in teaching at the camp in 2023 will be esteemed acoustic guitar players Marcel Ardans, Courtney Hartman, Matt Munisteri, Jake Eddy, and fellow ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-chris-eldridge) instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge). “I’m passionate about all aspects of bluegrass guitar and love sharing what I’ve learned,” explains Bryan. “It’s a real joy to help people realize their potential. We’ve got a great crew of instructors helping to make this an experience like no other.” If you’re interested in attending Bryan’s Blue Ridge Guitar Camp, please visit the retreat website at [blueridgeguitarcamp.com](https://www.blueridgeguitarcamp.com/) and submit your application by December 17, 2022. For those who may not be able to attend, don’t fret! You can work hands-on with Bryan to improve your flatpick guitar playing right here at ArtistWorks through our [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton). And, with our patented Video Exchange Learning® technology, you can receive personal feedback and guidance from Bryan at every step of your musical journey. LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning® platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, improvisation, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bluegrass guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Walking Bass Runs with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-walking-bass-lines) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-5/) **Published:** October 17, 2022 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added to the Intermediate & Jazz Fiddle departments! In this new lesson, Darol teaches and performs a technique he calls “The 3 Skooches”. CLICK HERE to go straight to Part 1 in the Intermediate Fiddle department, or go to the Jazz Fiddle department and find it there. Happy Fiddling!

**Content:** ![]() A new lesson has just been added to the Intermediate & Jazz Fiddle departments! In this new lesson, Darol teaches and performs a technique he calls “The 3 Skooches”. [CLICK HERE](https://my.artistworks.com/darol-anger/learning/201138) to go straight to Part 1 in the Intermediate Fiddle department, or go to the Jazz Fiddle department and find it there. Happy Fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Interview with Sierra Hull added!](https://blog.artistworks.com/new-interview-sierra-hull-added/) **Published:** October 17, 2022 **Author:** ArtistWorks **Excerpt:**

We're very happy to let you know that as you've seen from the recent home page message video, Michael and Sierra Hull recently got together on camera backstage at the FreshGrass Festival in MA. The even better news is he filmed a whole bunch more exclusive discussion and jamming for you during that sessions and we've just posted it all for you in the Special Guests section of the Lessons tab. In this new 7 part series, they get into a variety of musical topics and perform multiple tunes including singing harmonies together and trading some seriously hot solos. To navigate directly to first segment now CLICK HERE. Enjoy!

**Content:** ![]() We’re very happy to let you know that as you’ve seen from the recent home page message video, Michael and Sierra Hull recently got together on camera backstage at the FreshGrass Festival in MA. The even better news is he filmed a whole bunch more exclusive discussion and jamming for you during that sessions and we’ve just posted it all for you in the Special Guests section of the Lessons tab. In this new 7 part series, they get into a variety of musical topics and perform multiple tunes including singing harmonies together and trading some seriously hot solos. To navigate directly to first segment now [CLICK HERE](https://my.artistworks.com/michael-daves/learning/201121). Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Interview with Sierra and Michael Daves added!](https://blog.artistworks.com/new-interview-sierra-and-michael-daves-added/) **Published:** October 17, 2022 **Author:** ArtistWorks **Excerpt:**

We're very happy to let you know that as you've seen from the current home page message video, Sierra and Michael Daves recently got together on camera backstage at the FreshGrass Festival in MA. The even better news is they filmed a whole bunch more exclusive discussion and jamming for you during that sessions and we've just posted it all for you in the LESSONS tab. In this new 7 part series, they get into a variety of musical topics and perform multiple tunes including singing harmonies together and trading some seriously hot solos. To navigate directly to first segment now CLICK HERE. Happy picking and enjoy!

**Content:** ![]() We’re very happy to let you know that as you’ve seen from the current home page message video, Sierra and Michael Daves recently got together on camera backstage at the FreshGrass Festival in MA. The even better news is they filmed a whole bunch more exclusive discussion and jamming for you during that sessions and we’ve just posted it all for you in the LESSONS tab. In this new 7 part series, they get into a variety of musical topics and perform multiple tunes including singing harmonies together and trading some seriously hot solos. To navigate directly to first segment now [CLICK HERE](https://my.artistworks.com/sierra-hull/learning/201131). Happy picking and enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Top 4 Techniques for Country Guitar Soloing](https://blog.artistworks.com/top-4-techniques-country-guitar-soloing/) **Published:** October 12, 2022 **Author:** ArtistWorks **Excerpt:**

When learning how to play electric guitar in the classic country style, it’s important to focus on and incorporate several critical techniques into your playing to truly capture the aesthetic and authentic sound of the genre. There are four approaches, in particular, that should be utilized. They are hybrid picking, alternate picking, pedal-steel-inspired bends, and double-stops.

**Content:** ![]() When learning how to play electric guitar in the classic country style, it’s important to focus on and incorporate several critical techniques into your playing to truly capture the aesthetic and authentic sound of the genre. There are four approaches, in particular, that should be utilized. They are hybrid picking, alternate picking, pedal-steel-inspired bends, and double-stops. In the performance video below, ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), showcases all four of these essential methods as he improvises over a country shuffle in the key of C. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) Guthrie Trapp—Improvisation over a Country Shuffle in C: Hybrid Picking: As the name implies, hybrid picking is a picking technique that hybridizes classic flatpicking and fingerstyle approaches. As you would with traditional flatpicking, hybrid picking utilizes a plectrum (or pick) that is placed between the thumb and index finger of the player’s picking hand. What sets the technique apart, however, is that the picking hand’s middle, ring, and pinky fingers are also engaged in plucking the strings as well, much like in traditional fingerstyle playing. The use of the pick in combination with the middle, ring, and pinky fingers in the picking hand creates the iconic clucking sound that defines and style of traditional country guitar playing, often referred to as “chicken pickin’.” It’s also important to use hybrid picking techniques to properly execute some of the other critical country guitar techniques including double-stops and pedal-steel-inspired bends. Guthrie can be seen using hybrid picking techniques throughout the improvisation video above, but a particularly clear example can be seen at 0:42-0:52. Alternate Picking: Alternate picking is an approach used in a wide variety of styles and is a necessity in country guitar playing. Essentially, alternate picking requires the player to alternate between downward and upward strokes when plucking the string with their pick. By alternating between downward and upward strokes, players are able to perform faster melody lines much more cleanly, clearly, and evenly. It’s critical to use alternate picking in combination with hybrid picking techniques to perform faster “chicken pickin’” runs. You’ll see Guthrie use alternate picking techniques through his country shuffle solo above. However, he doesn’t always stick to this approach. Occasionally, he’ll tastefully veer away from alternate picking, but you’ll notice that he consistently returns to it for the faster eighth-note triplet and sixteenth-note runs. Pedal-Steel-Inspired Bends: The sound of the pedal-steel guitar is ubiquitous in traditional country music. It’s so important to the aesthetic of the genre that electric guitar players will imitate the unmistakable sound of pedal-steel guitar bends in their own playing. What makes a pedal-steel guitar bend sound so unique is that one string is generally changing in pitch (either up or down) while another string remains constant. Pedal-steel players are able to easily and very smoothly alter the pitch of a string using pedals beneath their feet, hence the instrument’s name. So, keeping one string constant in pitch while altering that of another is tremendously simple on the pedal-steel. Electric guitarists are able to imitate this with their fingers, keeping a note constant on one string while simultaneously bending a note on another. However, it is absolutely essential that the finger bends be executed very evenly and cleanly. If the bend is choppy, the player will not properly capture the pedal-steel’s sonic character. Much like the previous two techniques, Guthrie frequently utilizes pedal-steel-inspired bends in his improvised performance above. A few particularly clear examples can be seen at 0:27-0:32 and 0:48-0:51. Double-Stops: Using double-stops is mandatory in order to capture the classic country guitar aesthetic. They’re so critical, in fact, that Guthrie begins his performance in this video using the technique. In simplest terms, a double-stop is the act of playing two notes simultaneously on a stringed instrument. In fact, this technique can be used on instruments ranging from guitar to bass, mandolin, banjo, violin, viola, cello, and beyond. In country music and country guitar playing, double-stops are omnipresent. However, the intervals of the two-note pairings that are most commonly heard are major and minor thirds and major and minor sixths. When crafting your own solos and melodies in the country style, focus on incorporating double-stops that feature those intervals in particular. LEARN MORE: Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Summer Series—Week 7: Guthrie Trapp](https://blog.artistworks.com/artistworks-summer-series-guthrie-trapp) [Going Live with Bryan Sutton, Sierra Hull, & Guthrie Trapp](https://blog.artistworks.com/going-live-bryan-sutton-sierra-hull-guthrie-trapp) [New Bundled Music Courses Now Available](https://blog.artistworks.com/new-bundled-music-courses-now-available) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Weekly Podcast: The Mada & Hugh Piano Duo Show](https://blog.artistworks.com/new-weekly-podcast-mada-hugh-piano-duo-show/) **Published:** October 11, 2022 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Popular Piano Family,

I'm so excited to share with you a new weekly podcast show featuring yours truly together with my piano duo partner, Madalina Danila! You can find this show on Spotify and Stitcher - I'll be working to get it placed in other channels as well. In the meantime, enjoy the show! New episodes every Wednesday morning!

**Content:** Dear ArtistWorks Popular Piano Family, I’m so excited to share with you a new weekly podcast show featuring yours truly together with my piano duo partner, Madalina Danila! You can find this show on Spotify and Stitcher – I’ll be working to get it placed in other channels as well. In the meantime, enjoy the show! New episodes every Wednesday morning! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Upcoming VE Deadline Dates for October and November 2022](https://blog.artistworks.com/upcoming-ve-deadline-dates-october-and-november-2022/) **Published:** October 11, 2022 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Popular Piano Family,

Here are the next VE deadlines dates going to the end of November:

Enjoy this month's welcome video!

Hugh

**Content:** Dear ArtistWorks Popular Piano Family, Here are the next VE deadlines dates going to the end of November: - Sunday, October 23 - Sunday, November 6 - Sunday, November 27 Enjoy this month’s welcome video! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Melodic Style Banjo Lesson: Learn to Play "Blackberry Blossom"](https://blog.artistworks.com/melodic-style-banjo-lesson-blackberry-blossom/) **Published:** October 6, 2022 **Author:** ArtistWorks **Excerpt:**

In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by 16th-note arpeggios outlining the song’s harmonic movement and structure. However, in more modern and progressive schools of bluegrass banjo playing, many banjoists will take a more streamlined approach and perform single-line melodies, much like a mandolinist, fiddler, or guitarist would. This method of banjo playing is commonly referred to as “melodic style.”

**Content:** ![]() In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by 16th-note arpeggios outlining the song’s harmonic movement and structure. However, in more modern and progressive schools of bluegrass banjo playing, many banjoists will take a more streamlined approach and perform single-line melodies, much like a mandolinist, fiddler, or guitarist would. This method of banjo playing is commonly referred to as “melodic style.” In this [online banjo lesson](https://artistworks.com/banjo-lessons-noam-pikelny), Punch Brothers co-founder, Grammy Award-winning banjoist, and ArtistWorks bluegrass banjo instructor, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), teaches how to play the bluegrass classic, “Blackberry Blossom,” using modern, melodic style banjo techniques. In addition to outlining the tune, Noam provides instruction on critical techniques that will allow you to more gracefully shift between hand positions and easily craft beautiful, fluid melodies. This lesson expands on topics covered in Noam’s “Introduction to Melodic Style Banjo” video. If you’re interested in diving into that lesson for additional context and instruction, click [here](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style). LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) “‘Blackberry Blossom’ is one of the first tunes that most banjo players learn in the melodic style,” Noam explains. “The version of ‘Blackberry Blossom’ that I teach is a unique arrangement that I put together. This arrangement is a little bit different than other melodic style versions of this tune that you may have heard. I specifically crafted it in a way that allows us to work on our quick shifts and improve our movement from one hand position to another.” Learning “Blackberry Blossom” in the melodic style is the perfect springboard from which to launch yourself into this unique approach to banjo playing. From there, this tune also leads naturally into various other banjo techniques that will be critical to explore down the road, including single-string, up-the-neck closed single-string, and single-string triplets. “In melodic style banjo playing, oftentimes we’re going to be constantly moving our fretting hand up and down the neck,” explains Noam. “At first, this might seem a little bit tricky. But, I promise, it will quickly become second nature as long as we break out of the 3-finger mentality that our fretting hand is glued in one spot at any given time.” To learn more about melodic style banjo and how to play the bluegrass classic “Blackberry Blossom” using this approach, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons-noam-pikelny) from [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny): Learn to Play “Blackberry Blossom” with Noam Pikelny: LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-noam-pikelny) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and get personal feedback on your playing. Noam’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, improvisation, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjoists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Banjo Lesson: An Introduction to Melodic Style with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style) [Bluegrass Banjo Lesson: Leapfrogging 6ths with Tony Trischka](https://blog.artistworks.com/bluegrass-banjo-lesson-leapfrogging-6ths-tony-trischka) [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Sierra Hull Wins IBMA's 2022 "Mandolin Player of the Year" Award](https://blog.artistworks.com/sierra-hull-ibma-mandolin-award-2022/) **Published:** October 4, 2022 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() Last Thursday, September 29, 2022, the International Bluegrass Music Association hosted the 2022 IBMA Bluegrass Music Awards, celebrating the bluegrass genre, its premiere artists, and their achievements and contributions to music in the last year. We are beyond excited and proud to announce that ArtistWorks bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), received 2022’s “Mandolin Player of the Year” award. Several other ArtistWorks instructors contributed to projects that were recognized at the awards as well. Virtuoso mandolinist and ArtistWorks bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), was recognized as 2022’s “Mandolin Player of the Year,” making this her fifth victory in the category after winning three consecutive years in a row between 2016 and 2018 and taking home the award in 2021 as well. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try a few free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) The 2022 “Album of the Year” award was granted to legendary banjoist Béla Fleck for his latest album, My Bluegrass Heart. Sierra was heavily featured on the album, and also spent much of 2022 touring alongside Béla as part of his “My Bluegrass Heart” ensemble. Also making guest appearances on My Bluegrass Heart are ArtistWorks instructors [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton). Bryan specifically contributed to the track “Vertigo,” which won this year’s “Instrumental Recording of the Year” award. Needless to say, it was a big night for Béla Fleck, who, in addition to “Album of the Year” and “Instrumental Recording of the Year,” also received the award for “Banjo Player of the Year.” Congratulations to Sierra, Béla, Bryan, and all of this year’s IBMA Bluegrass Music Award winners! We deeply appreciate all of your wonderful contributions to the world of music, art, and the bluegrass genre. The musical landscape would not look the same without you. Below is a comprehensive list of all of the 2022 IBMA Bluegrass Music Award winners: Entertainer of the Year: Billy Strings Vocal Group of the Year: Doyle Lawson & Quiksilver Instrumental Group of the Year: Béla Fleck’s My Bluegrass Heart Song of the Year: “Red Daisy,” Billy Strings (artist), Jarrod Walker/Christian Ward (songwriters) Album of the Year: My Bluegrass Heart, Béla Fleck (artist) Gospel Recording of the Year: “In the Sweet By and By,” Dolly Parton (artist) with Carl Jackson, Larry Cordle, Bradley Walker, and Jerry Salley Instrumental Recording of the Year: “Vertigo,” Béla Fleck (artist) with Sam Bush, Stuart Duncan, Edgar Meyer, and Bryan Sutton New Artist of the Year: Rick Faris Collaborative Recording of the Year: “In the Sweet By and By,” Dolly Parton (artist) with Carl Jackson, Larry Cordle, Bradley Walker, and Jerry Salley Female Vocalist of the Year: Molly Tuttle Male Vocalist of the Year: Del McCoury Banjo Player of the Year: Béla Fleck Bass Player of the Year: Jason Moore Resophonic Guitar Player of the Year: Justin Moses Fiddle Player of the Year: Bronwyn Keith-Hynes Guitar Player of the Year: Cody Kilby Mandolin Player of the Year: Sierra Hull LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, music theory, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Going Live with Bryan Sutton, Sierra Hull, and Guthrie Trapp](https://blog.artistworks.com/going-live-bryan-sutton-sierra-hull-guthrie-trapp) [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) [ArtistWorks Music Series Podcast—How to Find Your Own Sound with Sierra Hull](https://blog.artistworks.com/new-podcast-sierra-hull-how-find-your-own-sound) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Guitar Course by Martin Taylor!](https://blog.artistworks.com/new-guitar-course-martin-taylor/) **Published:** October 3, 2022 **Author:** ArtistWorks **Excerpt:**

I'm delighted to announce the launch of my new online course 'Dimensions of Solo Jazz Guitar'. In this course I share how to internalize the core framework of any piece of music and then build upon it utilizing melodic, harmonic, and rhythmic variations to add dimension and color to an improvisational performance.

**Content:** ![]() I’m delighted to announce the launch of my new online course ‘Dimensions of Solo Jazz Guitar’. In this course I share how to internalize the core framework of any piece of music and then build upon it utilizing melodic, harmonic, and rhythmic variations to add dimension and color to an improvisational performance. Now that ArtistWorks have joined forces with TrueFire I will be filming more of these TrueFire courses as supplementary lessons for what I do here on ArtistWorks. The cool thing is that you can still submit videos to me here on ArtistWorks where we can engage in Video Exchanges. How cool is that? Pre-order the course at: [http://truefire.com/set\_cart.html?add=18461&src=artist](http://truefire.com/set_cart.html?add=18461&src=artist&fbclid=IwAR0Q-tdMUn_N7PdoBggK8cT0B49YSMy70-xKzzRwYlxyKxc2KGKfekukWTY) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mike Block Trio Releases New Album, "What Now?"](https://blog.artistworks.com/mike-block-trio-new-album-what-now/) **Published:** September 30, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, Grammy Award-winning cellist and ArtistWorks instructor, Mike Block and the members of his trio released their long-awaited debut album entitled What Now?.

**Content:** ![]() This morning, Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block) and the members of his trio released their long-awaited debut album entitled What Now?. Featuring primarily original music composed by Mike during the pandemic lockdown, What Now? showcases the trio’s uncanny ability to meld a variety of styles and create a beautifully eclectic, genre-bending sound. Mike and company pull elements from bluegrass, Americana, folk, jazz, classical and more to serve up a refreshingly unique sonic flavor through Mike’s original compositions. They also present an intimate take on Charles Dieupart’s “Baroque Sarabande” as well as playful renditions of tunes from bluegrass, Brazilian, and Jamaican musical traditions. LEARN MORE: [Want to learn how to play the cello from a master musician like Mike Block? Try some free online cello lessons now!](https://go.artistworks.com/free-online-cello-lessons-mike-block) ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Mike_Block_Trio_Why_Not.png) With a distinct instrumentation featuring cello, mandolin, and upright bass, the Mike Block Trio creates a musical texture that’s all their own. As is expected, Mike provides beautiful cello melodies and choppy supporting rhythm, but he’s also the lead vocalist on a handful of tracks. Supporting Mike on mandolin and vocals is internationally renowned mandolinist [Joe K. Walsh](http://joekwalsh.com/), who can also be heard alongside IBMA award-winning group, The Gibson Brothers, as well as legendary fiddler Darol Anger’s ensemble, Mr. Sun. Providing the low-end for the trio is upright bassist, singer, and multi-instrumentalist, [Zachariah Hickman](https://www.zachariahhickman.com/). In addition to performing and recording with the Mike Block Trio, Zachariah is also the bassist and musical director for Americana icon Ray Lamontagne and spent much of his career touring and recording with singer-songwriter Josh Ritter. Mike Block Trio – “Won’t Have to Wait” (Official Music Video): “\[What Now? features\] a collection of playful and stoic reinterpretations of Appalachian folk and world beat music,” describes Boston’s WBUR radio. “Never before have we heard the combination of these three instruments traverse such a wide breadth of music so effortlessly; it’s equal parts Baroque, bluegrass, and Latin jazz, virtuosic all the same.” Mike Block Trio – “Highland Ridge” (Official Music Video): To download What Now?, head to Mike’s website [here](https://www.brightshiny.ninja/what-now), or listen on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from world-renowned cellist [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques, tunes, improvisation, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Cello Lesson: Bluegrass Bowing Techniques with Mike Block](https://blog.artistworks.com/cello-lesson-bluegrass-bowing-techniques) [Mike Block Releases New Album, Machines That Fly](https://blog.artistworks.com/mike-block-releases-new-album-machines-that-fly) [Cello Lesson: Building Pinkie Strength with Mike Block](https://blog.artistworks.com/top-cello-exercises-building-pinkie-strength) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Piano Lesson: An Intro to Improv Using the Pentatonic Scale](https://blog.artistworks.com/jazz-piano-lesson-pentatonic-scale/) **Published:** September 28, 2022 **Author:** ArtistWorks **Excerpt:**

For aspiring jazz musicians of any instrument, beginning the process of learning to improvise can sometimes feel a bit daunting. Players new to improvising often feel overly exposed when asked to take a solo and can feel overwhelmed not knowing where or how to begin. Fortunately, there are several tools available to us as musicians that make for a perfect starting point when learning to improvise. The first, and likely the most important of which, is the Pentatonic Scale.

**Content:** ![]() For aspiring jazz musicians of any instrument, beginning the process of learning to improvise can sometimes feel a bit daunting. Players new to improvising often feel overly exposed when asked to take a solo and can feel overwhelmed not knowing where or how to begin. Fortunately, there are several tools available to us as musicians that make for a perfect starting point when learning to improvise. The first, and likely the most important of which, is the Pentatonic Scale. [Jazz](https://artistworks.com/jazz-lessons) music, as many of us either know or are discovering, is predominantly constructed using dominant seventh harmonies. The Pentatonic Scale is a fantastic tool in the context of jazz as a result because it can always be applied in some way when playing over dominant seventh chords. The best and simplest way to illustrate the functionality of the Pentatonic Scale over dominant seventh harmonies is in the context of a 12-bar blues. In this [online jazz piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist, recording artist, producer, and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) shows us how we can improvise over the chord changes of a 12-bar blues in the key of C using only the five notes of the C Minor Pentatonic Scale. The improvisational concepts that George provides through this lesson can be applied in any key and to any instrument. Aspiring jazz players of all instruments can receive valuable information from George’s guidance. LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) “When playing over blues changes, the Pentatonic Scale is a can’t-miss, very simple collection of notes,” George explains. “The beauty is that you can freely play very simple or elaborate stuff using just this scale and never sound like you’re making a mistake or playing a wrong note. They’re just a great collection of notes!” What is the Pentatonic Scale? A Pentatonic Scale is any scale that is comprised of five notes per octave, and there are a variety of different Pentatonic Scales used throughout different musical traditions worldwide. In western music, including jazz, the most commonly utilized Pentatonic Scales are the major and minor pentatonics. The minor pentatonic, which of the two is used most often in jazz and blues music, consists of the first, third, fourth, fifth, and seventh degrees of the minor scale. The major pentatonic, on the other hand, is made up of the first, second, third, fifth, and sixth degrees of the major scale. In George’s lesson, he focuses specifically on the minor Pentatonic Scale. “There is so much music that we can make with just the Pentatonic Scale,” explains George. “There are a nearly infinite number of ideas that we can expand on with just this collection of notes, and it’s the perfect place to begin your exploration of improvisation.” To learn the minor Pentatonic Scale and how to begin implementing it into your improvisation, dive into this [online piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty) from [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): An Intro to Improv Using the Pentatonic Scale with George Whitty: LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive [piano lessons online](https://artistworks.com/jazz-piano-lessons-george-whitty) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), and get personal feedback on your playing. George’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: Learn How to Play “Tune Up” with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-learn-how-play-tune-up-george-whitty) [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Jazz Piano Lesson: Altered Dominant Chords with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-altered-dominant-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [2 More New Lessons Added!](https://blog.artistworks.com/2-more-new-lessons-added/) **Published:** September 27, 2022 **Author:** ArtistWorks **Excerpt:**

We're pleased to let you all know that Dave has just filmed several new lessons and they're all posted for you to check out! All the new lessons can be found in the BONUS LESSONS section, found on the main menu of the lessons. Added now you'll find two lessons on the standard "I Remember You", you can click the links below to go directly to the lesson pages:

“I Remember You” - Chord Melody

“I Remember You” - Solo Ideas

**Content:** ![]() We’re pleased to let you all know that Dave has just filmed several new lessons and they’re all posted for you to check out! All the new lessons can be found in the BONUS LESSONS section, found on the main menu of the lessons. Added now you’ll find two lessons on the standard “I Remember You”, you can click the links below to go directly to the lesson pages: [**“****I Remember You” – Chord Melody**](https://my.artistworks.com/dave-stryker/learning/200492) [**“I Remember You” – Solo Ideas**](https://my.artistworks.com/dave-stryker/learning/200493) In case you missed it: [**“Autumn Leaves” – Solo Guitar Chord Melody Improv Chorus**](https://my.artistworks.com/dave-stryker/learning/200115) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### ["The Amazing Howard Levy:" Howard Performs with the Elmhurst Symphony Orchestra](https://blog.artistworks.com/howard-levy-elmhurst-symphony-orchestra/) **Published:** September 23, 2022 **Author:** ArtistWorks **Excerpt:**

Saturday, September 24, 2022, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, Howard Levy, will be the featured soloist in the Elmhurst Symphony Orchestra’s first concerto performance of the fall season.

**Content:** ![]() Saturday, September 24, 2022, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), will be the featured soloist in the Elmhurst Symphony Orchestra’s first concerto performance of the fall season. The concert, aptly titled “The Amazing Howard Levy,” will feature a performance of Howard’s one-of-a-kind concerto, “Concerto for Diatonic Harmonica & Orchestra.” Led by Maestro Stephen Alltop and supported by the 77 world-class musicians of the Elmhurst Symphony Orchestra, this performance is sure to be a musical evening to remember. LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Unlike all other harmonica concertos, which have been composed for the chromatic harmonica, Howard wrote his concerto specifically for the diatonic harmonica. Using his revolutionary “overblowing” and “overbending” techniques, Howard transforms the diatonic harmonica into a chromatic instrument, allowing him to perform all twelve pitches of the western chromatic scale on a single diatonic harp and craft melodies to accommodate his complex composition style. “The Concerto is the first true concerto composed for diatonic harmonica,” explains the composition notes on Howard’s website. “It is full of tuneful melodies, virtuosic solo passages, and lush string writing. It has 3 movements, an improvised cadenza, and several improvised sections, which makes each live performance unique.” If you’re in the Elmhurst, Illinois region, we highly recommend attending tomorrow’s performance. The event begins at 7 pm CDT, and tickets can be purchased directly from the Elmhurst Symphony Orchestra website [here](https://elmhurstsymphony.org/event/the-amazing-howard-levy/). LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Roundtable—Episode 5: Howard Levy & Victor Wooten](https://blog.artistworks.com/artistworks-podcast-episode-5-howard-levy-victor-wooten) [Harmonica Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) [Howard Levy Releases New Album, From the Vault, Vol. 4: Duets with Friends](https://blog.artistworks.com/howard-levy-releases-new-album-from-the-vaults-vol-4-duets-with-friends) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [October VE Deadline Dates](https://blog.artistworks.com/october-ve-deadline-dates/) **Published:** September 21, 2022 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Popular Piano School Family,

Here are the October VE deadline dates:

Remember to try to keep your VE submissions to 5 minutes or less, and with one song per VE. Thanks and have a lovely fall!

Hugh

**Content:** Dear ArtistWorks Popular Piano School Family, Here are the October VE deadline dates: - Sunday, October 9 - Sunday, October 23 Remember to try to keep your VE submissions to 5 minutes or less, and with one song per VE. Thanks and have a lovely fall! Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mada & Hugh 4-Hand Piano Livestream Concert Sept. 23 8 pm EST](https://blog.artistworks.com/mada-hugh-4-hand-piano-livestream-concert-sept-23-8-pm-est-0/) **Published:** September 20, 2022 **Author:** ArtistWorks **Excerpt:**

Piano Duo Mada & Hugh (Madalina Danila and Hugh Sung) will be performing the opening concert for the New York Classical Music Society in October. This is a preview performance, featuring works by Moszkowski, Respighi, Mel. Bonis, Cecile Chaminade, and others. Visit https://madahugh.com for more details.

**Content:** Piano Duo Mada & Hugh (Madalina Danila and Hugh Sung) will be performing the opening concert for the New York Classical Music Society in October. This is a preview performance, featuring works by Moszkowski, Respighi, Mel. Bonis, Cecile Chaminade, and others. Visit for more details. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Mada & Hugh 4-Hand Piano Livestream Concert Sept. 23 8 pm EST](https://blog.artistworks.com/mada-hugh-4-hand-piano-livestream-concert-sept-23-8-pm-est/) **Published:** September 20, 2022 **Author:** ArtistWorks **Excerpt:**

Piano Duo Mada & Hugh (Madalina Danila and Hugh Sung) will be performing the opening concert for the New York Classical Music Society in October. This is a preview performance, featuring works by Moszkowski, Respighi, Mel. Bonis, Cecile Chaminade, and others. Visit https://madahugh.com for more details.

**Content:** Piano Duo Mada & Hugh (Madalina Danila and Hugh Sung) will be performing the opening concert for the New York Classical Music Society in October. This is a preview performance, featuring works by Moszkowski, Respighi, Mel. Bonis, Cecile Chaminade, and others. Visit for more details. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Jazz Guitar Lesson: Soloing Ideas for Miles Davis' "So What"](https://blog.artistworks.com/jazz-guitar-lesson-miles-davis-so-what/) **Published:** September 20, 2022 **Author:** ArtistWorks **Excerpt:**

Miles Davis’ 1959 record release, Kind of Blue, is still revered to this day as one of the most prolific jazz albums of all time. Featuring John Coltrane on tenor saxophone, Julian “Cannonball” Adderley on alto saxophone, Paul Chambers on upright bass, Jimmy Cobb on drums, and either Bill Evans or Wynton Kelly on piano (depending on the track), Miles’ sextet on Kind of Blue was composed of some of the most admired musicians in jazz history. It’s not a wonder that after more than 60 years, Kind of Blue is still one of the most popular and critically acclaimed jazz albums of all time.

**Content:** ![]() Miles Davis’ 1959 record release, Kind of Blue, is still revered to this day as one of the most prolific jazz albums of all time. Featuring John Coltrane on tenor saxophone, Julian “Cannonball” Adderley on alto saxophone, Paul Chambers on upright bass, Jimmy Cobb on drums, and either Bill Evans or Wynton Kelly on piano (depending on the track), Miles’ sextet on Kind of Blue was composed of some of the most admired musicians in jazz history. It’s not a wonder that after more than 60 years, Kind of Blue is still one of the most popular and critically acclaimed jazz albums of all time. The introductory track on Kind of Blue, entitled “So What,” was beloved by jazz fans when the album was released and is still performed worldwide by jazz musicians of all levels. It’s a classic tune that can still be heard in venues ranging from Carnegie Hall to your average high school band room. It’s an important tune that every jazz musician should analyze, understand, and know how to play. In this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker), award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) teaches how to improvise over the chords changes in “So What” using the Dorian minor scale, and provides a few exercises that you can practice and expand on in your solos. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) “‘So What’ is a modal song with an AABA format,” Dave explains. “The A section is centered around D minor and the B section is centered around E-flat minor. The great thing for us as guitarists is that we can take the shape of our Dorian minor scale that we’re using to improvise in the D minor A section and simply drop it a half step to E-flat when soloing over the B section.” What is a Modal song? Many of you may be wondering, “what is a modal song or a modal tune?” Modal jazz is jazz that makes use of musical modes, often modulating among them to accompany the chords instead of relying on one tonal center used across the piece. Miles began writing predominantly modal music around the time he released Kind of Blue, with the 1959 record featuring almost exclusively modal pieces. In the case of “So What,” the modes that are being used are the Dorian minor mode in D and the Dorian minor mode in E-flat. “These exercises and lines that I’ve provided in this lesson are a great starting point,” Dave explains. “The goal though is to take what I’ve provided and expand on it to create your own improvised solo. Remember, as long as you stay within the D Dorian and E-flat Dorian modes, you’re sure to craft very tasteful solos over this piece.” To learn more about Miles Davis’ “So What” and a few essential soloing methods that can be used when improvising over this classic tune, dive into this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker) from [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker): Soloing Ideas for Miles Davis’ “So What” with Dave Stryker: LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [The Dave Stryker Trio Opens for Steely Dan’s Summer Tour 2022](https://blog.artistworks.com/dave-stryker-trio-opening-steely-dan-summer-tour) [Jazz Guitar Lesson: Tips for Transcribing with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-tips-transcribing) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [John Patitucci Releases New Album, “John Patitucci Trio: Live in Italy”](https://blog.artistworks.com/john-patitucci-trio-live-italy/) **Published:** September 16, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, world-renowned jazz pioneer, Grammy Award-winning bassist, and ArtistWorks upright and electric bass instructor, John Patitucci, released his latest album, entitled Live in Italy, alongside the members of his trio.

**Content:** ![]() This morning, world-renowned jazz pioneer, Grammy Award-winning bassist, and ArtistWorks upright and electric bass instructor, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci), released his latest album, entitled [Live in Italy](https://www.johnpatitucci.com/discography.html), alongside the members of his trio. Joined by critically acclaimed, Grammy Award-winning saxophonist, Chris Potter, and one of the most sought-after, virtuosic drummers of his generation, Brian Blade, John spent all of July of 2021 touring throughout Italy with this powerfully iconic ensemble. Live in Italy captures a handful of performances from the tour, documenting the group’s amazing summer run and the enormously impactful sound of the trio. LEARN MORE: [Want to learn how to play the upright and electric bass from a master musician like John Patitucci? Sign up for John’s course today for just $29!](https://artistworks.com/jazz-bass-lessons-john-patitucci) “The chemistry between the three of us is born out of decades of playing together in different ensembles, and also as a trio at times,” John explains when asked about the group. “The freedom, connection, and our shared influences make this trio one of my favorite groups to play in, ever. The venues that we played in throughout Italy, many outdoors, were very inspiring throughout this tour.” Despite recording a good portion of the tour, the majority of the performances that made it onto the album’s final track listing were captured from one specific show. While we can only imagine how fantastic the entire tour must have been, the particular show from which these recordings were captured could only be described as magical. “The tour in 2021 in Italy was an incredible experience with my two dear friends, who happen to be some of the greatest musicians in the history of jazz music,” explains John. “The tour was organized by Alex Travi, who had the idea that we should bring someone to record live at some point during the tour. All the tracks, with the exception of ‘Without a Song,’ were recorded in Genova, Italy on July 22, 2021. ‘Without a Song’ was recorded on July 24, 2021 in Alba, Italy.” Live in Italy is available to download and stream on most major platforms. Click [here](https://www.johnpatitucci.com/discography.html) to learn more, and download or stream the album today! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Electric Bass Lesson: Arpeggios for Common Chords Found in Jazz with John Patitucci](https://blog.artistworks.com/electric-bass-lesson-arpeggios-jazz) [ArtistWorks Music Roundtable Podcast—Episode 5: Howard Levy & Victor Wooten](https://blog.artistworks.com/artistworks-podcast-episode-5-howard-levy-victor-wooten) [Bass Guitar Lesson: An Introduction to 5-String Bass with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-5-string-bass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall & Tony Trischka Talk Brazilian Choro Music](https://blog.artistworks.com/mike-marshall-tony-trischka-brazilian-choro-music/) **Published:** September 15, 2022 **Author:** ArtistWorks **Excerpt:**

Mike Marshall is a virtuosic Grammy-nominated multi-instrumentalist known particularly for his prowess on the mandolin. Mike began his career primarily in the world of bluegrass, performing as a member of the legendary David Grisman Quintet from 1985-1900. Alongside bluegrass icons like Jerry Douglas, Béla Fleck, Tony Rice, Mark O’Connor, Stéphane Grappelli, and Darol Anger, Mike pushed the boundaries of modern bluegrass and the role that the mandolin plays within the ensemble. Later, Mike and Darol went on to form their own acts—Montreaux and super-group Psychograss (which featured Tony Trischka on banjo and Todd Phillips on upright bass). All three groups made considerable contributions to the sound of bluegrass as a whole and received accolades from fans and critics alike as a result.

**Content:** ![]() Mike Marshall is a virtuosic Grammy-nominated multi-instrumentalist known particularly for his prowess on the mandolin. Mike began his career primarily in the world of bluegrass, performing as a member of the legendary David Grisman Quintet from 1985-1900. Alongside bluegrass icons like Jerry Douglas, Béla Fleck, Tony Rice, Mark O’Connor, Stéphane Grappelli, and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), Mike pushed the boundaries of modern bluegrass and the role that the mandolin plays within the ensemble. Later, Mike and Darol went on to form their own acts—Montreaux and super-group Psychograss (which featured [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) on banjo and Todd Phillips on upright bass). All three groups made considerable contributions to the sound of bluegrass as a whole and received accolades from fans and critics alike as a result. Throughout his career, Mike has also extended his reach beyond bluegrass into various other genres and sonic territories. He is well-versed in the improvisational styles of jazz and has tremendous experience performing classical repertoire as well. Additionally, Mike is also an expert in the tradition of Brazilian choro music. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) What is Brazilian choro music? Choro is an instrumental Brazilian popular music genre that originated in Rio de Janeiro in the 19th Century. Translated into English, the name choro means “to cry” or “to lament.” However, contrary to the implications of its name, choro music is generally very lively, upbeat, and happy. Much like bluegrass and jazz, choro music is characterized by the virtuosity of its musicians, and the use of improvisation, subtle modulations, syncopated rhythms, and counterpoint. The instruments commonly found in choro ensembles are guitar, flute, a small four-stringed Portuguese instrument called a cavaquinho, clarinet, saxophone, trumpet, trombone, and mandolin. In this video, Mike sits down with banjo master [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) to discuss the primary characteristics of choro music and a bit about its tradition and history. They also perform a rendition of the choro classic, “Tico-Tico no Fubá,” on mandolin and banjo. Mike Marshall & Tony Trischka Talk Brazilian Choro Music: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: # [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2) [ArtistWorks Summer Series—Week 3: Mike Marshall](https://blog.artistworks.com/artistworks-summer-series-mike-marshall) [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Pop Up Lesson Added: “Autumn Leaves” - Solo Guitar Chord Melody Improv Chorus](https://blog.artistworks.com/new-pop-lesson-added-“autumn-leaves”-solo-guitar-chord-melody-improv-chorus/) **Published:** September 13, 2022 **Author:** ArtistWorks **Excerpt:**

Dave has just added another great new pop-up lesson in the BONUS LESSONS section of the site. In this new lesson Dave gives ideas to further branch out on the Chord Melody version of Autumn Leaves. He talks you through demonstrations of ideas to take you beyond just playing the melody into being able to expand the solo and comp for yourself. You can find the lesson in the Lessons tab under Bonus Lessons at the bottom of the list, or to go there right now CLICK HERE

**Content:** ![]() Dave has just added another great new pop-up lesson in the BONUS LESSONS section of the site. In this new lesson Dave gives ideas to further branch out on the Chord Melody version of Autumn Leaves. He talks you through demonstrations of ideas to take you beyond just playing the melody into being able to expand the solo and comp for yourself. You can find the lesson in the Lessons tab under Bonus Lessons at the bottom of the list, or to go there right now [CLICK HERE](https://my.artistworks.com/dave-stryker/learning/200115) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Electric Bass Lesson: Arpeggios for Common Chords Found in Jazz](https://blog.artistworks.com/electric-bass-lesson-arpeggios-jazz/) **Published:** September 9, 2022 **Author:** ArtistWorks **Excerpt:**

Three fundamental elements define the structure of all western music—scales, chords, and arpeggios. Chords highlight the most critical notes of a scale and do so by sounding these prominent tonalities in unison. Arpeggios, on the other hand, outline the tonalities present within a chord individually, allowing players to create melodic lines that draw attention to the most critical notes within a composition’s chord changes. Jazz music, in particular, is known for utilizing very complex harmonies. So, sometimes crafting arpeggios can feel a bit daunting for jazz musicians of all instruments and levels.

**Content:** ![]() Three fundamental elements define the structure of all western music—scales, chords, and arpeggios. Chords highlight the most critical notes of a scale and do so by sounding these prominent tonalities in unison. Arpeggios, on the other hand, outline the tonalities present within a chord individually, allowing players to create melodic lines that draw attention to the most critical notes within a composition’s chord changes. Jazz music, in particular, is known for utilizing very complex harmonies. So, sometimes crafting arpeggios can feel a bit daunting for jazz musicians of all instruments and levels. In this [online bass lesson](https://artistworks.com/jazz-bass-lessons-john-patitucci), Grammy Award-winning bassist and ArtistWorks jazz instructor, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci), introduces us to the arpeggios of some of the chords most commonly found in jazz music. He teaches how to outline these chords and craft their respective arpeggios from the ground up, and also how to read a jazz lead sheet and what the most common chord symbols mean. LEARN MORE: [Want to learn how to play the bass guitar from a master musician like John Patitucci? Sign up for John’s course today for just $29!](https://artistworks.com/jazz-bass-lessons-john-patitucci) “As jazz musicians, we often work off lead sheets with all these different chord symbols seemingly scattered throughout the page. For those that are new to jazz music, this can often look like Greek,” John explains with a chuckle. “These symbols really look much more complex than they really are though, and, once we learn what they mean, they’re really quite easy to dissect.” As a bass player, it’s not only critical to understand how to outline arpeggios on the fretboard, but also to be able to analyze chord symbols on the written page and be able to translate them onto your instrument. When we’re analyzing chord symbols and determining the notes that make up each chord’s arpeggio, we call that spelling out the arpeggio. “We need to know how to spell these chords,” explains John. “We need to know how they’re represented, what their symbols look like, and what it means when we spell the chord out. This is particularly important in jazz because we have so much harmonic diversity.” To learn more about identifying the arpeggios of chords commonly found in jazz and implementing them into your playing and improvisations, dive into this [online bass lesson](https://artistworks.com/jazz-bass-lessons-john-patitucci) from [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci): Arpeggios for Common Chords Found in Jazz with John Patitucci: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Roundtable Podcast—Episode 5: Howard Levy & Victor Wooten](https://blog.artistworks.com/artistworks-podcast-episode-5-howard-levy-victor-wooten) [Bass Guitar Lesson: An Introduction to 5-String Bass with Nathan East](https://blog.artistworks.com/bass-guitar-lesson-5-string-bass) [Electric Bass Lesson: Creating Harmonic Chords with Stu Hamm](https://blog.artistworks.com/electric-bass-lesson-harmonic-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Acoustic Fingerstyle Guitar Lesson: Linear Tapping](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-linear-tapping/) **Published:** September 7, 2022 **Author:** ArtistWorks **Excerpt:**

When players think of two-hand tapping techniques, they most commonly associate them with the face-melting electric guitar solos produced by rock gods like Eddie Van Halen, Steve Vai, Joe Satriani, and more. However, believe it or not, two-hand tapping was a technique that was first pioneered on acoustic instruments.

**Content:** ![]() When players think of two-hand tapping techniques, they most commonly associate them with the face-melting electric guitar solos produced by rock gods like Eddie Van Halen, Steve Vai, Joe Satriani, and more. However, believe it or not, two-hand tapping was a technique that was first pioneered on acoustic instruments. While its exact birth and inventor are somewhat contested, two-hand tapping techniques have been documented as being used in stringed instrument performance as far back as the late 1700s. Violinist and composer Niccolò Paganini is credited with being the father of the method and is said to have used various two-hand tapping techniques in his classical compositions. In 1932, multi-instrumentalist Roy Smeck, also known as “The Wizard of the Strings,” was captured using two-hand tapping techniques in a ukulele performance in the film, Club House Party. Italian guitarist, Vittorio Camardese performed two-hand tapping passages on television on a nylon string acoustic guitar in 1965. Today, two-hand tapping techniques are employed throughout a wide variety of styles and genres and across various instruments (both acoustic and electric). What is two-hand tapping? At this point, many of you may be wondering, “what is two-hand tapping?” Unlike most other stringed instrument plucking methods, two-hand tapping requires the player to use the fingertips of their “picking” hand to set a fretted string into vibration. This is different from the standard technique of fretting a string with the left hand and picking with the right (or the reverse if you’re left-handed). Tapping, in essence, utilizes a series of hammer-ons/pull-offs executed by both the picking hand and fretting hand. The picking hand begins by tapping the high note in a passage, then releases the string, allowing the note held by the fretting hand on the neck to ring out. In this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee), world-renowned acoustic guitar virtuoso and ArtistWorks fingerstyle guitar instructor, [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), teaches the basics of linear two-hand tapping on the steel string acoustic guitar. In addition to explaining the ins and outs of the method, he also provides a handful of helpful exercises so that you can begin incorporating two-hand tapping into your playing. LEARN MORE: [Want to learn how to play acoustic fingerstyle guitar from a master musician like Andy McKee? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-andy-mckee) “Linear tapping was the first kind of two-hand tapping that I heard,” Andy explains. “I first heard Eddie Van Halen using this technique, and he immediately inspired me to want to learn to use it in my playing. It’s a great place to start when you’re learning to tap because it allows you to focus on producing a good tone and developing the required picking-hand precision needed to execute tapping techniques.” Learning to two-hand tap can be a tedious process. It requires tremendous focus, precision, and coordination from both the picking and fretting hands. When you’re first learning, prioritize patience and take things slow. Learning to execute with the proper technique will only make more advanced two-hand tapping passages easier and more fun to play down the road. “You may not use this ‘Eddie Van Halen’ style of tapping too often on the acoustic guitar,” explains Andy. “Tapping on the acoustic guitar is typically more about harmony and trying to cover a lot of bases rather than just a lead solo. But, these exercises are great just to get the proper feeling of hammering on and pulling off under your fingers.” To learn more about linear two-hand tapping and how to integrate this technique into your acoustic guitar playing, dive into this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee) from [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee): Linear Tapping with Andy McKee: LEARN MORE: Have you always wanted to learn how to play acoustic fingerstyle guitar? Through our comprehensive [acoustic guitar lessons online](https://artistworks.com/guitar-lessons-andy-mckee) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, including two-hand tapping, slap harmonics, and percussion on the guitar body. Plus, you’ll learn many of Andy’s unique original compositions and imaginative covers. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Acoustic Fingerstyle Guitar Lesson: Learn to Play “Rylynn” with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-rylynn-intro) [ArtistWorks Music Roundtable Podcast—Episode 4: Andy McKee & Trevor Gordon Hall](https://blog.artistworks.com/artistworks-podcast-andy-mckee-trevor-gordon-hall) [Acoustic Fingerstyle Guitar Lesson: Slap Harmonics with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-slap-harmonics) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Win a 60-Minute Virtual Lesson & One-Year ArtistWorks Membership!](https://blog.artistworks.com/live-lesson-2022-contest/) **Published:** September 2, 2022 **Author:** ArtistWorks **Excerpt:**

Sign up now for a chance to win a FREE 60-minute virtual lesson, one-on-one with the ArtistWorks teacher of your choice, PLUS a 12-month membership to any ArtistWorks online music course. There will be one lucky recipient of this amazing prize, so don’t miss your chance to win! Our grand prize winner will be announced on October 1.

**Content:** ![]() [Sign up now](https://go.artistworks.com/live-lesson-2022-contest) for a chance to win a FREE 60-minute virtual lesson, one-on-one with the ArtistWorks teacher of your choice, PLUS a 12-month membership to any ArtistWorks online music course. There will be one lucky recipient of this amazing prize, so don’t miss your chance to win! Our grand prize winner will be announced on October 1. [Enter here now](https://go.artistworks.com/live-lesson-2022-contest) and instantly receive access to free sample video lessons while you wait. One lucky grand prize winner will receive: A FREE one-hour private virtual lesson with the ArtistWorks teacher of your choice! 12 months of VIP access to any ArtistWorks online music course Hundreds of details video lessons recorded by master musicians Personal feedback and guidance through our optional Video Exchanges Lesson resources and materials, including sheet music and tablature Play-along backing tracks to jam along with Access to your course’s entire Video Exchange library Free Music Theory lessons PLUS, instant access to FREE sample lesson videos for all who enter. Don’t miss out on your chance to win. Hurry, the contest ends on September 30, 2022! Click [here](https://go.artistworks.com/live-lesson-2022-contest) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Banjo Lesson: An Introduction to Melodic Style with Noam Pikelny](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Ukulele Lesson: An Introduction to Movable Chord Shapes with Craig Chee](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bass Guitar Lesson: An Introduction to 5-String Bass](https://blog.artistworks.com/bass-guitar-lesson-5-string-bass/) **Published:** August 30, 2022 **Author:** ArtistWorks **Excerpt:**

Conceptualized by Leo Fender in 1951, the electric bass guitar was initially designed to replicate and amplify the deep low-end tone of an acoustic upright bass. Much like the upright bass, the first electric basses featured four strings tuned to E-A-D-G from low to high. However, unlike the acoustic bass, electric basses featured frets much like a guitar, which allowed for perfect intonation and sonic precision (hence the name of the instrument’s first model—the “Precision Bass”).

**Content:** ![]() Conceptualized by Leo Fender in 1951, the electric bass guitar was initially designed to replicate and amplify the deep low-end tone of an acoustic upright bass. Much like the upright bass, the first electric basses featured four strings tuned to E-A-D-G from low to high. However, unlike the acoustic bass, electric basses featured frets much like a guitar, which allowed for perfect intonation and sonic precision (hence the name of the instrument’s first model—the “Precision Bass”). Since its creation, the electric bass has evolved greatly. The electronics, pickups, preamps, and construction have all become increasingly modern, and, most notably, there have been models that feature additional strings. Basses with 5, 6, 7, or even 8 strings have become common among players of all styles, and many contemporary players prefer them over their 4-string predecessors. In this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east), Grammy Award-winning bassist and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), introduces us to the 5-string bass and discusses why he gravitates toward a 5-string model when writing bass lines in the studio and supporting legendary artists like Eric Clapton, Michael Jackson, Stevie Wonder, Herbie Hancock, Daft Punk, and more. LEARN MORE: [Want to learn how to play the bass guitar from a master musician like Nathan East? Try some free online bass lessons now!](https://go.artistworks.com/free-online-bass-lessons-nathan-east) “As bass players, we can definitely get the job done on 4 strings. Iconic musicians like Jaco Pastorius have certainly proven that you can say a whole lot on a 4-stringed instrument,” Nathan explains. “However, the addition of a 5th string allows for added musical possibilities, tonal options, and even physical comfort while performing.” In addition to providing an expanded register (either lower or higher, depending on how you prefer to tune your instrument), 5-string basses allow players to perform lines that they may technically be able to play on a 4-string in one hand position. This often makes playing bass lines that would typically be difficult to execute on a 4-string much easier to play. “With my 4-string bass, I found myself frequently tuning the low E string down to an E-flat or even a D. I wanted to have that extra range on the bottom end,” explains Nathan. “I love the 5-string because it provides me with that extended range without the hassle of having to down-tune my E string. It’s so convenient and sounds great!” To learn more about the benefits of the 5-string bass and how to transition from a 4-string to a 5-stringed instrument, dive into this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east) from [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east): An Introduction to 5-String Bass with Nathan East: LEARN MORE: Have you always wanted to learn how to play the electric bass guitar? Through our comprehensive [bass lessons online](https://artistworks.com/rock-bass-lessons-nathan-east) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), and get personal feedback on your playing. Nathan’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, tunes, and grooves. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Electric Bass Lesson: Using Space & Simplicity with Nathan East](https://blog.artistworks.com/electric-bass-lesson-using-space-simplicity) [ArtistWorks Music Series Podcast—The Art of Recording for Film: Nathan East](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Guitar --- ### [Darol Anger & Mr. Sun Release Vinyl Pressing of “Extrovert”](https://blog.artistworks.com/darol-anger-mr-sun-vinyl-extrovert/) **Published:** August 26, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, Grammy-nominated bluegrass master and ArtistWorks fiddle instructor, Darol Anger and his band Mr. Sun released limited edition yellow vinyl pressings of their latest album entitled Extrovert.

**Content:** ![]() This morning, Grammy-nominated bluegrass master and ArtistWorks fiddle instructor, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) and his band Mr. Sun released limited edition yellow vinyl pressings of their latest album entitled Extrovert. Mr. Sun’s highly anticipated sophomore release, Extrovert, became available across all popular digital platforms and streaming services on May 13 of this year. However, today, the album can officially be purchased in a striking, limited edition yellow vinyl pressing. Plus, for a limited time, the band will be signing copies of the vinyl sleeve as well. To purchase your copy, click [here](https://store.compassrecords.com/collections/extrovert-pre-order-offers/products/signed-extrovert-lp-pre-order). Extrovert picks up right where Mr. Sun’s first record, The People Need Light, leaves off, incorporating elements of bluegrass, jazz, and swing to create an upbeat, playful melting pot of American roots-inspired styles. LEARN MORE: [Want to learn how to play fiddle from a bluegrass master like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) A powerhouse quartet comprised of musicians spanning two generations, Mr. Sun is led by fiddle virtuoso Darol Anger and features Joe K. Walsh on mandolin and vocals, Grant Gordy on acoustic guitar, and Aiden O’Donnell on upright bass. “As we try to crack each other up, we find ourselves making the music we hoped we’d always hear,” Darol explains. “I can always count on Joe, Grant, and Aidan to totally jump onto the emotional arc of every song, which gets to looking more and more like a rainbow or a rocket trail and sounds like maybe nine guys sometimes.” In addition to demonstrating extreme musical prowess and expert-level chops throughout Extrovert, Mr. Sun emanates pure joy in this new album that will keep listeners continually putting the album on rotation. “Mr. Sun is relaxing in a way that makes my mind flip on, spark, and spin,” explains Darol. “I think it’ll do the same for most people who like acoustic string music.” To order your signed copy of Extrovert in a limited edition vibrant yellow vinyl pressing, head to Mr. Sun’s website [here](https://store.compassrecords.com/collections/extrovert-pre-order-offers/products/signed-extrovert-lp-pre-order). LEARN MORE: Have you always wanted to learn how to play bluegrass fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons-darol-anger) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Fiddle Lesson: Learning the Blues Scale with Darol Anger](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger) [Four New FREE Downloadable Practice Packets!](https://blog.artistworks.com/four-new-practice-packets) [Bluegrass Fiddle Lesson: Bow Speed, Pressure, & Placement](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Banjo Lesson: An Introduction to Melodic Style](https://blog.artistworks.com/banjo-lesson-introduction-melodic-style/) **Published:** August 24, 2022 **Author:** ArtistWorks **Excerpt:**

In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by 16th-note arpeggios outlining the song’s harmonic movement and structure. However, in more modern and progressive schools of bluegrass banjo playing, many banjoists will take a more streamlined approach and perform single-line melodies, much like a mandolinist, fiddler, or guitarist would.

**Content:** ![]() In the context of more traditional bluegrass music, the most common style of banjo playing is the 3-finger technique pioneered by legendary banjoist, Earl Scruggs. When employing this technique, the banjo player will generally play slower-moving melody lines accompanied by 16th-note arpeggios outlining the song’s harmonic movement and structure. However, in more modern and progressive schools of bluegrass banjo playing, many banjoists will take a more streamlined approach and perform single-line melodies, much like a mandolinist, fiddler, or guitarist would. In this [online banjo lesson](https://artistworks.com/banjo-lessons-noam-pikelny), Punch Brothers co-founder, Grammy Award-winning banjoist, and ArtistWorks bluegrass banjo instructor, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), introduces us to this more melodic style of banjo playing. Rather than performing slower-moving melodies and outlining the tune’s supporting harmonies with 16th note arpeggios, Noam demonstrates and explains how to perform much more intricate, fast-moving 16th note melody lines. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) “Through this melodic style of playing, we’re able to perform sustained 16th note melodies,” Noam explains. “This style was pioneered by guys like Bill Keith and Bobby Thompson and was further progressed by masters like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), Béla Fleck, Scott Vestal, and more. This approach really allows us to create a unique, flowing sound.” Melodic style banjo playing requires technical precision and efficiency. When you’re first learning this style, make sure to take things slow and approach learning these methods one step at a time. It may feel difficult or even frustrating at first, but with some practice, you’ll quickly be performing melody lines up and down the banjo neck. “The moment Bill Keith started playing in this style with Bill Monroe and played ‘Devil’s Dream,’ there was a major shift in the tectonic plates of bluegrass music and the banjo world,” explains Noam. “This was probably the biggest leap forward on the instrument since Earl Scruggs really made his mark on the banjo.” To learn more about melodic style banjo and how to incorporate these methods into your own playing, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons-noam-pikelny) from [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny): An Introduction to Melodic Style with Noam Pikelny: This lesson from Noam is featured in our brand new [Bluegrass Trio Bundle](https://artistworks.com/bluegrass-trio-bundle) course. Taught by bluegrass icons [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), this Trio Bundle provides a series of video lessons teaching essential acoustic guitar, banjo, and mandolin methods to make you the ultimate picker. In addition to technical lessons on each instrument, students will learn several classic bluegrass tunes and have access to play-along backing tracks, tablature, and more. Even if you don’t play all three instruments, this is your chance to learn critical musical concepts from multiple bluegrass icons that can be applied in any context.? Click [here](https://artistworks.com/bluegrass-trio-bundle) to sign up and learn more. LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-noam-pikelny) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and get personal feedback on your playing. Noam’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, improvisation, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjoists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [New Bundled Music Courses Now Available](https://blog.artistworks.com/new-bundled-music-courses-now-available) [Bluegrass Guitar Lesson: Alternate Picking Exercises with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises) [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-4/) **Published:** August 22, 2022 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added to the 5-String Fiddle department! In this lesson, Darol teaches and performs the tune “Farewell Trion” on the 5-String Fiddle. CLICK HERE to go straight to the lesson, or head over to the 5-String Fiddle department and you can find it there. Happy Fiddling!

**Content:** ![]() A new lesson has just been added to the 5-String Fiddle department! In this lesson, Darol teaches and performs the tune “Farewell Trion” on the 5-String Fiddle. [CLICK HERE](https://my.artistworks.com/darol-anger/learning/195885) to go straight to the lesson, or head over to the 5-String Fiddle department and you can find it there. Happy Fiddling! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Music Roundtable Podcast—Episode 5: Howard Levy & Victor Wooten](https://blog.artistworks.com/artistworks-podcast-episode-5-howard-levy-victor-wooten/) **Published:** August 19, 2022 **Author:** ArtistWorks **Excerpt:**

In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game!

**Content:** ![]() In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! In this episode of the ArtistWorks Music Roundtable, our Director of Content and Production, Marcus Luscombe, is joined by world-renowned multi-instrumentalist and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and critically acclaimed bass guitar guru, Victor Wooten. Together, Howard and Victor discuss their musical backgrounds (particularly how Victor got his start playing in his family’s band), how they first met and began playing together in Béla Fleck & The Flecktones, and the qualities that made Béla’s iconic jazz-fusion super-group so unique. LEARN MORE: [Want to learn how to play harmonica from a true master musician like Howard Levy? Try a free harmonica lesson now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Victor Wooten is one of the preeminent bass players of the last several decades and has been a pioneer on the instrument since he first began playing professionally at the age of six. The youngest of five brothers, Victor burst onto the music scene performing alongside his family, sharing the stage with legendary acts such as Curtis Mayfield, The Temptations, War, Stephanie Mills, and more. In 1990, Victor Wooten and [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) teamed up with banjo legend, Béla Fleck, and Victor’s brother and virtuosic drummer, Roy Wooten, to form Béla Fleck & The Flecktones. Together, these four musical powerhouses went on to win six Grammy Awards as The Flecktones over a more than twenty year period. “Before Howard Levy, when someone mentioned, ‘oh, I’ve got this harmonica player,’ the first thing that would go through my mind is somebody blowing blues licks around a campfire,” explains Victor, “But, the first time I heard Howard play, he played me a rendition of ‘Donna Lee,’ and I thought, ‘wow, this guy is not playing the normal harmonica. This is impossible. That is not supposed to happen.’” Together, Howard and Victor detail their shared experiences performing with Béla Fleck & The Flecktones, and outline the progressive elements of the group that distinguished them and led to their success and musical notoriety. “The thing about The Flecktones that was amazing was that all four members of the band were innovators, experimentors, and explorers on their respective instruments,” Howard explains. “We were all doing things on our instruments that no one had ever done before. All four of us shared this intense desire to push our instruments forward into new sonic territories, and the music we were playing together allowed us to do that.” To learn more about these two master musicians and their lives as world-renowned performers and educators, listen to the full podcast with [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) and Victor Wooten here: If you’re interested in studying the harmonica and learning about Howard’s unique approaches to performance, musicianship, and the jazz-fusion style, check out his [online harmonica lessons](https://artistworks.com/harmonica-lessons-howard-levy) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC ROUNDTABLE PODCAST: On the ArtistWorks Music Roundtable, members of our faculty of master musicians are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, [musicianship](https://artistworks.com/music-theory-and-musicianship), [music theory](https://artistworks.com/music-theory-and-musicianship), technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes of the ArtistWorks Music Roundtable podcast where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblocks in your musical journey with our[ online music lessons](https://artistworks.com/)? Sample some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Howard Levy Releases New Harmonica Instructional Book](https://blog.artistworks.com/howard-levy-new-harmonica-instructional-book) [ArtistWorks Music Roundtable Podcast—Episode 4: Andy McKee & Trevor Gordon Hall](https://blog.artistworks.com/artistworks-podcast-andy-mckee-trevor-gordon-hall) [Harmonics Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 7: Guthrie Trapp](https://blog.artistworks.com/artistworks-summer-series-week-7-guthrie-trapp/) **Published:** August 17, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the seventh week of the ArtistWorks Summer Series! Every week this summer, we dropped new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the seventh week of the ArtistWorks Summer Series! Every week this summer, we dropped new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over a dozen brand new [online country guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp). Guthrie’s new lessons cover material that spans the entire range of his guitar curriculum—outlining fresh concepts for beginner, intermediate, and advanced players alike. With these new lessons, Guthrie’s course now features a total of over 32 hours of guided videos. Alongside Guthrie’s video instruction, these lessons include brand new learning materials to supplement Guthrie’s teaching, including tablature, notation, performance videos, play-along backing tracks, and more. Furthermore, in addition to instruction on a variety of fresh techniques and concepts, Guthrie also provides nearly a dozen performances demonstrating the styles and concepts he teaches, many using the same backing tracks that he provides for his students. If you’re a current student of Guthrie’s, dive in now and enjoy learning these brand-new techniques and tunes. There’s never been a better time to roll up your sleeves and start playing… Beginner Lessons: [Active Listening](https://my.artistworks.com/guthrie-trapp/learning/199318) [Guthrie’s Teaching Approach](https://my.artistworks.com/guthrie-trapp/learning/199319) Intermediate Lessons: [Opening Up the Neck and Using Triads](https://my.artistworks.com/guthrie-trapp/learning/199282) [Major to Minor 3 Octave Pattern](https://my.artistworks.com/guthrie-trapp/learning/199320) Brand New Department Added to Lessons: Guthrie Improvisation 2022 In this new lesson section, Guthrie improvises over many of the backing tracks provided in his course to demonstrate his methods in common musical contexts. These lessons are tremendously inspiring and will give you tons of great soloing ideas! [Country Shuffle in C – 120 BPM – Improv 1](https://my.artistworks.com/guthrie-trapp/learning/199305) [Country Shuffle in C – 120 BPM – Improv 2](https://my.artistworks.com/guthrie-trapp/learning/199306) [Country Shuffle in C – 120 BPM – Improv 3](https://my.artistworks.com/guthrie-trapp/learning/199307) [Train Beat in E – 120 BPM – Improv 1](https://my.artistworks.com/guthrie-trapp/learning/199308) [Train Beat in E – 120 BPM – Improv 2](https://my.artistworks.com/guthrie-trapp/learning/199309) [Train Beat in E – 120 BPM – Improv 3](https://my.artistworks.com/guthrie-trapp/learning/199310) [Train Beat in E – 120 BPM – Improv 4](https://my.artistworks.com/guthrie-trapp/learning/199311) [Train Beat in E – 120 BPM – Improv 5](https://my.artistworks.com/guthrie-trapp/learning/199312) [Train Beat in E – 120 BPM – Improv 6](https://my.artistworks.com/guthrie-trapp/learning/199313) [Train Beat in E – 120 BPM – Improv 7](https://my.artistworks.com/guthrie-trapp/learning/199314) [Train Beat in E – 120 BPM – Improv 8](https://my.artistworks.com/guthrie-trapp/learning/199315) [Waylon in A – 100 BPM – Improv 1](https://my.artistworks.com/guthrie-trapp/learning/199316) [Waylon in A – 100 BPM – Improv 2 ](https://my.artistworks.com/guthrie-trapp/learning/199317) READ MORE: [Going Live with Bryan Sutton, Sierra Hull, & Guthrie Trapp](https://blog.artistworks.com/going-live-bryan-sutton-sierra-hull-guthrie-trapp) [Guthrie Trapp & John Oates: Acoustic Duo Tour](https://blog.artistworks.com/guthrie-trapp-john-oates-acoustic-duo-tour) [Country Guitar Lesson: Connecting the Pentatonic Scale to Chord Shapes with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-connecting-pentatonic-scales-chord-shapes-guthrie-trapp) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 7: Guthrie Trapp](https://blog.artistworks.com/artistworks-summer-series-guthrie-trapp/) **Published:** August 17, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the seventh week of the ArtistWorks Summer Series! Every week this summer, we dropped new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the seventh week of the ArtistWorks Summer Series! Every week this summer, we dropped new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over a dozen brand new [online country guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp). Guthrie’s new lessons cover material that spans the entire range of his guitar curriculum—outlining fresh concepts for beginner, intermediate, and advanced players alike. With these new lessons, Guthrie’s course now features a total of over 32 hours of guided videos. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) Alongside Guthrie’s video instruction, these lessons include brand new learning materials to supplement Guthrie’s teaching, including tablature, notation, performance videos, play-along backing tracks, and more. Furthermore, in addition to instruction on a variety of fresh techniques and concepts, Guthrie also provides nearly a dozen performances demonstrating the styles and concepts he teaches, many using the same backing tracks that he provides for his students. Want to get a sense of what you’ll experience as one of Guthrie’s online guitar students? Check out this exclusive improvised performance over a Train Beat in E Major from Guthrie’s new series of[ online country guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp). Guthrie Trapp – Improvisation over a Train Beat in E: If you’re a current student of Guthrie’s, dive in now and enjoy learning these brand-new techniques and tunes. If you’re just joining Guthrie’s amazing online guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… LEARN MORE: Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Going Live with Bryan Sutton, Sierra Hull, & Guthrie Trapp](https://blog.artistworks.com/going-live-bryan-sutton-sierra-hull-guthrie-trapp) [Guthrie Trapp & John Oates: Acoustic Duo Tour](https://blog.artistworks.com/guthrie-trapp-john-oates-acoustic-duo-tour) [Country Guitar Lesson: Connecting the Pentatonic Scale to Chord Shapes with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-connecting-pentatonic-scales-chord-shapes-guthrie-trapp) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Saxophone Lesson: An Introduction to Modes](https://blog.artistworks.com/saxophone-lesson-modes-eric-marienthal/) **Published:** August 16, 2022 **Author:** ArtistWorks **Excerpt:**

As you begin learning to improvise, one of the most important skills on which to focus is your understanding of scales and how they function within the context of specific harmonies. A perfect way to begin mastering this concept is to explore and deconstruct a handful of the most commonly used scales—the seven scales (or modes) derived from the major scale.

**Content:** ![]() As you begin learning to improvise, one of the most important skills on which to focus is your understanding of scales and how they function within the context of specific harmonies. A perfect way to begin mastering this concept is to explore and deconstruct a handful of the most commonly used scales—the seven scales (or modes) derived from the major scale. What are modes? Many of you may be wondering, “what are modes, and how can multiple scales be derived from the major scale?” The major scale is comprised of seven unique pitches or notes. Each one of these pitches can be thought of as the starting note (or tonic) of its own scale. Therefore, by using only the notes from the parent major scale, six additional scales can be created by beginning each new scale on the six remaining pitches of the major scale. The seven scales that can be crafted using the notes of the major scale are commonly referred to as modes. Each of the modes derived from the major scale has a unique name, and, in ascending order, they’re referred to as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. In this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), Grammy Award-winning saxophonist, lead alto chair of Gordon Goodwin’s Big Phat Band, and former member of the Chick Corea Elektric Band, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) teaches the basics of each of the seven modes, including each scale, their accompanying arpeggio, and the harmonic contexts in which each one is most commonly used within jazz improvisation. This is the perfect way to dive headfirst into the concept of modes, and to begin implementing them into your playing. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) “The important part about knowing your modes is not only how they’re related to their parent major scale, but also how each individual mode functions in jazz improvisation and musical harmony in general,” Eric explains. Learning the modes can feel a bit intimidating at first. It can feel like an overwhelming amount information to process, and understanding the context in which each mode can and should be used can feel confusing. However, being able to connect each mode back to its parent major scale is a great way to quickly understand the function of each mode, and, with some practice, the modes and their uses will become second nature. “You always want ot keep each mode’s parent major scale in mind when playing,” explains Eric. “It’s easier for me to do that, frankly, than think about each mode individually in its own key sometimes. You want to get to a point where you can do that, because each mode should function as its own tonal center, but, for practical purposes, it’s important to always know the parent key from which each mode is derived.” To learn about the various modes and how to begin implementing them into your playing and improvisation, dive into this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) from [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal): An Introduction to Modes with Eric Marienthal: LEARN MORE: Have you always wanted to learn how to play jazz saxophone? Through our comprehensive [saxophone lessons online](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and get personal feedback on your playing. Eric’s course starts with the basics and teaches everything from beginner saxophone to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as saxophonists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Saxophone Lesson: Basic Embouchure with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-basic-embouchure-eric-marienthal) [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [The 4 Most Common Types of Saxophones: What are the Differences?](https://blog.artistworks.com/4-most-common-types-saxophones) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-3/) **Published:** August 15, 2022 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added to the 5-String Fiddle department! In this new lesson, Darol teaches and performs the tune Gimble's 5th on the 5-String Fiddle. CLICK HERE to go straight to the lesson, or go to the 5-String Fiddle department and find it there. More lessons will be released these coming Mondays, so stay tuned for more!

**Content:** ![]() A new lesson has just been added to the 5-String Fiddle department! In this new lesson, Darol teaches and performs the tune Gimble’s 5th on the 5-String Fiddle. [CLICK HERE](https://my.artistworks.com/darol-anger/learning/192083) to go straight to the lesson, or go to the 5-String Fiddle department and find it there. More lessons will be released these coming Mondays, so stay tuned for more! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Learning the Blues Scale](https://blog.artistworks.com/fiddle-lesson-blues-scale-darol-anger/) **Published:** August 11, 2022 **Author:** ArtistWorks **Excerpt:**

The sound of the blues scale is one of the most prominent tonalities heard throughout a variety of American musical traditions. It can be heard consistently within blues, jazz, rock ‘n’ roll, R&B, soul, and, of course, bluegrass music. Countless compositions employ the blues scale in their melodies and it’s also a great tool to use when improvising, especially when you’re first learning how.

**Content:** ![]() The sound of the blues scale is one of the most prominent tonalities heard throughout a variety of American musical traditions. It can be heard consistently within blues, jazz, rock ‘n’ roll, R&B, soul, and, of course, bluegrass music. Countless compositions employ the blues scale in their melodies and it’s also a great tool to use when improvising, especially when you’re first learning how. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger), master fiddler, ArtistWorks bluegrass instructor, and founding member of the David Grisman Quintet, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), introduces us to the blues scale and teaches how to play the scale in the key of G minor. The fingering of the scale is particularly comfortable to grasp in this key, making this a great exercise for beginners and a fantastic way to embed the sound of the blues scale in your ears. LEARN MORE: [Want to learn how to play the fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) “The blues scale is a six-note scale that is built around the basic structure of the minor pentatonic scale,” Darol explains. “As we know, the pentatonic scale is a five-note scale. So, the addition of this sixth note is critical and it is what gives the blues scale its distinct bluesy sound.” When deconstructing the blues scale in terms of the G minor scale tones, the sixth note that is added to the fundamental minor pentatonic is the flatted fifth, meaning that the semi-tone between scale degrees 4 and 5 is added to the minor pentatonic to create the blues scale. This flatted fifth note serves a distinct purpose and acts as a leading tone between the 4th and 5th scale degrees. It adds a healthy amount of sonic tension, which then resolves in a very satisfying way. “This scale is a very important one to practice since it’s featured so prominently in such a wide variety of styles and settings. At this point, I would recommend pausing this video and practicing this scale fingering at least… 231 times,” explains Darol with a chuckle. To learn the basic structure of the blues scale and how to implement it into your playing, dive into this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger) from [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger): Learning the Blues Scale with Darol Anger: LEARN MORE: Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons-darol-anger) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Darol Anger Jams with Bronwyn Keith-Hynes](https://blog.artistworks.com/darol-anger-jams-bronwyn-keith-hynes) [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) [Cello Lesson: Bluegrass Bowing Techniques with Mike Block](https://blog.artistworks.com/cello-lesson-bluegrass-bowing-techniques) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [ArtistWorks Summer Series—Week 6: Michael Daves](https://blog.artistworks.com/artistworks-summer-series-week-6-michael-daves/) **Published:** August 10, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the sixth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the sixth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly a dozen brand new [online bluegrass vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) from Grammy-nominated bluegrass artist, internationally-renowned singer and guitarist, and ArtistWorks bluegrass vocals instructor, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). Michael’s new lessons cover material that spans the entire range of his vocal curriculum—outlining fresh concepts and tunes designed for beginner, intermediate and advanced singers alike. With the addition of these new lessons, Michael’s course now features over 40 hours of guided videos. Alongside Michael’s video instruction, these lessons include brand new learning materials to supplement Michael’s teaching—including lyric sheets (complete with Michael’s notes and markings), sing-along backing tracks, downloadable stem packs, and more. Furthermore, in addition to lessons on a variety of new techniques and concepts, Michael also teaches how to sing thirteen brand new tunes, including “High on a Mountain,” “I’ll Fly Away,” “Walls of Time,” and “Blue Ridge Cabin Home.” If you’re a current student of Michael’s, dive in now and enjoy learning these brand new techniques and tunes. There’s never been a better time to roll up your sleeves and start singing… Beginner Lessons: [“Blue Ridge Cabin Home”](https://my.artistworks.com/michael-daves/learning/198889) [“High on a Mountain”](https://my.artistworks.com/michael-daves/learning/198890) [“Tear My Stillhouse Down”](https://my.artistworks.com/michael-daves/learning/199121) [“Dark Hollow” – Introduction & Overview](https://my.artistworks.com/michael-daves/learning/199104) Intermediate Lessons: [“Sitting Alone in the Moonlight” (Duet Arrangement)](https://my.artistworks.com/michael-daves/learning/149030) [“Walls of Time” (Duet Arrangement)](https://my.artistworks.com/michael-daves/learning/199113) [“I’ll Fly Away” (Duet Arrangement)](https://my.artistworks.com/michael-daves/learning/199114) [“Stormy Horizons” – Introduction & Overview](https://my.artistworks.com/michael-daves/learning/199115) Advanced Lessons: [“Dim Lights, Thick Smoke” (Trio Arrangement)](https://my.artistworks.com/michael-daves/learning/149026) [“Old Home Place” (Trio Arrangement) – 2022 Update](https://my.artistworks.com/michael-daves/learning/103687) We’ll be announcing new lessons from Nashville session giant and ArtistWorks [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss it! READ MORE: [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) [Michael Daves Celebrates 2,000 Video Exchanges](https://blog.artistworks.com/michael-daves-celebrates-2000-video-exchanges) [ArtistWorks Summer Series—Week 1: Tony Trischka](https://blog.artistworks.com/artistworks-summer-series-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 6: Michael Daves](https://blog.artistworks.com/artistworks-summer-series-michael-daves/) **Published:** August 10, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the sixth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the sixth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly a dozen brand new [online bluegrass vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) from Grammy-nominated bluegrass artist, internationally-renowned singer and guitarist, and ArtistWorks bluegrass vocals instructor, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). Michael’s new lessons cover material that spans the entire range of his vocal curriculum—outlining fresh concepts and tunes designed for beginner, intermediate and advanced singers alike. With the addition of these new lessons, Michael’s course now features over 40 hours of guided videos. LEARN MORE: [Want to learn how to sing in the bluegrass style from a master musician like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Alongside Michael’s video instruction, these lessons include brand new learning materials to supplement Michael’s teaching—including lyric sheets (complete with Michael’s notes and markings), sing-along backing tracks, downloadable stem packs, and more. Furthermore, in addition to lessons on a variety of new techniques and concepts, Michael also teaches how to sing thirteen brand new tunes, including “High on a Mountain,” “I’ll Fly Away,” “Walls of Time,” and “Blue Ridge Cabin Home.” If you’re a current student of Michael’s, dive in now and enjoy learning these brand new techniques and tunes. If you’re just joining Michael’s amazing online community of singers, welcome! There’s never been a better time to roll up your sleeves and start singing… We’ll be announcing new lessons from Nashville session giant and ArtistWorks [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss it! LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned musicians, like [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), and get personal feedback on your singing. Michael’s course starts with the basics and teaches everything from beginner vocal methods to advanced performance techniques, classical bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Jamming Skills: Jam Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) [Michael Daves Celebrates 2,000 Video Exchanges](https://blog.artistworks.com/michael-daves-celebrates-2000-video-exchanges) [ArtistWorks Summer Series—Week 1: Tony Trischka](https://blog.artistworks.com/artistworks-summer-series-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-2/) **Published:** August 8, 2022 **Author:** ArtistWorks **Excerpt:**

A new lesson has just been added to the 5-String Fiddle department! In this new lesson, Darol teaches and performs the classic fiddle tune Soldier’s Joy on the 5-String Fiddle. CLICK HERE to go straight to Part 1, or go to the 5-String Fiddle department and find it there. More lessons will be released these coming Mondays, so stay tuned for more!

**Content:** ![]() A new lesson has just been added to the 5-String Fiddle department! In this new lesson, Darol teaches and performs the classic fiddle tune Soldier’s Joy on the 5-String Fiddle. [CLICK HERE](https://my.artistworks.com/darol-anger/learning/195888) to go straight to Part 1, or go to the 5-String Fiddle department and find it there. More lessons will be released these coming Mondays, so stay tuned for more! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Going Live with Bryan Sutton, Sierra Hull, & Guthrie Trapp](https://blog.artistworks.com/going-live-bryan-sutton-sierra-hull-guthrie-trapp/) **Published:** August 8, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that at 4:00 pm PST on Friday, August 12, 2022, ArtistWorks will be hosting a free virtual live-streamed event featuring three members of our master artist faculty: bluegrass acoustic guitar icon Bryan Sutton, bluegrass mandolin virtuoso Sierra Hull, and Nashville country guitar giant Guthrie Trapp.

**Content:** ![]() We are excited to announce that at 4:00 pm PST on Friday, August 12, 2022, ArtistWorks will be hosting a free virtual live-streamed event featuring three members of our master artist faculty: bluegrass acoustic guitar icon [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), bluegrass mandolin virtuoso [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and Nashville country guitar giant [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp). Together, these three master musicians will be discussing all things music, performing a variety of different tunes, and answering viewer questions in real-time. So, if there’s a question that you’ve been dying to ask any of these truly amazing musicians, now’s the perfect time to get it answered! PLUS, tune in to find out how you can win some amazing GIVEAWAY prizes! LEARN MORE: [Want to learn how to play an instrument or sing from a true master musician? Try some free online music lessons now!](https://artistworks.com/#freelessons) All three musicians will be providing updates on their 2022 musical journies and will be sharing their plans for the fall, winter, and beyond. Bryan and Sierra have both spent much of the year thus far on the road performing, and in many cases doing so together alongside legendary banjo player Béla Fleck as part of his My Bluegrass Heart project. In addition to supporting founding member of Hall & Oates, John Oates, in an acoustic duo tour earlier this year, Guthrie has been spending his time performing and recording in Nashville and hitting the town with ZZ Top’s own Billy F. Gibbons. We’re eagerly awaiting to see what tunes these three masters will perform, to hear more about what they’ve been up to this year and their plans for the future, and to get your fantastic questions answered by these virtuosic musicians. The discussion and performances are sure to be lively and exciting, and we look forward to seeing you there! Tune in here on Friday, August 12, 2022, at 4:00 pm PT to join the event: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Instructors Nominated for 2022 IBMA Awards](https://blog.artistworks.com/artistworks-nominated-2022-ibma-awards) [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) [Country Guitar Lesson: Connecting the Pentatonic Scale to Chord Shapes with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-connecting-pentatonic-scales-chord-shapes-guthrie-trapp) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Howard Levy Releases New Harmonica Instructional Book](https://blog.artistworks.com/howard-levy-new-harmonica-instructional-book/) **Published:** August 4, 2022 **Author:** ArtistWorks **Excerpt:**

Late last month, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, Howard Levy, released a brand new instructional harmonica book entitled, Rhythms of the Breath, Vol. 1.

**Content:** ![]() Late last month, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), released a brand new instructional harmonica book entitled, [Rhythms of the Breath, Vol. 1](https://www.amazon.com/Rhythms-Breath-Vol-1-Revolutionary-Transform/dp/B0B6LNSM31/ref=sr_1_1?crid=1D8N0XXCOY038&keywords=rhythms+of+the+breath&qid=1658864892&sprefix=rhythms+of+the+breath%2Caps%2C93&sr=8-1). Drawing on years of teaching experience here at ArtistWorks and beyond, Howard has laid things out clearly and logically in Rhythms of the Breath, Vol. 1 to help you achieve the same dramatic breakthroughs in your own playing that he once experienced. In this game-changing book, Howard takes you step-by-step through over 120 exercises and musical examples, all with a healthy dose of his unique sense of humor and a welcoming, conversational tone. LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) “Following the path I’ve outlined in Rhythms of the Breath, Vol. 1 and my course here at ArtistWorks will give you many ‘lightbulb moments,’” Howard explains. “These methods transformed and elevated my playing, and they will do the same for you.” After 25 years of playing, Howard had a revelation when he discovered a direct relationship between drum rudiments and harmonica breathing patterns. Quickly, he started exploring this on harmonica and experienced dramatic results. This revolutionary concept created the foundation for all of the lessons and material taught in Rhythms of the Breath, Vol. 1. Already known as one of the most innovative harmonica players in the history of the instrument, this new approach enabled Howard to play things that he had never been able to do before. He is now sharing it all with you. Rhythms of the Breath, Vol. 1 is a fantastic resource to supplement Howard’s amazing [online harmonica lessons](https://artistworks.com/harmonica-lessons-howard-levy) offered here at ArtistWorks. So, if you’re currently one of Howard’s students, there’s never been a better time to grab your copy of Rhythms of the Breath, Vol. 1. If you’ve always been interested in learning how to play the harmonica, now’s the time to sign up for Howard’s online harmonic course [here](https://artistworks.com/harmonica-lessons-howard-levy), and purchase your copy of Rhythms of the Breath, Vol. 1. To purchase your copy of Rhythms of the Breath, Vol. 1, click [here](https://www.amazon.com/Rhythms-Breath-Vol-1-Revolutionary-Transform/dp/B0B6LNSM31/ref=sr_1_1?crid=1D8N0XXCOY038&keywords=rhythms+of+the+breath&qid=1658864892&sprefix=rhythms+of+the+breath%2Caps%2C93&sr=8-1). LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Harmonica Lesson: An Introduction to Bending with Howard Levy](https://blog.artistworks.com/harmonica-lesson-note-bending) [Howard Levy Releases New Album, From the Vault, Vol. 4: Duets with Friends](https://blog.artistworks.com/howard-levy-releases-new-album-from-the-vaults-vol-4-duets-with-friends) [Harmonica Lesson: How to Hold the Harmonica with Howard Levy](https://blog.artistworks.com/how-hold-harmonica) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 5: Caterina Lichtenberg](https://blog.artistworks.com/artistworks-summer-series-week-5-caterina-lichtenberg/) **Published:** August 3, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the fifth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the fifth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly two dozen brand new [online classical mandolin lessons](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) from world-renowned mandolinist, professor at the Music Conservatory in Cologne, Germany, and ArtistWorks classical mandolin instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). Caterina’s new lessons cover material for players of all levels, and, among these lessons, is a brand new section specifically teaching Baroque Mandolin—making Caterina’s course the first of its kind and the only place to learn this unique instrument on the internet. Additionally, with these new lessons, Caterina’s course now features a total of over 27 hours of amazing video content. ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Caterina_Lichtenberg_Baroque_Mandolin_Lessons.png) Caterina Lichtenberg tuning her Baroque Mandolin at the ArtistWorks studio in Napa, CA. Alongside Caterina’s video instruction, these lessons include brand new learning materials to supplement Caterina’s teaching, including tablature, notation, performance videos, and more. Furthermore, in addition to instruction on a variety of fresh techniques and concepts, Caterina also provides new lessons teaching 15 iconic classical compositions, including “From Old Vienna,” J.S Bach’s Prelude #1 from his 1st Cello Suite, Telemann’s Fantasia No. 1, Largo, and more. If you’re a current student of Caterina’s, dive in now and enjoy learning these brand-new techniques and pieces. There’s never been a better time to roll up your sleeves and start playing… Beginner – Fundamentals: [How to File a Wolle Pick](https://my.artistworks.com/caterina-lichtenberg/learning/198721) Baroque Mandolin: [The History of the Baroque Mandolin](https://my.artistworks.com/caterina-lichtenberg/learning/198813) [Feathers, Quills, & Picks](https://my.artistworks.com/caterina-lichtenberg/learning/198811) [Sound Production & Pick Strokes](https://my.artistworks.com/caterina-lichtenberg/learning/198812) [Changing Strings & Tuning](https://my.artistworks.com/caterina-lichtenberg/learning/198823) [“From Old Vienna”](https://my.artistworks.com/caterina-lichtenberg/learning/198814) [“Yearning”](https://my.artistworks.com/caterina-lichtenberg/learning/198815) [“Clog Dance” ](https://my.artistworks.com/caterina-lichtenberg/learning/198816) [“Greensleeves”](https://my.artistworks.com/caterina-lichtenberg/learning/198821) [“Been to the East, Been to the West”](https://my.artistworks.com/caterina-lichtenberg/learning/198810) [Filippo Sauli – Partita V – Overture](https://my.artistworks.com/caterina-lichtenberg/learning/198817) [Abel – Adagio](https://my.artistworks.com/caterina-lichtenberg/learning/198818) [Van Eyck – Prins Robbert Masco](https://my.artistworks.com/caterina-lichtenberg/learning/198819) [Van Eyck – Pavane Lacryme](https://my.artistworks.com/caterina-lichtenberg/learning/198820) [Van Eyck – Boffons](https://my.artistworks.com/caterina-lichtenberg/learning/198822) Advanced Mandolin: [Advanced Pieces – Bach: Cello Suite No.1, Prelude – NEW PERFORMANCE ADDED!](https://my.artistworks.com/caterina-lichtenberg/learning/96452) [Advanced Pieces – Bach, J.S. – Cello Suites I (BWV 1007), Allemande](https://my.artistworks.com/caterina-lichtenberg/learning/198714) [Advanced Pieces – Bach, J.S. – Cello Suites III (BWV 1009), Prelude](https://my.artistworks.com/caterina-lichtenberg/learning/198719) [Advanced Pieces – Calace: Piccola Gavotta](https://my.artistworks.com/caterina-lichtenberg/learning/198717) [Advanced Pieces – Telemann, G.Ph. – Fantasie I (TWV 40:14), Largo](https://my.artistworks.com/caterina-lichtenberg/learning/198715) [Schradieck – Finger Busters](https://my.artistworks.com/caterina-lichtenberg/learning/198716) We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) READ MORE: [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast%E2%80%94episode-1-mike-marshall-caterina-lichtenberg) [Caterina Lichtenberg Solo Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 5: Caterina Lichtenberg](https://blog.artistworks.com/artistworks-summer-series-caterina-lichtenberg/) **Published:** August 3, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the fifth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the fifth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly two dozen brand new [online classical mandolin lessons](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) from world-renowned mandolinist, professor at the Music Conservatory in Cologne, Germany, and ArtistWorks classical mandolin instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). Caterina’s new lessons cover material for players of all levels, and, among these lessons, is a brand new section specifically teaching Baroque Mandolin—making Caterina’s course the first of its kind and the only place to learn this unique instrument on the internet. Additionally, with these new lessons, Caterina’s course now features a total of over 27 hours of amazing video content. ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Caterina_Lichtenberg_Baroque_Mandolin_Lessons.png) Caterina Lichtenberg tuning her Baroque Mandolin at the ArtistWorks studio in Napa, CA. LEARN MORE: [Want to learn how to play classical mandolin from a master musician like Caterina Lichtenberg? Try some free online classical mandolin lessons now!](https://go.artistworks.com/free-music-lessons-caterina-lichtenberg) Alongside Caterina’s video instruction, these lessons include brand new learning materials to supplement Caterina’s teaching, including tablature, notation, performance videos, and more. Furthermore, in addition to instruction on a variety of fresh techniques and concepts, Caterina also provides new lessons teaching 15 iconic classical compositions, including “From Old Vienna,” J.S Bach’s Prelude #1 from his 1st Cello Suite, Telemann’s Fantasia No. 1, Largo, and more. Want to get a sense of what you’ll experience as one of Caterina’s mandolin students? Check out this exclusive performance of Raffaele Calace’s Piccola Gavotta from Caterina’s new series of [online classical mandolin lessons](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). Caterina Lichtenberg Classical Mandolin Performance: Piccola Gavotta by Raffaele Calace: If you’re a current student of Caterina’s, dive in now and enjoy learning these brand-new techniques and pieces. If you’re just joining Caterina’s amazing online classical mandolin community, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) LEARN MORE: Have you always wanted to learn how to play the classical mandolin? Through our comprehensive [classical mandolin lessons online](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, iconic classical pieces, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast%E2%80%94episode-1-mike-marshall-caterina-lichtenberg) [Caterina Lichtenberg Solo Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Alternate Picking Exercises](https://blog.artistworks.com/bluegrass-guitar-lesson-alternate-picking-exercises/) **Published:** August 1, 2022 **Author:** ArtistWorks **Excerpt:**

Bluegrass tunes, in general, tend to be played at faster tempos, and feature upbeat rhythms, fast-paced chord changes, and intricate melodies comprised of eighth and sixteenth-note runs. Equally complex and detailed solo sections highlighting each ensemble member are also commonplace within the genre. Therefore, as a result, it is essential for bluegrass players of all levels to focus on maximizing their technical efficiency on their respective instruments and truly master critical foundational techniques from the beginning of their musical journey.

**Content:** ![]() Bluegrass tunes, in general, tend to be played at faster tempos, and feature upbeat rhythms, fast-paced chord changes, and intricate melodies comprised of eighth and sixteenth-note runs. Equally complex and detailed solo sections highlighting each ensemble member are also commonplace within the genre. Therefore, as a result, it is essential for bluegrass players of all levels to focus on maximizing their technical efficiency on their respective instruments and truly master critical foundational techniques from the beginning of their musical journey. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Punch Brothers co-founder, Grammy Award-winning guitarist, and ArtistWorks bluegrass acoustic guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), teaches a handful of essential exercises to help you improve your alternate picking. Alternate picking is a crucial technique for bluegrass guitarists and is the foundation on which almost all other flatpick guitar methods are built. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) “Flatpicking is generally a pretty ‘note-y’ style,” Chris explains. “There are usually a lot of rapid-fire notes, and that’s because the acoustic guitar is quieter than most of the other string band instruments. So, we as flatpickers usually end up playing fast streams of notes because they cut through the band better and make more of an impact in that context. In order to play fast streams of notes cleanly, we almost always need to alternate pick.” When you’re first learning to alternate pick, the required motion to execute the technique properly can feel very foreign. As a result, players tend to tense up and their picking wrist and elbow often become stiff and rigid, which makes performing the technique properly even more difficult. Therefore, players of all levels should pay attention to the tension in their bodies when practicing their alternate picking. “It’s really important to get into the habit of noticing tension,” explains Chris. “If you tense up, the notes won’t have the same quality. And, it’s really easy to tense up when you feel like you need to play really loud or you’re not being heard. So, when you’re learning this technique, make sure to take the time to notice any tension you may be experiencing and develop habits that will help you avoid tensing up when alternate picking.” To learn a few critical exercises to improve your alternate picking and make you a better flatpicker, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Alternate Picking Exercises with Chris Eldridge: This lesson from Chris is featured in our brand new [Americana Guitar Bundle](https://artistworks.com/americana-guitar-bundle) course. Taught by legendary guitarists [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), & [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), the [Americana Guitar Bundle](https://artistworks.com/americana-guitar-bundle) provides a series of video lessons teaching essential guitar styles that make up the Americana genre: bluegrass, Nashville country, & blues. In addition to essential performance methods in each style, students will learn classic tunes and have access to play-along backing tracks, tablature, and more. Click [here](https://artistworks.com/americana-guitar-bundle) to sign up and learn more. LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Harmonizing a Major Scale with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-harmonizing-major-scale-chris-eldridge) [New Bundled Music Courses Now Available](https://blog.artistworks.com/new-bundled-music-courses-now-available) [Bluegrass Jamming Skills: Jamming Protocol & Etiquette with Michael Daves](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Bundled Music Courses Now Available](https://blog.artistworks.com/new-bundled-music-courses-now-available/) **Published:** July 29, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce the availability of three brand-new bundled music courses designed to give you access to the minds and methods of three different master musicians teaching multiple styles, genres, and even instruments.

**Content:** ![]() We are excited to announce the availability of three brand-new [bundled music courses](https://artistworks.com/bundled-music-courses) designed to give you access to the minds and methods of three different master musicians teaching multiple styles, genres, and even instruments. The [Bluegrass Trio Bundle](https://artistworks.com/bluegrass-trio-bundle) allows students to learn guitar, banjo, and mandolin from three bluegrass legends to translate essential techniques of the genre onto any instrument and become the ultimate picker. The [Electric Guitar Power Pack](https://artistworks.com/electric-guitar-power-pack) provides students everything they need to become well-rounded electric guitarists! You’ll learn rock, blues rock, & country guitar from three legendary musicians to become a multi-style shredder. Through the [Americana Guitar Bundle](https://artistworks.com/americana-guitar-bundle), students will learn bluegrass, country, and blues techniques from guitar masters to develop a comprehensive understanding of this hybridized genre. Our [bundled music courses](https://artistworks.com/bundled-music-courses) feature lesson content hand-selected to cover several styles and grant access to multiple master musicians, all in one place. Students experience the teaching styles and approaches of 3 legendary artists and tackle key musical concepts applicable to numerous genres and instruments. PLUS, gain access to studio-quality play-along tracks, tablature, & more. Explore all three courses [here](https://artistworks.com/bundled-music-courses), and sign up now to get 3 months of learning for just $39! Plus, [you’ll lock in your future course renewal at the same price!](https://artistworks.com/bundled-music-courses?utm_campaign=ArtistWorks%20Bundles&utm_source=hs_email&utm_medium=email&_hsenc=p2ANqtz--QCNQrqbBoIfIpzyd5dg6NSBYd4oixdT0gMlVtahyxNgN7JdpF6Xv7eATKyllGvQEEs59f) Don’t wait! There are only 300 of each course package available. [THE BLUEGRASS TRIO BUNDLE](https://artistworks.com/bluegrass-trio-bundle): Taught by bluegrass icons Bryan Sutton, Noam Pikelny, and Sierra Hull, this course provides a series of bluegrass music lessons teaching essential acoustic guitar, banjo, and mandolin methods to make you the ultimate picker. In addition to technical lessons on each instrument, students will learn several classic bluegrass tunes and have access to play-along backing tracks, tablature, and more. [SIGN UP HERE!](https://artistworks.com/bluegrass-trio-bundle) [ELECTRIC GUITAR POWER PACK](https://artistworks.com/electric-guitar-power-pack): Taught by guitar legends Paul Gilbert, Guthrie Trapp, and Jared James Nichols, this multi-style electric guitar course provides a series of video lessons teaching essential techniques in 3 popular genres: rock, blues rock, & country. In addition to lessons on critical techniques in each style, students will learn soloing techniques and have access to play-along tracks, tablature, & more. [SIGN UP HERE!](https://artistworks.com/electric-guitar-power-pack) [AMERICANA GUITAR BUNDLE](https://artistworks.com/americana-guitar-bundle): Taught by legendary guitarists Chris Eldridge, Guthrie Trapp, & Keith Wyatt, this course provides a series of video lessons teaching essential guitar styles that make up the Americana genre: bluegrass, Nashville country, & blues. In addition to essential performance methods in each style, students will learn classic tunes and have access to play-along backing tracks, tablature, and more. [SIGN UP HERE!](https://artistworks.com/americana-guitar-bundle) ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) [Blues Rock Guitar Lesson: Playing with Attitude with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols) [Blues Guitar Lesson: Variations on a 12 Bar Blues with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-variations-12-bar-blues) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Instructors Nominated for 2022 IBMA Awards](https://blog.artistworks.com/artistworks-nominated-2022-ibma-awards/) **Published:** July 27, 2022 **Author:** ArtistWorks **Excerpt:**

Yesterday, July 26, 2022, the International Bluegrass Music Association announced the nominees for this year's 33rd annual 2022 IBMA Bluegrass Music Awards. Among the fantastic group of talented artists nominated for awards are four of the master musicians that teach bluegrass here at ArtistWorks: bluegrass mandolin icon Sierra Hull, flatpick guitar master Bryan Sutton, upright bass guru Missy Raines, and dobro and resophonic guitar virtuoso Andy Hall.

**Content:** ![]() Yesterday, July 26, 2022, the International Bluegrass Music Association announced the nominees for this year’s 33rd annual 2022 IBMA Bluegrass Music Awards. Among the fantastic group of talented artists nominated for awards are four of the master musicians that teach bluegrass here at ArtistWorks: bluegrass mandolin icon [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), flatpick guitar master [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), upright bass guru [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and dobro and resophonic guitar virtuoso [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall). SIERRA HULL: Nominated in multiple categories this year, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) has accomplished more as a singer, songwriter, and performer in the last 25 years than many musicians do in a lifetime. Having received the IBMA “Mandolin Player of the Year” Award four times already, she is not only nominated in that category for the fifth time this year but is also a nominee for “Female Vocalist of the Year.” In addition to writing, touring, and performing her own music nearly year-round, Sierra has also spent much of 2022 on stage beside legendary banjoist Béla Fleck as part of his My Bluegrass Heart project. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) BRYAN SUTTON: A ten-time recipient of the IBMA “Guitarist of the Year” Award, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) is consistently recognized as one of the premier flatpick guitar players of the modern era, and a prolific musical voice within the bluegrass genre. Once again, Bryan is nominated in the “Guitarist of the Year” category this year, and, like Sierra, spent much of 2022 performing alongside Béla Fleck as part of My Bluegrass Heart. In addition to his prowess as a performer, Bryan is also a masterful teacher and has taught bluegrass acoustic guitar at ArtistWorks for 11 years. LEARN MORE: [Want to learn how to flatpick from a master guitarist like Bryan Sutton? Try some free acoustic guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) MISSY RAINES: Much like Bryan, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) is also revered as a preeminent talent of the bluegrass genre. As a ten-time recipient of the IBMA “Bass Player of the Year” Award, Missy is one of the most virtuosic upright bass players in bluegrass history and is once again nominated in the category this year. Missy can most commonly be heard performing with her group Missy Raines & Allegheny and is also a member of the First Ladies of Bluegrass alongside Sierra Hull, Molly Tuttle, Becky Buller, and Alison Brown. She is the most decorated bass player in the history of the International Bluegrass Music Association. LEARN MORE: [Want to learn upright bass from a master musician like Missy Raines? Try a few free online bass lessons now!](https://go.artistworks.com/free-music-lessons-missy-raines) ANDY HALL: As a member of the Grammy and IBMA Award-winning outfit, The Infamous Stringdusters, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) has made his mark in the worlds of bluegrass and resophonic guitar playing since the band made their debut in 2006. Andy is recognized as a powerhouse of the dobro and lap steel guitars and is nominated this year in the category of “Resophonic Guitarist of the Year” by the IBMA. In addition to his role in The Infamous Stringdusters, Andy has also released several solo records, one of which won the IBMA’s “Instrumental Recorded Performance of the Year” Award in 2008. LEARN MORE: [Want to learn resophonic guitar from a dobro master like Andy Hall? Sign up for Andy’s Dobro & Lap Steel Guitar course!](https://artistworks.com/dobro-lessons-andy-hall) Congratulations and best of luck to all the 2022 nominees! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [electric and acoustic guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: An Introduction to Improvising with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising) [Bluegrass Guitar Lesson: Walking Bass Runs with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-walking-bass-lines) [Acoustic Upright Bass Lesson: Finding Your Playing Position with Missy Raines](https://blog.artistworks.com/acoustic-bluegrass-bass-lesson-finding-your-playing-position-missy-raines) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: An Introduction to Improvising](https://blog.artistworks.com/bluegrass-mandolin-lesson-improvising/) **Published:** July 25, 2022 **Author:** ArtistWorks **Excerpt:**

For many of us, the concept of improvisation can feel daunting and a bit intimidating, especially if we’re approaching this musical technique for the very first time. Improvisation requires confidence, a certain level of understanding of your preferred genre’s musical vocabulary, and often taking the spotlight in the form of a solo. This puts many, especially those that are just beginning to tackle this method, outside of their comfort zones. But, remember, we improvise every single day throughout various facets of our lives.

**Content:** ![]() For many of us, the concept of improvisation can feel daunting and a bit intimidating, especially if we’re approaching this musical technique for the very first time. Improvisation requires confidence, a certain level of understanding of your preferred genre’s musical vocabulary, and often taking the spotlight in the form of a solo. This puts many, especially those that are just beginning to tackle this method, outside of their comfort zones. But, remember, we improvise every single day throughout various facets of our lives. Every conversation we have with a friend, colleague, or family member is improvised! However, because we have a certain level of mastery of the vocabulary of our preferred language, we’re able to improvise successfully. Music is no different. In Part 1 of this intermediate [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull), Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), teaches the fundamental building blocks to begin improvising on your instrument in the bluegrass style. She outlines the importance of understanding your musical vocabulary, and emphasizes the critical nature of risk-taking and allowing yourself to fail in order to begin learning how to improvise. To explore Part 2 of this lesson and more, join Sierra’s online mandolin course [here](https://artistworks.com/mandolin-lessons-sierra-hull). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) “Improvising can feel a little bit scary at the beginning,” explains Sierra. “But, at some point, we have to start trusting the knowledge we have, be willing to apply it, and be willing to crash and burn a little bit and maybe even sound sort of bad in the process of learning.” Learning how to improvise, and continue to grow as an improviser, is all about infinitely building and expanding your musical vocabulary. That’s one of the beautiful aspects of the improvisational element of music. It is an ever-growing skill. So, regardless if you’re a beginner, intermediate, or advanced-level player, there is always something new to learn and always a way to improve your improvisational skills. “Our scales and our chords, they’re a little bit like our A, B, C’s,” Sierra explains. “Then we start learning musical phrases, and how those phrases connect back to the chords within the song. Those are like our sentences. And, the tunes we know—classic bluegrass tunes—those are sort of like our stories. When we connect those three things together, we have the tools we need to be able to improvise.” To learn more about improvisation and how to utilize the musical vocabulary you’ve been developing in an improvisational context, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: An Introduction to Improvising with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, music theory, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) [Bluegrass Mandolin Lesson: Setting Your Tone Goals with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-setting-your-tone-goals-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Paul Gilbert’s Great Guitar Escape 2022](https://blog.artistworks.com/paul-gilbert-great-guitar-escape-2022/) **Published:** July 22, 2022 **Author:** ArtistWorks **Excerpt:**

Next week, award-winning master guitarist, internationally-renowned shred guitar icon, co-founder of bands Racer X and Mr. Big, and ArtistWorks rock guitar instructor, Paul Gilbert, will be hosting his sixth ever Great Guitar Escape event, a 4-day immersive guitar experience at the Kellogg West Conference Center in Pomona, CA.

**Content:** ![]() Next week, award-winning master guitarist, internationally-renowned shred guitar icon, co-founder of bands Racer X and Mr. Big, and ArtistWorks rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), will be hosting his sixth ever [Great Guitar Escape](https://greatguitarescape.com/) event, a 4-day immersive guitar experience at the Kellogg West Conference Center in Pomona, CA. Held from July 28 through August 1, 2022, the [Great Guitar Escape](https://greatguitarescape.com/) is an event for guitar players of all ages and levels, as well as music lovers, guitar enthusiasts, and more. Joining Paul at the Escape will be fellow ArtistWorks instructor, blues rock guitar virtuoso, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), as well as veteran TrueFire and JamPlay teachers [Andy Timmons](https://truefire.com/educators/andy-timmons/e4330?utm_term=&utm_campaign=TrueFire+-+Performance+Max+-+Matt+Schofield+-+US&utm_source=adwords&utm_medium=ppc&hsa_acc=9589530031&hsa_cam=16975562525&hsa_grp=&hsa_ad=&hsa_src=x&hsa_tgt=&hsa_kw=&hsa_mt=&hsa_net=adwords&hsa_ver=3&gclid=Cj0KCQjwlemWBhDUARIsAFp1rLUKRZK8NVUd1UvK9SXsdK9Ib_iHpsQUf2rBtE_vaXZuqcCvCN2v0QkaAqp6EALw_wcB), [Gretchen Menn](https://truefire.com/educators/gretchen-menn/e4659), [Greg Koch](https://truefire.com/educators/greg-koch/e3773), [Mike Keneally](https://jamplay.com/guitar-teachers/104-mike-keneally), and more. LEARN MORE: [Want to learn how to play electric guitar from a master musician like Paul Gilbert? Try some free online rock guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “Some of my closest friends and favorite all-time players will be with us, including Great Guitar Escape veterans Andy Timmons, George Lynch, and Greg Howe,” explains Paul. “We’ll also be joined by some players that I’ve been following for a while. Jared James Nichols is really fiery, taking the style that was born with Hendrix and continued into the 70s, classic high-energy blues rock guitar playing. It’s so nice to see a younger guy really getting a grip on that sound and putting his own thing into it as well.” As an attendee of the [Great Guitar Escape 2022](https://greatguitarescape.com/), you’ll receive: - A once-in-a-lifetime mentor session (one-on-one) with one of our instructors - Jamming with the one and only Paul Gilbert himself! - A professional film crew to record your jam with Paul (extra charges may apply) - Camper jamming until the wee hours — rock out until dawn! - Intimate breakout sessions with Andy Timmons, Greg Howe, George Lynch, Greg Koch, Mike Kenneally, Gretchen Menn, Doug Doppler, and Stephanie Bradley- organized by level and your interest! - A special signing session and photos with Paul and the other artists - Deluxe accommodations - Great food and great company – make lasting memories every day! “Whether you are a master player, a beginner, or just an enthusiastic fan, our four-day programs offer activities and workshops for you,” said Paul. “Our environment is non-competitive and is strictly about immersing oneself in the joys of guitar playing, music, and our lovely surroundings!” To sign up and learn more about Paul Gilbert’s Great Guitar Escape, head to the event website [here](https://greatguitarescape.com/). LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [rock guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned shred guitar master [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner guitar to advanced rock riffs, shred techniques, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Celebrating 10 Years of “Rock Guitar with Paul Gilbert” ](https://blog.artistworks.com/10-years-rock-guitar-paul-gilbert) [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) [Paul Gilbert Celebrates 12,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-celebrates-12000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Summer Series—Week 4: David Butler](https://blog.artistworks.com/artistworks-summer-series-week-4-david-butler/) **Published:** July 20, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the fourth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the fourth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over 8 hours of brand new [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons) designed specifically for beginners and first-time players by lifelong guitarist, co-founder of ArtistWorks, and the creator of Video Exchange Learning®, [David Butler](https://artistworks.com/beginner-guitar-lessons). David’s new lessons cover material that spans the entire range of his beginner acoustic guitar curriculum—outlining exciting new techniques, warm-up exercises, and tunes, all with amazing additional materials to supplement your learning. With these new lessons, David’s course now features a total of over 35 hours of video content. Alongside David’s video instruction, these lessons include brand new learning materials to supplement David’s teaching, including tablature, notation, performance videos, and more. Furthermore, in addition to new lessons on a variety of techniques and concepts, David also teaches how to play seven classic tunes, including “Angel from Montgomery,” “Blackbird,” “Big Yellow Taxi,” “Scarborough Fair,” and more. If you’re a current student of David’s, dive in now and enjoy learning these brand new techniques and tunes. There’s never been a better time to roll up your sleeves and start playing… Exercises & Musical Concepts: [Warm-Up Exercises](https://my.artistworks.com/beginner-acoustic/learning/198281) [Stretching Exercises](https://my.artistworks.com/beginner-acoustic/learning/198282) [Musical Concepts: Chromatic Patterns](https://my.artistworks.com/beginner-acoustic/learning/198283) [5 Songs You Should Probably Know](https://my.artistworks.com/beginner-acoustic/learning/198284) [Embellishing a Song with Travis Picking](https://my.artistworks.com/beginner-acoustic/learning/198289) [Finger Picks](https://my.artistworks.com/beginner-acoustic/learning/198290) [Altered Tunings](https://my.artistworks.com/beginner-acoustic/learning/198295) [How to Get Into Open D Tuning](https://my.artistworks.com/beginner-acoustic/learning/198294) [How to Get Out of Open D Tuning (Back to Standard E Tuning)](https://my.artistworks.com/beginner-acoustic/learning/198293) New Tunes: [New Tune: “Angel From Montgomery”](https://my.artistworks.com/beginner-acoustic/learning/198287) [New Tune: “Ho Hey”](https://my.artistworks.com/beginner-acoustic/learning/198314) [New Tune: “Blackbird”](https://my.artistworks.com/beginner-acoustic/learning/198285) [New Tune: “Ballad of a Crystal Man”](https://my.artistworks.com/beginner-acoustic/learning/198286) [New Tune: “Scarborough Fair”](https://my.artistworks.com/beginner-acoustic/learning/198288) [New Tune: “On Doing an Evil Deed Blues”](https://my.artistworks.com/beginner-acoustic/learning/198291) [New Tune: “Big Yellow Taxi”](https://my.artistworks.com/beginner-acoustic/learning/198292) We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) READ MORE: [Beginner Acoustic Guitar Lesson: Playing Without a Pick with David Butler](https://blog.artistworks.com/beginner-acoustic-guitar-lesson-playing-without-pick-david-butler) [Acoustic Fingerstyle Guitar Lesson: Learn to Play “Rylynn” with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-rylynn-intro) [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 4: David Butler](https://blog.artistworks.com/artistworks-summer-series-david-butler/) **Published:** July 20, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the fourth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the fourth week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over 8 hours of brand new [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons) designed specifically for beginners and first-time players by lifelong guitarist, co-founder of ArtistWorks, and the creator of Video Exchange Learning®, [David Butler](https://artistworks.com/beginner-guitar-lessons). David’s new lessons cover material that spans the entire range of his beginner acoustic guitar curriculum—outlining exciting new techniques, warm-up exercises, and tunes, all with amazing additional materials to supplement your learning. With these new lessons, David’s course now features a total of over 35 hours of video content. LEARN MORE: [Want to learn how to play acoustic guitar from a lifelong musician and the creator of Video Exchange Learning®? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/five-online-lessons-beginner-acoustic-guitar) Alongside David’s video instruction, these lessons include brand new learning materials to supplement David’s teaching, including tablature, notation, performance videos, and more. Furthermore, in addition to new lessons on a variety of techniques and concepts, David also teaches how to play seven classic tunes, including “Angel from Montgomery,” “Blackbird,” “Big Yellow Taxi,” “Scarborough Fair,” and more. Want to dive in and start playing right away? Check out this [online acoustic guitar lesson](https://artistworks.com/banjo-lessons-tony-trischka) from David’s assortment of new videos in which David teaches a fingerstyle technique called Travis Picking and shows how to utilize this method to embellish your favorite tunes. Embellishing a Song with Travis Picking with David Butler: If you’re a current student of David’s, dive in now and enjoy learning these brand new techniques and tunes. If you’re just joining David’s amazing online acoustic guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) MORE ON OUR BEGINNER’S GUIDE TO ACOUSTIC GUITAR COURSE: [David Butler](https://artistworks.com/beginner-guitar-lessons) is the co-founder of ArtistWorks, a lifelong acoustic guitarist, and the creator of Video Exchange Learning®. He grew up listening to and playing the guitar-centric music of the ’60s, surrounded by the many musical influences of his hometown Memphis, Tennessee. Especially drawn to the sound of the acoustic guitar, he strived to master and teach its many styles and techniques including flatpick and fingerstyle (“Travis”) picking. In his [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons), David shares his lifetime of acoustic guitar knowledge. His goal is to provide comprehensive, step-by-step, deep instruction that fills in gaps that often cause first-time players to get frustrated. Normally behind the camera at ArtistWorks, he now steps to the other side to teach all the adult beginners who wish to play and enjoy the acoustic guitar. Interested in learning how to play the acoustic guitar? Experience our [acoustic guitar lessons online](https://artistworks.com/beginner-guitar-lessons) for yourself and try out some [free sample music lessons](https://artistworks.com/#freelessons) here. You’ll quickly see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner Acoustic Guitar Lesson: Playing Without a Pick with David Butler](https://blog.artistworks.com/beginner-acoustic-guitar-lesson-playing-without-pick-david-butler) [Acoustic Fingerstyle Guitar Lesson: Learn to Play “Rylynn” with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-rylynn-intro) [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Ukulele Lesson: An Introduction to Movable Chord Shapes](https://blog.artistworks.com/ukulele-lesson-movable-chord-shapes/) **Published:** July 19, 2022 **Author:** ArtistWorks **Excerpt:**

Fretted stringed instruments are fundamentally shape-based by nature. What do we mean when we say “shape-based”? Essentially, there are structured chord shapes and accompanying fingering patterns that can be transposed across the instrument’s neck, allowing players to quickly and easily perform the same chord or scale quality in any key using the same fingering.

**Content:** ![]() Fretted stringed instruments are fundamentally shape-based by nature. What do we mean when we say “shape-based”? Essentially, there are structured chord shapes and accompanying fingering patterns that can be transposed across the instrument’s neck, allowing players to quickly and easily perform the same chord or scale quality in any key using the same fingering. For example, if you strum a G major chord, you can play an A major chord simply by transposing the fingering used to perform the original G major chord up two frets. This concept can be applied to instruments ranging from the [guitar](https://artistworks.com/guitar-lessons), [bass](https://artistworks.com/bass-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [banjo](https://artistworks.com/banjo-lessons), and also [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah). In this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor, [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah), introduces us to the concept of movable chord shapes and teaches a few of the most common shapes on the ukulele to get you comfortable transposing them up and down the neck. LEARN MORE: [Want to learn how to play the ukulele from a master musician like Craig Chee? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) “When I teach ukulele, I always like to remind students that they know a lot more than they think they do,” Craig explains. “Once you know your chord shapes, you can take these patterns and move them up and down the neck. So, after learning just a few chords, you really have enough knowledge to start utilizing all of the real estate on your instrument.” While Craig focuses specifically on teaching you major chord shapes that you can transpose across the neck in this particular lesson, this same concept can be applied to minor chords, dominant seventh chords, scales, and beyond. This lesson is really just the tip of the iceberg, but Craig and Sarah dive into tremendous detail on this topic in their comprehensive [ukulele course](https://artistworks.com/ukulele-lessons-craig-sarah) here at ArtistWorks. “There are four major chord shapes that you can transpose in any key on the ukulele,” Craig explains. “Once you know the shapes of these four major chords, you can perform them cyclically up and down the neck, and apply them in any key. This will unlock your understanding of the fretboard tremendously!” To learn more about the concept of moveable chord shapes and how to apply them in your own playing, dive into this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah) from [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah): An Introduction to Movable Chord Shapes with Craig Chee: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [30 Day Ukulele Challenge: “Brown Eyed Girl” Collaboration](https://blog.artistworks.com/30-day-ukulele-challenge-brown-eyed-girl) [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee) [Ukulele Lesson: An Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 3: Mike Marshall](https://blog.artistworks.com/artistworks-summer-series-week-3-mike-marshall/) **Published:** July 13, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the third week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the third week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over 4 hours of brand new [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) from world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). Mike’s brand new lessons teach five timeless bluegrass tunes, all of which are great for beginner, intermediate, and advanced players alike. Mike teaches how to play Bill Monroe classics like “Old Dangerfield” and “Watson’s Blues,” as well as tunes by mandolin icons David Grisman and Sam Bush. In addition to teaching these new tunes, Mike also details critical techniques to take your improvisation skills to the next level. With these new lessons, Mike’s course now features a total of over 100 hours of video content! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Alongside Mike’s video instruction, these lessons include brand new learning materials to supplement Mike’s teaching, including tablature, notation, play-along backing tracks, and more. Even all of Mike’s improvisation and soloing play-throughs are tabbed and notated for you to dissect and learn from. If you’re a current student of Mike’s, dive in now and enjoy learning these brand new techniques and tunes. There’s never been a better time to roll up your sleeves and start playing… Bill Monroe Tunes: [New Tune: “Old Dangerfield”](https://my.artistworks.com/mike-marshall/learning/197721) [New Tune: “Watson’s Blues”—Melody](https://my.artistworks.com/mike-marshall/learning/197722) [New Tune: “Watson’s Blues”—Improvisation](https://my.artistworks.com/mike-marshall/learning/197723) David Grisman Tunes: [New Tune: “Cedar Hill”—Melody](https://my.artistworks.com/mike-marshall/learning/197724) [New Tune: “Cedar Hill”—Soloing Ideas](https://my.artistworks.com/mike-marshall/learning/197725) [New Tune: “Janice”—Chords](https://my.artistworks.com/mike-marshall/learning/197726) [New Tune: “Janice”—Melody](https://my.artistworks.com/mike-marshall/learning/197727) [New Tune: “Janice”—Improvisation](https://my.artistworks.com/mike-marshall/learning/197728) [New Tune: “Janice”—Fast Soloing](https://my.artistworks.com/mike-marshall/learning/197729) Sam Bush Tune: [New Tune: “Foster’s Reel”](https://my.artistworks.com/mike-marshall/learning/197730) We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolin players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2) [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 3: Mike Marshall](https://blog.artistworks.com/artistworks-summer-series-mike-marshall/) **Published:** July 13, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the third week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the third week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over 4 hours of brand new [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) from world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). Mike’s brand new lessons teach five timeless bluegrass tunes, all of which are great for beginner, intermediate, and advanced players alike. Mike teaches how to play Bill Monroe classics like “Old Dangerfield” and “Watson’s Blues,” as well as tunes by mandolin icons David Grisman and Sam Bush. In addition to teaching these new tunes, Mike also details critical techniques to take your improvisation skills to the next level. With these new lessons, Mike’s course now features a total of over 100 hours of video content! LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Alongside Mike’s video instruction, these lessons include brand new learning materials to supplement Mike’s teaching, including tablature, notation, play-along backing tracks, and more. Even all of Mike’s improvisation and soloing play-throughs are tabbed and notated for you to dissect and learn from. If you’re a current student of Mike’s, dive in now and enjoy learning these brand new techniques and tunes. If you’re just joining Mike’s amazing online mandolin community, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolin players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2) [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Acoustic Fingerstyle Guitar Lesson: Learn to Play "Rylynn"](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-rylynn-intro/) **Published:** July 11, 2022 **Author:** ArtistWorks **Excerpt:**

In 2005, virtuosic acoustic guitarist and composer, Andy McKee, released his third solo album, Art of Motion, on Candy Rat Records. A year later, Candy Rat shot and produced a short series of performance videos featuring live renditions of a handful of the songs off Art of Motion, including the title track, “Drifting,” “Rylynn,” “Shanghai,” “Into the Ocean,” and more. The performance videos were then uploaded to a relatively new internet platform designed specifically to stream videos: YouTube.

**Content:** ![]() In 2005, virtuosic acoustic guitarist and composer, [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), released his third solo album, Art of Motion, on [Candy Rat Records](https://www.candyrat.com/artists/andymckee/). A year later, Candy Rat shot and produced a short series of performance videos featuring live renditions of a handful of the songs off Art of Motion, including the title track, “Drifting,” “Rylynn,” “Shanghai,” “Into the Ocean,” and more. The performance videos were then uploaded to a relatively new internet platform designed specifically to stream videos: YouTube. Little did Andy or the folks at Candy Rat know, but Andy would quickly become an internet and acoustic guitar sensation overnight. Andy’s performance videos of “Drifting,” “Rylynn,” and “Into the Ocean,” in particular, grabbed the attention of the world and became some of the first online viral videos in history. For a period shortly after their release, these three videos were concurrently the three most-watched on YouTube, and have aggregated a collective 106 million views since their debut. In this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee), ArtistWorks fingerstyle guitar instructor and the creative mind behind these wonderful masterpieces, [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), teaches how to play the gorgeous introductory section to his song, “Rylynn.” This short excerpt is a masterclass in fingerstyle guitar technique and is not only beautiful to listen to but incredibly fun to play. LEARN MORE: [Want to learn how to play acoustic fingerstyle guitar from a master musician like Andy McKee? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-andy-mckee) Watch and listen to Andy’s full performance of “Rylynn” here: “Rylynn” by Andy McKee: When setting out to learn how to play “Rylynn,” it’s important to note that Andy utilizes an alternate tuning other than standard when performing this piece, as well as a partial capo on the fifth fret. Rather than the standard EADGBE (low string to highest) tuning, Andy tunes his guitar to ECDGAD for this song. Then, he uses a banjo capo, which is slightly shorter in length compared to a standard guitar capo, to capo just the lowest four strings at the fifth fret. This alters the tuning further to become: AFGCAD. “I had always loved the ECDGAD tuning,” explains Andy. “I always thought it sounded so beautiful. So, one day I decided, why not try some partial capoing in this tuning to see what it yields? Shortly after, ‘Rylynn’ was born.” To learn how to play the introduction to Andy’s critically acclaimed piece, “Rylynn,” dive into this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee) from [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee): Learn to Play “Rylynn” with Andy McKee: LEARN MORE: Have you always wanted to learn how to play acoustic fingerstyle guitar? Through our comprehensive [acoustic guitar lessons online](https://artistworks.com/guitar-lessons-andy-mckee) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, including two-hand tapping, slap harmonics, and percussion on the guitar body. Plus, you’ll learn many of Andy’s unique original compositions and imaginative covers. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Acoustic Fingerstyle Guitar with Andy McKee” is Now Open!](https://blog.artistworks.com/acoustic-fingerstyle-guitar-andy-mckee-now-open) [Acoustic Fingerstyle Guitar Lesson: Slap Harmonics with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-slap-harmonics) [ArtistWorks Music Roundtable Podcast—Episode 4: Andy McKee & Trevor Gordon Hall](https://blog.artistworks.com/artistworks-podcast-andy-mckee-trevor-gordon-hall) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Summer Series—Week 2: Martin Taylor](https://blog.artistworks.com/artistworks-summer-series-week-2-martin-taylor/) **Published:** July 6, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the second week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the second week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly a dozen brand new [online jazz guitar lessons](https://artistworks.com/guitar-lessons-martin-taylor) from Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle jazz guitar teacher, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor). Martin’s new lessons offer material for players of all levels—covering topics designed for beginner, intermediate, and advanced players alike. With these new lessons, Martin’s course now features a total of over 50 hours of video content, and that doesn’t even include the more than 4,000 Video Exchanges you can also learn from. Alongside Martin’s video instruction, these lessons include brand new learning materials to supplement Martin’s teaching, including tablature, notated exercises, written charts, and more. Furthermore, in addition to lessons on a variety of new techniques and concepts, Martin also teaches how to play two brand new tunes: “Only a Paper Moon” and “Watch What Happens.” If you’re a current student of Martin’s, dive in now and enjoy learning these brand new techniques and tunes. There’s never been a better time to roll up your sleeves and start playing… [Accompaniment Feels: Walking Bass](https://my.artistworks.com/martin-taylor/learning/197628) [Accompaniment Feels: Bossa Nova](https://my.artistworks.com/martin-taylor/learning/197626) [Accompaniment Feels: Jazz Waltz](https://my.artistworks.com/martin-taylor/learning/197627) [New Tune: “Watch What Happens”](https://my.artistworks.com/martin-taylor/learning/197619) [New Tune: “Only a Paper Moon”](https://my.artistworks.com/martin-taylor/learning/197612) We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Mike Marshall — [Bluegrass Mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) READ MORE: [Celebrating 12 Years of “Fingerstyle Guitar with Martin Taylor”](https://blog.artistworks.com/celebrating-12-years-fingerstyle-guitar-martin-taylor) [Acoustic Fingerstyle Guitar Lesson: Slap Harmonics with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-slap-harmonics) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 2: Martin Taylor](https://blog.artistworks.com/artistworks-summer-series-martin-taylor/) **Published:** July 6, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the second week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the second week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut nearly a dozen brand new [online jazz guitar lessons](https://artistworks.com/guitar-lessons-martin-taylor) from Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle jazz guitar teacher, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor). Martin’s new lessons offer material for players of all levels—covering topics designed for beginner, intermediate, and advanced players alike. With these new lessons, Martin’s course now features a total of over 50 hours of video content, and that doesn’t even include the more than 4,000 Video Exchanges you can also learn from. LEARN MORE: [Want to learn how to play fingerstyle jazz guitar from a master musician like Martin Taylor? Try some free online jazz guitar lessons now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) Alongside Martin’s video instruction, these lessons include brand new learning materials to supplement Martin’s teaching, including tablature, notated exercises, written charts, and more. Furthermore, in addition to lessons on a variety of new techniques and concepts, Martin also teaches how to play two brand new tunes: “Only a Paper Moon” and “Watch What Happens.” Want to dive in and start playing right away? Check out this [online jazz guitar lesson](https://artistworks.com/banjo-lessons-tony-trischka) from Martin’s assortment of new videos in which he teaches the fundamentals of a Bossa Nova feel, and how to create an authentic, infectious groove. Learning the Bossa Nova Feel with Martin Taylor: If you’re a current student of Martin’s, dive in now and enjoy learning these brand new techniques and tunes. If you’re just joining Martin’s amazing online jazz guitar community, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Mike Marshall — [Bluegrass Mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [fingerstyle guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned jazz guitar master, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, music theory, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Celebrating 12 Years of “Fingerstyle Guitar with Martin Taylor”](https://blog.artistworks.com/celebrating-12-years-fingerstyle-guitar-martin-taylor) [Acoustic Fingerstyle Guitar Lesson: Slap Harmonics with Andy McKee](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-slap-harmonics) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Acoustic Fingerstyle Guitar Lesson: Slap Harmonics](https://blog.artistworks.com/acoustic-fingerstyle-guitar-lesson-slap-harmonics/) **Published:** July 5, 2022 **Author:** ArtistWorks **Excerpt:**

One of the interesting and unique qualities of stringed instruments is that their construction allows players to quickly access a wide range of harmonic tones with relative ease. The easy access to harmonics allows players of nearly all stringed instruments to implement these unique sonic textures into their playing in limitless creative and boundary-pushing ways. These harmonics are particularly beautiful and offer an ethereal sonic flavor when played on the acoustic guitar.

**Content:** ![]() One of the interesting and unique qualities of stringed instruments is that their construction allows players to quickly access a wide range of harmonic tones with relative ease. The easy access to harmonics allows players of nearly all stringed instruments to implement these unique sonic textures into their playing in limitless creative and boundary-pushing ways. These harmonics are particularly beautiful and offer an ethereal sonic flavor when played on the acoustic guitar. What are harmonics? Many of you may be wondering, “what are harmonics?” When you play a note on any instrument, it is comprised of a vast array of pitches. The pitch one generally hears and associates most with each note is referred to as the note’s “fundamental pitch.” However, every note has a series of harmonic overtones (or higher pitches) that accompany and are derived from the note’s fundamental pitch. Players can isolate those overtones on stringed instruments by lightly plucking specific locations on each string that divides the string into even intervals. We refer to these isolated overtones as harmonics. In this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee), world-renowned acoustic guitar virtuoso and ArtistWorks fingerstyle guitar instructor, [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), teaches a progressive technique that he uses in his unique performance style called slap harmonics. When executing this method, Andy uses his picking hand to gently slap the strings of the guitar over a specific fret to create a group of ringing harmonics. This makes a distinctive sound that is both angelic and ambient, and percussive. LEARN MORE: [Want to learn how to play acoustic fingerstyle guitar from a master musician like Andy McKee? Try some free online acoustic guitar lessons now!](https://go.artistworks.com/guitar-lessons-andy-mckee) “There are three cool effects that slap harmonics create,” Andy explains with a chuckle. “First, you get the harmonics ringing out, which are beautiful. Second, you also get this sort of percussive metallic effect when you hit the strings against the frets. And, the third cool thing is that it just looks visually awesome.” Like many techniques on the guitar, there are near-infinite ways to employ slap harmonics on your instrument. The best place to start when learning to play them is to practice slapping right over the 12th fret to produce the first octave harmonics of your guitar’s open strings. Once you’re able to produce those tones cleanly and clearly, you can quickly begin utilizing slap harmonics on other frets or integrating them with chords and other techniques. “The first guitarist that I ever saw perform a slap harmonic was Preston Reed,” explains Andy. “I was mostly focused on the electric guitar at the time, but when I say Preston using slap harmonics and playing percussion on the guitar body, I was blown away. I just thought it sounded so cool, and it changed the course of my musical career.” To learn more about slap harmonics and how to integrate them into your acoustic guitar playing, dive into this [online acoustic guitar lesson](https://artistworks.com/guitar-lessons-andy-mckee) from [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee): Slap Harmonics with Andy McKee: LEARN MORE: Have you always wanted to learn how to play acoustic fingerstyle guitar? Through our comprehensive [acoustic guitar lessons online](https://artistworks.com/guitar-lessons-andy-mckee) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee), and get personal feedback on your playing. Andy’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, including two-hand tapping, slap harmonics, and percussion on the guitar body. Plus, you’ll learn many of Andy’s unique original compositions and imaginative covers. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Acoustic Fingerstyle Guitar with Andy McKee” is Now Open!](https://blog.artistworks.com/acoustic-fingerstyle-guitar-andy-mckee-now-open) [ArtistWorks Music Roundtable Podcast—Episode 4: Andy McKee & Trevor Gordon Hall](https://blog.artistworks.com/artistworks-podcast-andy-mckee-trevor-gordon-hall) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mike Marshall Releases Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://blog.artistworks.com/mike-marshall-mandocello-bach-cello-suite-no-2/) **Published:** June 30, 2022 **Author:** ArtistWorks **Excerpt:**

Earlier this month, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, Mike Marshall, released his latest album, Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008.

**Content:** ![]() Earlier this month, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), released his latest album, [Mike Marshall Mandocello J.S. Bach Cello Suite No. 2, BWV 1008](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-solo-j-s-bach-cello-suite-2-bwv-1008). [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) is not only a virtuosic mandolinist but is well-known as a master of a variety of stringed instruments including the guitar, fiddle, and mandocello. Additionally, he is not only prolific in the bluegrass style, but is also well-versed in Brazilian choro music, jazz, and classical repertoire. On June 18, 2022, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 2 in D Minor, BWV 1008 unaccompanied on the mandocello. A follow-up to his 2021 release, [Mike Marshall Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-j-s-bach-cello-suite-1-bwv-1007), this new six-track album is the second cello suite of six from J.S. Bach that Mike has mastered and recorded for the world. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) We had the opportunity and pleasure to connect with Mike for a brief Q&A to discuss the making of his latest album, its recording process, and the inspiration behind his Cello Suite project: ArtistWorks: What about this particular Bach cello suite most speaks to you? Mike Marshall: D Minor… The darkest of keys! For us string instrumentalists it is the ‘go-to’ key. Open strings sing out, and so many great pieces have been written for strings in this key. It just feels at home on cello and violin as a key center. And in this suite, Bach explores all the obvious riches that sit so naturally on the instrument with passages that feature open drone strings and such. At the same time, he digs you down into the music and takes us places that we couldn’t have imagined going. Places where your open strings matter not at all. It becomes pure music at that point. And as players, it is our greatest challenge to find solutions to make the music feel natural and light on the instrument. AW: What inspired you to learn, perform, and record these Cello Suites? MM: I have had a love affair with the mandocello for 40 years and the idea of adapting these works has been a dream for most of that time. At first, it seemed almost impossible since there has been no real precedent or tradition for how to approach these pieces on this instrument. But as time has gone on and I’ve learned how to negotiate the challenges of the mandocello, it has finally seemed like something very natural to do. Certainly, all the work that I’ve done with [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) has helped inform me when it comes to Baroque music and especially J.S. Bach. I have finally gotten to the point where I feel like I have something to say with these pieces on the mandocello. I understand something about the period and culture that they come from. And of course, it feels very natural to play the music on this instrument since it has the same tuning as the cello. AW: What inspired you to follow up Bach cello suite #1 and continue the series? MM: The 6 suites cover an amazing range of musical exploration and emotional content. This year, I have gotten Suite #3 under my fingers and it’s ready to go. I will be recording it this summer. AW: Do you have plans to continue this series of Bach cello suites? MM: It would be a real accomplishment and a feeling that I have climbed to the top of some musical mountain if I could record all 6 of these masterpieces. We will see… AW: How was this album recorded? How did it compare to the recording process of your first Bach cello suite record? MM: The first suite I recorded myself at my home studio in Wuppertal, Germany with my two KM84 Neumann microphones and a Coles ribbon mic. It was a very intimate experience, perfect for this time of Covid where many of us musicians were home alone and wanted to look inward for musical inspiration. The second suite I recorded in Oakland, California with my long-time recording engineer Dave Luke. We recorded it in a nice studio with many more microphones and his wonderful engineering skills. AW: Did you approach this second Bach cello suite any differently than the first? If so, how? MM: I think I approached the two suites pretty similarly. I think they simply reflect my understanding of this music as I have studied it up to this point in my life. While I try as much as possible to learn and listen to all that is out there about what Bach might have wanted these pieces to sound like, there’s no getting around the fact that I bring all the musical influences that I have had in my life into this music. But of course, as I progress down this path, I am in a constant state of discovering and learning. I think with each new suite you will hear me discovering just a few more details, but in the end, Bach seems to allow us all to be ourselves within the context of his music. No matter who plays Bach’s music and what they try to bring to it, Bach seems to understand this and is fine standing there like a giant mountain of wisdom anchoring us to its truth, wisdom, and stability. AW: Do you have any tips or recommendations for mandolinists or mandocellists who may be breaking into the world of classical music for the first time? MM: Probably the biggest challenge for us mandolinists who come from bluegrass or a groove-based musical background is to begin to understand the idea of a musical phrase having a trajectory and a direction. These musical lines can be long and may or may not be so tied to the pulse of the music as strongly as we are used to. To be able to play non-swinging 1/8th notes is a big challenge too, but it’s key to creating these longer phrase lengths. Also understanding Bach’s slur marks and how those might be reflected in the pick and how we can copy this articulation is something new to many of us groove-based musicians. The other thing about these pieces that’s intriguing is that they have counterpoint and bass lines and chord changes written within them even though what you are looking at appears often to be a single line of music. So, I think it’s important for us to help the listener hear those separate voices and the harmonic motion in the music. AW: Are there any additional thoughts or details about this project or others that you’d like to share with the ArtistWorks community? MM: I only hope that by working as hard as I have and by presenting recordings like this that other musicians might take up the challenge and dive into this wonderful world of the Mandocello, especially as it relates to playing Johann Sebastian Bach’s Music. Mike’s masterful mandocello performance of Johann Sebastian Bach’s Cello Suite No. 2 in D Major, BWV 1008 can be downloaded and purchased directly from Mike’s [Bandcamp page](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-j-s-bach-cello-suite-1-bwv-1007). LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall) [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast%E2%80%94episode-1-mike-marshall-caterina-lichtenberg) [Classical Mandolin Lesson: An Introduction to Vibrato with Caterina Lichtenberg](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series—Week 1: Tony Trischka](https://blog.artistworks.com/artistworks-summer-series-tony-trischka/) **Published:** June 29, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the first week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers.

**Content:** ![]() Welcome to the first week of the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. This week, we’re excited to debut over a dozen brand new [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) from world-renowned bluegrass banjoist and one of the longest-standing members of our premier ArtistWorks faculty, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). Tony’s new lessons cover material that spans the entire range of his banjo curriculum—outlining fresh concepts for beginner, intermediate, and advanced players alike. With these new lessons, Tony’s course now features a total of over 130 hours of video content. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Alongside Tony’s video instruction, these lessons include brand new learning materials to supplement Tony’s teaching, including tablature, play-along backing tracks, and more. Furthermore, in addition to lessons on a variety of new techniques and concepts, Tony also teaches how to play six brand new tunes, including “Go Tell Aunt Rhody,” “The Crawdad Song,” “Marching Jaybird,” and “Jonestown Blues.” Want to dive in and start playing right away? Check out this [online banjo lesson](https://artistworks.com/banjo-lessons-tony-trischka) from Tony’s assortment of new videos in which Tony details the concept of Diatonic Chords, using the ascending chords that make up a G Major scale as an example. Crafting Diatonic Chords with Tony Trischka: If you’re a current student of Tony’s, dive in now and enjoy learning these brand new techniques and tunes. If you’re just joining Tony’s amazing online banjo community, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers next week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss our next surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Mike Marshall — [Bluegrass Mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) Martin Taylor — [Jazz Fingerstyle Guitar](https://artistworks.com/guitar-lessons-martin-taylor) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) LEARN MORE: Have you always wanted to learn how to play the bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques, classic bluegrass tunes, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Banjo Lesson: Leapfrogging Sixths with Tony Trischka](https://blog.artistworks.com/bluegrass-banjo-lesson-leapfrogging-6ths-tony-trischka) [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons) [Bluegrass Banjo Lesson: Righthand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Classical Violin Lesson: Dynamics & Color](https://blog.artistworks.com/classical-violin-lesson-dynamics-color/) **Published:** June 27, 2022 **Author:** ArtistWorks **Excerpt:**

What makes music so wonderful is its innate ability to tell stories and elicit deep, complex emotional responses from its listeners. Like human emotions and the human experience, the most impactful musical performances are loud, soft, aggressive, tame, beautiful, sorrowful, happy, sad, and every combination and iteration thereof. In order to convey this vast array of emotions and feelings, musicians need to be acutely aware of the manner in which they use dynamics and color to tell their intended story within a performance.

**Content:** ![]() What makes music so wonderful is its innate ability to tell stories and elicit deep, complex emotional responses from its listeners. Like human emotions and the human experience, the most impactful musical performances are loud, soft, aggressive, tame, beautiful, sorrowful, happy, sad, and every combination and iteration thereof. In order to convey this vast array of emotions and feelings, musicians need to be acutely aware of the manner in which they use dynamics and color to tell their intended story within a performance. In this [online classical violin lesson](https://artistworks.com/violin-lessons-richard-amoroso), Philadelphia Orchestra first section violinist and ArtistWorks instructor, [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), provides his unique insights on the importance of playing with varying dynamics and sonic color, and the critical nature of playing said dynamics with intent and care. LEARN MORE: [Want to learn how to play the classical violin from a master musician like Richard Amoroso? Try some free online violin lessons now!](https://go.artistworks.com/free-online-violin-lessons-richard-amoroso) “When I sit in the Philadelphia Orchestra, the amazing amount of dynamic range that we have compared to say your average high school orchestra is ridiculous. It’s so evident,” Richard explains. “But, the ability to play using your full dynamic range is something for which you have to develop awareness. It takes time and practice, but it makes all the difference when it comes to the quality of your performance.” There are two primary practice methods that are great for strengthening and increasing your dynamic range when you’re first starting out. The first is to practice extreme dynamics, either very loud or very soft playing, for sustained periods of time. This builds your control and will help develop your sense of how the instrument should feel under your fingers and sound at different volumes. The other technique involves starting at medium or higher volumes and quickly shifting to softer volumes that require a lighter touch. “I have learned to sustain loud and soft tones. That’s a learned skill,” Richard explains. “And, it requires practice. Your tone and volume all come from the bow. They come from the bow’s speed, weight, and point of contact. All three of those elements require experimentation and focused practice so that you can truly play with intent and draw the proper sounds out of your instrument.” To learn more about the musical importance of dynamics and color and how to incorporate them into your playing, dive into this [online violin lesson](https://artistworks.com/violin-lessons-richard-amoroso) from [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso): Dynamics & Color with Richard Amoroso: LEARN MORE: Have you always wanted to learn how to play the classical violin? Through our comprehensive [violin lessons online](https://artistworks.com/violin-lessons-richard-amoroso) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), and get personalized feedback on your playing. Richard’s course starts with the basics and teaches everything from beginner violin to advanced performance techniques, iconic classical compositions, music theory, and more. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as violinists and musicians! Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Violin Lesson: Basic Vibrato with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-basic-vibrato-richard-amoroso) [Classical Violin Lesson: Chromatic Scales with Richard Amoroso](https://blog.artistworks.com/violin-beginners-chromatic-scales) [Fiddle Lesson: Bow Speed, Pressure, and Placement with Darol Anger ](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Summer Series 2022](https://blog.artistworks.com/artistworks-summer-series-2022/) **Published:** June 23, 2022 **Author:** ArtistWorks **Excerpt:**

At ArtistWorks, our courses are living, breathing communities that are jam-packed with content that is constantly growing and evolving. That’s the beauty of ArtistWorks online music lessons. Our platform always offers players of all levels new resources and opportunities to learn and grow as musicians.

**Content:** ![]() At ArtistWorks, our courses are living, breathing communities that are jam-packed with content that is constantly growing and evolving. That’s the beauty of ArtistWorks [online music lessons](https://artistworks.com/). Our platform always offers players of all levels new resources and opportunities to learn and grow as musicians. This summer, seven of our instructors, in particular, have committed to bringing you tons of amazing new content and learning materials. So, naturally, we’re celebrating in a major way… Welcome to the ArtistWorks Summer Series! Every week this summer, we’ll be dropping new lessons, performances, study materials, and more from some of your favorite ArtistWorks teachers. These instructors all traveled from their various homes located around the globe to our studios in Napa, California to record more lesson content exclusively for their students. If you’re a current student, this is your opportunity to dive in and master a brand new technique or tune. If you’re just joining one of our amazing communities, welcome! There’s never been a better time to roll up your sleeves and start playing… We’ll be announcing new content from one of the following ArtistWorks teachers every week, so keep an eye on our social media channels like [Facebook](https://www.facebook.com/ArtistWorks), [Instagram](https://www.instagram.com/artistworksinc/), and [Twitter](https://twitter.com/ArtistWorks) so you don’t miss each week’s surprise artist: Guthrie Trapp — [Electric Country Guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Mike Marshall — [Bluegrass Mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) Martin Taylor — [Jazz Fingerstyle Guitar](https://artistworks.com/guitar-lessons-martin-taylor) David Butler — [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) Michael Daves — [Bluegrass Vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) Caterina Lichtenberg — [Classical Mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) Tony Trischka — [Bluegrass Banjo](https://artistworks.com/banjo-lessons-tony-trischka) Want to learn more about ArtistWorks [online music lessons](https://artistworks.com/)? Check out the video below to learn more about our amazing instructors and community of players! Experience ArtistWorks || Online Music Lessons from Master Musicians: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz, rock, blues, classical, and beyond. Sample some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Acoustic Fingerstyle Guitar with Andy McKee” is Now Open! ](https://blog.artistworks.com/acoustic-fingerstyle-guitar-andy-mckee-now-open) [Celebrating 12 Years of Fingerstyle Guitar with Martin Taylor](https://blog.artistworks.com/celebrating-12-years-fingerstyle-guitar-martin-taylor) [Eleven New FREE Downloadable Practice Packets!](https://blog.artistworks.com/four-new-practice-packets) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Acoustic Fingerstyle Guitar with Andy McKee” is Now Open!](https://blog.artistworks.com/acoustic-fingerstyle-guitar-andy-mckee-now-open/) **Published:** June 22, 2022 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Acoustic Fingerstyle Guitar with Andy McKee,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Acoustic Fingerstyle Guitar with Andy McKee](https://artistworks.com/guitar-lessons-andy-mckee),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Andy McKee is widely considered to be one of the finest acoustic guitar players of all time. His unique style and approach to the instrument have garnered him worldwide attention, established him as a pioneer of modern acoustic music, and have put him on stage with some of the most iconic musicians of the last several decades including Prince, Dream Theater, Eric Johnson, Tommy Emmanuel, and more. Most commonly known for his technical prowess, use of progressive fingerstyle methods, and soulful songwriting, Andy brings unparalleled youthful energy to his guitar performance and musical compositions. While Andy incorporates boundary-pushing techniques such as two-hand-tapping, partial capos, slap harmonics, alternate tunings, percussive hits, and more, he never loses focus on the importance of song structure and melody. Andy’s technical abilities combined with his sensibilities as a songwriter elevate him above the rest. Through his [online fingerstyle guitar lessons](https://artistworks.com/guitar-lessons-andy-mckee) here at ArtistWorks, you’ll learn the ins and outs of Andy’s distinct approach to the acoustic guitar, and the intricate methods that define Andy’s one-of-a-kind sound and style. “What I’ve created here at ArtistWorks is a curriculum that aligns with the ways that I learned how to play fingerstyle guitar,” Andy explains. “I’ve tried to take everything I’ve learned as a musician and break it down piece by piece. I ease players into it by starting at a beginner level and progress from there to intermediate and, finally, advanced.” In addition to his expertise as a performer, Andy is also a committed educator with decades of experience teaching guitar. Andy has drawn from his deep knowledge as both a professional guitarist and music instructor to create a comprehensive course of acoustic guitar lessons online designed to teach players of all levels how to play fingerstyle guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Andy and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Andy at every step of your musical journey. “This is a step-by-step path of lessons that covers everything from traditional fingerpicking to more modern techniques like two-hand-tapping, slap harmonics, and percussion on the guitar body,” Andy explains. “I don’t hold anything back. There are no secrets. I’ll show you everything I know.” [Sign up now](https://artistworks.com/guitar-lessons-andy-mckee) to gain access to Andy’s library of [acoustic guitar lessons](https://artistworks.com/guitar-lessons-andy-mckee), as well as our patented Video Exchange Learning® platform. Andy reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by more than 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Artistworks Discount on Darol's new Mr SUn CD "EXTROVERT".](https://blog.artistworks.com/artistworks-discount-darols-new-mr-sun-cd-extrovert/) **Published:** June 17, 2022 **Author:** ArtistWorks **Excerpt:**

Greetings, you fine faithful fiddlers, you.
I’ve found a way to offer a 25% discount on your purchase of our new Mr Sun CD EXTROVERT.
Just go to my Darol Anger Bandcamp.com page

...and enter " darolartistworksdiscount " in the discount box. You'll get 25% off the $20 price.

There will be a shipping charge, sorry. It now costs close to $5 to send a CD first-class USPS. Geez.

Also available now: The Mr Sun Book of Charts and Solos for Extrovert.

This book features the crucial Guitar, Mandolin, and Fiddle solos from most of the tunes and songs on Extrovert, and chord charts and “heads” of the band’s original compositions as well. Quite revealing!

With these transcriptions, you can enjoy a "Sun's-eye view" on what we're doing over some of the pieces we play, and maybe get a little insight into some of the inner workings of this band's improvisational vocabulary. And you can see what the chords are!

Same Bandcamp page, etc.

**Content:** **Greetings, you fine faithful fiddlers, you.** I’ve found a way to offer a 25% discount on your purchase of our new **Mr Sun** CD **EXTROVERT**. Just go to my[ **Darol Anger Bandcamp.com page** ]() …and enter ” **darolartistworksdiscount** ” in the discount box. You’ll get 25% off the $20 price. There will be a shipping charge, sorry. It now costs close to $5 to send a CD first-class USPS. Geez. Also available now: **The Mr Sun Book of Charts and Solos for Extrovert**. This book features the crucial Guitar, Mandolin, and Fiddle solos from most of the tunes and songs on Extrovert, and chord charts and “heads” of the band’s original compositions as well. Quite revealing! With these transcriptions, you can enjoy a “Sun’s-eye view” on what we’re doing over some of the pieces we play, and maybe get a little insight into some of the inner workings of this band’s improvisational vocabulary. And you can see what the chords are! Same [**Bandcamp**]() page, etc. [![]()](https://darolanger1.bandcamp.com/merch) There’s also a digital download available of the book as well as the actual physical book. https://darolanger1.bandcamp.com/merch/mr-sun-extrovert-compact-cd and enter ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Electric Bass Lesson: Using Space & Simplicity](https://blog.artistworks.com/electric-bass-lesson-using-space-simplicity/) **Published:** June 14, 2022 **Author:** ArtistWorks **Excerpt:**

A common perception among many listeners and aficionados of music is that a musician’s virtuosity is defined by their ability to play highly technical, complex melodies and harmonies at fast tempos with precision. While many virtuosic players are able to do this, often the most prolific musicians are masters of exercising restraint, of leaving space between the notes and chords to create musical passages that not only sound wonderful but are deeply moving and emotive. This is often most true among the world’s best bass players.

**Content:** ![]() A common perception among many listeners and aficionados of music is that a musician’s virtuosity is defined by their ability to play highly technical, complex melodies and harmonies at fast tempos with precision. While many virtuosic players are able to do this, often the most prolific musicians are masters of exercising restraint, of leaving space between the notes and chords to create musical passages that not only sound wonderful but are deeply moving and emotive. This is often most true among the world’s best bass players. In this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east), Grammy Award-winning bassist and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), discusses the importance of utilizing space and simplifying your playing to create bass lines that not only sound great but also feel amazing. Nathan personally employs this philosophy when writing bass lines in the studio and supporting legendary artists like Eric Clapton, Michael Jackson, Stevie Wonder, Herbie Hancock, Daft Punk, and more. LEARN MORE: [Want to learn how to play the bass guitar from a master musician like Nathan East? Try some free online bass lessons now!](https://go.artistworks.com/free-online-bass-lessons-nathan-east) “The primary function of us as bass players is to make the listener feel good,” Nathan explains. “It’s not always about showing off your virtuosity as a bass player or playing fast. My favorite bass players, the ones that inspire me most, just feel good to listen to. It’s not all about the number of notes they play or their technical abilities. It’s their feel that’s just incredible.” When first learning how to play the bass or any instrument for that matter, players often focus most heavily on improving their speed and technical abilities. While that’s understandable to an extent, as new players are still developing their dexterity and prioritizing physical comfort on their instrument, it’s very important for first-time players to also consider groove and feel. The earlier aspiring bass players begin thinking about this as they begin their musical journey, the easier crafting more complex grooves and feels will be down the line. “When I’m writing bass lines, I often think about my favorite players and the musicians that inspire me,” Nathan explains. “What is often most notable about their playing is their special combination of simplicity, taste, and feel. The lesson I’m often left with is that less is usually more.” To learn more about the importance of using space and simplicity to craft bass lines that not only sound but feel good, dive into this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east) from [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east): Using Space & Simplicity with Nathan East: LEARN MORE: Have you always wanted to learn how to play the electric bass guitar? Through our comprehensive [bass lessons online](https://artistworks.com/rock-bass-lessons-nathan-east) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), and get personal feedback on your playing. Nathan’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, tunes, and grooves. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) [ArtistWorks Music Series Podcast—The Art of Recording for Film: Nathan East](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Celebrating 12 Years of “Fingerstyle Guitar with Martin Taylor”](https://blog.artistworks.com/celebrating-12-years-fingerstyle-guitar-martin-taylor/) **Published:** June 9, 2022 **Author:** ArtistWorks **Excerpt:**

Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar teacher, Martin Taylor has been an educator at ArtistWorks since 2010 and has played an integral role in helping us achieve, and continue to live up to, our mission: to "Teach the World Music" and bring the joys of learning to thousands of players around the globe.

**Content:** ![]() Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar teacher, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) has been an educator at ArtistWorks since 2010 and has played an integral role in helping us achieve, and continue to live up to, our mission: to “Teach the World Music” and bring the joys of learning to thousands of players around the globe. We’re excited, proud, and honored to announce that last month marked the 12th anniversary of Martin’s [fingerstyle jazz guitar](https://artistworks.com/guitar-lessons-martin-taylor) course here at ArtistWorks. We’d like to extend an enormous congratulations to Martin! What an amazing milestone, and a true testament to your continued dedication to your students and commitment to sharing your knowledge. Thank you for all that you do! LEARN MORE: [Want to learn how to play fingerstyle jazz guitar from a master musician like Martin Taylor? Try some free online fingerstyle guitar lessons now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) “I’m so excited to be in the ArtistWorks studios here in Napa, CA to celebrate this 12-year anniversary, and to be recording new lessons for all of my students, some of whom have been with me since the very beginning,” Martin explains when asked about the 12-year milestone. “We’re continually creating new content on the site and I’m always expanding the curriculum within my course.” Over the last 12 years, Martin has amassed hundreds of videos as part of his course’s online lesson library, which is constantly growing and evolving. Martin has also provided direct, personal guidance and feedback to thousands of his students over the years, and has built a collection of over 4,400 Video Exchanges that all of his students can access and learn from as members of his online community. “The great thing about the ArtistWorks platform is that the site is interactive,” explains Martin. “So, at any point, students can submit videos to me, which I then review and respond to with my own video. It’s a great way to learn and a great way to teach, and I’ve had the pleasure of personally guiding countless students on their musical journey. Thanks to everyone who has joined and been a part of this experience, and to all interested in joining—I’m excited to see you online!” Check out this quick video from Martin sharing his experience teaching on the ArtistWorks platform over the last 12 years, his continued plans for his ever-expanding course, and a few beautiful performances: Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [fingerstyle guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned jazz guitar master, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, music theory, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [Jazz Guitar Lesson: Tips for Transcribing with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-tips-transcribing) [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues Rock Guitar Lesson: Playing with Attitude](https://blog.artistworks.com/blues-rock-guitar-lesson-attitude-jared-james-nichols/) **Published:** June 7, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most powerful qualities that music posses is its almost universal ability to move us. Music can inspire feelings across the entire emotional spectrum and skilled musicians can tap into all of those ranging emotions based on the way they play. Based on their touch, feel, tone, and dynamics, for example, musicians of all genres can communicate the entire stretch of human emotions within any given performance.

**Content:** ![]() One of the most powerful qualities that music posses is its almost universal ability to move us. Music can inspire feelings across the entire emotional spectrum and skilled musicians can tap into all of those ranging emotions based on the way they play. Based on their touch, feel, tone, and dynamics, for example, musicians of all genres can communicate the entire stretch of human emotions within any given performance. In this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), world-renowned guitarist, “Blues Power” titan, and ArtistWorks blues rock guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), provides his distinct insights on communicating emotion while playing, and the importance of “playing with attitude.” Jared outlines a few of his favorite techniques for expressing some common emotions on his guitar and shares a few tips on being present and mindful of your own emotions while playing. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “It’s one thing to know where the notes are, and one thing to learn how to play a scale shape or a chord,” Jared explains. “But, attitude and the way you play is like putting your own personal stamp on a musical phrase, riff, lick, or song. It’s so important! I think about this every time I pick up the guitar, and I think about it every time I listen to my favorite guitar players.” “Playing with attitude” can seem like a very vague concept when you’re first picking up the guitar and learning to play. It can also feel difficult to focus on while you’re still learning basic techniques. However, it is an important element of performance to keep in mind as you are mastering your fundamentals, and will quickly come naturally as you progress. It’s one thing to play the correct notes, and another thing to play the correct notes with style. “Your favorite players all have a certain attitude, whether it’s more of an energetic speed, or a mellow mood, or an angry style, or a laid back cool feel. They all convey these unique attitudes in their playing,” Jared explains. “This is something that I overlooked for years, but it’s something that should really be on your mind as you develop as a player. It’s something you should think about every time you pick up the guitar.” To learn more about playing with attitude and how to channel your emotions into your music, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols) from [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols): Playing with Attitude with Jared James Nichols: LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jared James Nichols Releases New Single, “Hard Wired”](https://blog.artistworks.com/jared-james-nichols-new-single-hard-wired) [Blues Rock Guitar Lesson: An Introduction to Power Chords with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-introduction-power-chords-jared-james-nichols) [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Classical Mandolin Lesson: An Introduction to Vibrato](https://blog.artistworks.com/classical-mandolin-lesson-introduction-vibrato/) **Published:** June 3, 2022 **Author:** ArtistWorks **Excerpt:**

Instruments are designed, for the most part, to emulate the sonic capabilities of the human voice. What’s beautiful about the human voice, particularly in the context of music, is its ability to convey a vast array of complex emotions by using subtle inflections and intricate nuances within a musical passage. These nuances can be as simple as slightly wavering the pitch of a single note up or down, a technique referred to as vibrato, which can completely alter the emotional character of a performance.

**Content:** ![]() Instruments are designed, for the most part, to emulate the sonic capabilities of the human voice. What’s beautiful about the human voice, particularly in the context of music, is its ability to convey a vast array of complex emotions by using subtle inflections and intricate nuances within a musical passage. These nuances can be as simple as slightly wavering the pitch of a single note up or down, a technique referred to as vibrato, which can completely alter the emotional character of a performance. Skilled musicians often utilize this vibrato technique on their instruments to capture this emotive quality of the human voice. Stringed instruments in particular are able to replicate the vibrato of the human voice very easily, simply by gently bending the string to adjust the pitch of a note when playing. The mandolin is no exception to this rule. In this [online mandolin lesson](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), world-renowned classical mandolinist, professor at the Music Conservatory in Cologne, Germany, and ArtistWorks classical mandolin instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), teaches how to utilize the vibrato technique on the mandolin and provides detailed insights to help you begin incorporating vibrato into your own playing. LEARN MORE: [Want to learn how to play classical mandolin from a master musician like Caterina Lichtenberg? Try some free online mandolin lessons now!](https://go.artistworks.com/free-music-lessons-caterina-lichtenberg) “I always include vibrato in my playing. I cannot help myself,” explains Caterina. “Vibrato adds importance to certain notes and adds an emphasis through softness. It adds touch and feel to your playing.” Playing vibrato with a proper feel can be difficult at first. Since the technique is all about subtly and micro-movements, it’s easy to over bend and lose control of the oscillating pitches when you’re first beginning to implement the method. So, make sure to cut yourself some slack as you work toward mastering your vibrato. These small fretting-hand movements will quickly become second nature, muscle memory will take over, and you’ll be able to execute your vibrato playing with precision. “How you decide to implement your vibrato all depends on the note length and the emotion that you want to try to convey in that musical moment,” explains Caterina. “Sometimes I play a fast vibrato, sometimes a slow vibrato. It’s all about giving each note a little bit of soul, and eliciting the proper emotions.” To learn more about the vibrato technique and how to implement the method into your playing, dive into this [online mandolin lesson](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) from [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg): An Introduction to Vibrato with Caterina Lichtenberg: LEARN MORE: Have you always wanted to learn how to play the classical mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, iconic classical pieces, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast%E2%80%94episode-1-mike-marshall-caterina-lichtenberg) [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-carulli-andantino-g-major) [Caterina Lichtenberg Solo Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [The Dave Stryker Trio Opening for Steely Dan's Summer Tour](https://blog.artistworks.com/dave-stryker-trio-opening-steely-dan-summer-tour/) **Published:** June 1, 2022 **Author:** ArtistWorks **Excerpt:**

This month, award-winning master guitarist and ArtistWorks jazz guitar instructor, Dave Stryker, will join the members of his trio as they open for legendary rock and jazz fusion band, Steely Dan, on their "Earth After Hours" summer tour. The tour’s twenty-five show series will run from late June through mid-August and will be held in cities throughout the eastern United States.

**Content:** ![]() This month, award-winning master guitarist and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), will join the members of his trio as they open for legendary rock and jazz fusion band, [Steely Dan](https://www.steelydan.com/#!/events?page=1), on their “Earth After Hours” summer tour. The tour’s twenty-five show series will run from late June through mid-August and will be held in cities throughout the eastern United States. Comprised of critically acclaimed organist, Jared Gold, Grammy-nominated drummer, McClenty Hunter, and, of course, Dave on the guitar, the Dave Stryker Trio showcases an exciting mix of Dave’s original compositions as well as traditional jazz standards performed in a streamlined, three-piece context. With over 34 albums to his name as a bandleader and dozens more as a featured sideman, Dave has a near endless assortment of critically-acclaimed compositions in his repertoire, all of which set the stage beautifully for Steely Dan’s eclectic mix of jazz-inspired rock ‘n’ roll. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) As with most traditional organ trios, Dave supplies a bulk of the melodic content while Jared performs walking bass lines and much of the supporting harmony on the organ. With McClenty providing a lush rhythmic foundation, the three artists create a progressive, yet simultaneously nostalgic, sound that’s both amazingly unique and comfortingly familiar. “I am looking forward to hitting the road this summer opening up for one of my favorite bands, Steely Dan,” Dave expresses. “I’ll be joined by my long-time trio mates Jared Gold on organ and McClenty Hunter on drums. Hope to see you out there!” Dave Stryker Trio – “Prime” (Live in the Studio): The tour will kick off on June 21 and run through August 13, 2022, with a total of twenty-five shows held in venues across the eastern United States: 6/21/22 — Saratoga Performing Arts Center: Saratoga Springs, NY 6/23/22 — St. Joseph’s Health Amphitheater: Syracuse, NY 6/25/22 — Wolf Trap Filene Center: Vienna, VA 6/26/22 — Wolf Trap Filene Center: Vienna, VA 6/29/22 — Northwell Health at Jones Beach Theater: Wantagh, NY 6/30/22 — PNC Bank Arts Center: Holmdel, NJ 7/2/22 — Xfinity Center: Mansfield, MA 7/3/22 — Bethel Woods Center for the Arts: Bethel, NY 7/13/22 — First Bank Amphitheater: Franklin, TN 7/15/22 — Landmark Theater: Richmond, VA 7/16/22 — Ovens Auditorium: Charlotte, NC 7/19/22 — Durham Performing Arts Center: Durham, NC 7/20/22 — Moran Theater: Jacksonville, FL 7/22/22 — The Mahaffey: St. Petersburg, FL 7/23/22 — The Mahaffey: St. Petersburg, FL 7/28/22 — Seminole Hard Rock Hotel & Casino: Hollywood, FL 7/30/22 — Barbara B Mann Performing Arts Hall: Ft. Meyers, FL 8/1/22 — Dr. Phillips Center for the Performing Arts: Orlando, FL 8/2/22 — Dr. Phillips Center for the Performing Arts: Orlando, FL 8/4/22 — North Charleston Performing Arts Center: North Charleston, SC 8/6/22 — Borgata: Atlantic City, NJ 8/7/22 — Hartford Healthcare Amphitheater: Bridgeport, CT 8/10/22 — The Capitol Theater: Port Chester, NY 8/12/22 — The Capitol Theater: Port Chester, NY 8/13/22 — The Capitol Theater: Port Chester, NY Click [here](https://www.steelydan.com/#!/events?page=1) to purchase your tickets today! LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Guitar Lesson: Tips for Transcribing with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-tips-transcribing) [Dave Stryker Releases New Album, As We Are](https://blog.artistworks.com/dave-stryker-releases-new-album-as-we-are) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [5/29/22 Message from Bryan ](https://blog.artistworks.com/52922-message-bryan/) **Published:** May 28, 2022 **Author:** ArtistWorks **Excerpt:**

Hey all!

Just wanted to let everyone know that as of today (5/29/22), I'm officially running behind schedule. There have been times over the years where personal or family time coupled with other aspects of my career prevent me from maintaining the normal VE regularity here at Artistworks. With my daughters both graduating college and high school the last few weeks, we've taken a vacation to celebrate. I'll return home from that 5/30/22 and catch up as much as I can then. I'm headed to North Carolina for the Blue Ridge Guitar Camp the next day (finally!) and I know I won't be fully caught up. I'll be back from the camp on 6/6/22 to officially get back on track. I appreciate your patience in what historically has been a pretty rare couple of weeks of not being able to do VEs.

Thanks, and Happy Picking!

Bryan

**Content:** Hey all! Just wanted to let everyone know that as of today (5/29/22), I’m officially running behind schedule. There have been times over the years where personal or family time coupled with other aspects of my career prevent me from maintaining the normal VE regularity here at Artistworks. With my daughters both graduating college and high school the last few weeks, we’ve taken a vacation to celebrate. I’ll return home from that 5/30/22 and catch up as much as I can then. I’m headed to North Carolina for the Blue Ridge Guitar Camp the next day (finally!) and I know I won’t be fully caught up. I’ll be back from the camp on 6/6/22 to officially get back on track. I appreciate your patience in what historically has been a pretty rare couple of weeks of not being able to do VEs. Thanks, and Happy Picking! Bryan ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Electric Bass Lesson: Creating Harmonic Chords](https://blog.artistworks.com/electric-bass-lesson-harmonic-chords/) **Published:** May 26, 2022 **Author:** ArtistWorks **Excerpt:**

One of the interesting and unique qualities of stringed instruments is that their construction allows players to quickly access a wide range of harmonic tones with relative ease. The easy access to harmonics allows players of nearly all stringed instruments to implement these unique sonic textures into their playing in limitless creative and boundary-pushing ways.

**Content:** ![]() One of the interesting and unique qualities of stringed instruments is that their construction allows players to quickly access a wide range of harmonic tones with relative ease. The easy access to harmonics allows players of nearly all stringed instruments to implement these unique sonic textures into their playing in limitless creative and boundary-pushing ways. Many of you may be wondering, “what are harmonics?” When you play a note on any instrument, it is comprised of a vast array of pitches. The pitch that one generally hears and associates most with each note is referred to as the note’s “fundamental pitch.” However, every note has a series of harmonic overtones (or higher pitches) that accompany and are derived from the note’s fundamental pitch. On stringed instruments, players can isolate those overtones by lightly plucking specific locations on each string that divides the string into even intervals. We refer to these isolated overtones as harmonics. In this [online bass guitar lesson](https://artistworks.com/bass-lessons-stu-hamm), world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm) teaches how to find and isolate harmonics on the electric bass guitar and use them in unique ways to create various chords and harmonies when combined with fretted notes on the instrument. LEARN MORE: [Want to learn how to play rock bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) “Harmonics can be used in so many different ways, especially when used in conjunction with fretted notes,” Stu explains. “When combined with fretted notes, harmonics can create wonderfully beautiful, yet richly complex-sounding chords.” Learning to play harmonics comfortably and consistently takes patience. To get a harmonic to sound properly with a beautiful, bell-like tone requires immensely accurate finger position and precision. Therefore, as you’re learning this technique and beginning to incorporate it into your playing, remember to cut yourself some slack. Learning to play harmonics is generally frustrating for everyone at first, but it quickly becomes second nature. “Learning to create and play these harmonic chords is just the entry point into some amazing sonic capabilities on the bass,” explains Stu. “Once we get these more basic chords under our fingers and get comfortable with this technique, we’ll start exploring other methods like artificial and sliding harmonics.” To learn more about harmonics, how to implement them into your playing, and how you can use them to create chords on the bass, dive into this [online bass guitar lesson](https://artistworks.com/bass-lessons-stu-hamm) from [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm): Creating Harmonic Chords with Stu Hamm: LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://artistworks.com/bass-lessons-stu-hamm) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Electric Bass Lesson: An Introduction to Slapping with Stu Hamm](https://blog.artistworks.com/electric-bass-lesson-introduction-slapping) [“Electric Bass with Stu Hamm” is Now Open!](https://blog.artistworks.com/electric-bass-stu-hamm-now-open) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Four New FREE Downloadable Practice Packets!](https://blog.artistworks.com/four-new-practice-packets/) **Published:** May 25, 2022 **Author:** ArtistWorks **Excerpt:**

It goes without saying that dedicating focused time to practice is the best way to improve on your instrument. However, many of us don’t have the luxury of being able to commit 8 hours or even 1 hour a day to practice. Many of us are only able to allocate 30 or sometimes even just 10 to 15 minutes to our practice per day.

**Content:** ![]() It goes without saying that dedicating focused time to practice is the best way to improve on your instrument. However, many of us don’t have the luxury of being able to commit 8 hours or even 1 hour a day to practice. Many of us are only able to allocate 30 or sometimes even just 10 to 15 minutes to our practice per day. However, regardless of the number of minutes or hours that you’re able to practice each week, you can still improve at a consistent rate and reach your playing goals by practicing efficiently and effectively. But, putting together an effective practice plan can sometimes be difficult to accomplish on your own… That’s why we’ve created a collection of FREE downloadable [Practice Packets](https://go.artistworks.com/practice-packets) designed by a handful of our master ArtistWorks instructors to guide you through an effective practice session and put you on the path to musical growth. And, we’ve just added four new packets from rock guitar legend [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), blues rock powerhouse [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), bluegrass fiddle master [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and classical violin virtuoso [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso). We have [Practice Packets](https://go.artistworks.com/practice-packets) available from the following artists teaching the following instruments and genres: Electric Rock Guitar with [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) Electric Country Guitar with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) Blues Rock Guitar with [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) Bluegrass Banjo with [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) Electric Blues Guitar with [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) Ukulele with [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) Fiddle with [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) Jazz Saxophone with [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) Harmonica with [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) Multi-Style Cello with [Mike Block](https://artistworks.com/cello-lessons-mike-block) Classical Violin with [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso) Each Practice Packet includes: - A practice video detailing a new performance technique for you to tackle and work on - One or more play-along backing tracks that allow you to practice this new technique in a musical context - Tablature, notation, and other supplemental written materials to aid in your learning - A “Learning Outcomes” practice plan to help you take critical next steps and continue to improve as a player - An exclusive VIP offer to join the ArtistWorks course of your choice Click [here](https://go.artistworks.com/practice-packets) to download your FREE Practice Packet today! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Celebrating 10 Years of “Rock Guitar with Paul Gilbert”](https://blog.artistworks.com/10-years-rock-guitar-paul-gilbert) [30 Day Ukulele Challenge: “Brown Eyed Girl” Collaboration](https://blog.artistworks.com/30-day-ukulele-challenge-brown-eyed-girl) [Jared James Nichols Releases New Single, “Hard Wired”](https://blog.artistworks.com/jared-james-nichols-new-single-hard-wired) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Celebrating 10 Years of “Rock Guitar with Paul Gilbert”](https://blog.artistworks.com/10-years-rock-guitar-paul-gilbert/) **Published:** May 24, 2022 **Author:** ArtistWorks **Excerpt:**

AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to "Teach the World Music," and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we’ve been able to bring the joys of learning to thousands of players around the globe.

**Content:** ![]() AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive [online music lessons](https://artistworks.com/), patented Video Exchange Learning® platform, and faculty of master musicians, we’ve been able to bring the joys of learning to thousands of players around the globe. Award-winning master guitarist, co-founder of bands Racer X and Mr. Big, and internationally-renowned shred guitar icon, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) has been an instructor at ArtistWorks since 2012 and has played an integral role in helping us achieve, and continue to live up to, our mission, vision, and values. We’re excited, proud, and honored to announce that yesterday, May 23, 2022, marked the 10th anniversary of Paul’s [rock guitar](https://artistworks.com/guitar-lessons-paul-gilbert) course here at ArtistWorks. Congratulations Paul! What an amazing milestone, and a true testament to your continued dedication to your students and commitment to sharing your knowledge. Thank you for all that you do! LEARN MORE: [Want to learn how to play electric guitar from a master musician like Paul Gilbert? Try some free online rock guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “I just want to keep connecting with musicians,” Paul explained when asked about the 10-year milestone. “I’m happy that people are interested in rock, and all the styles overlap with it. I have always felt a kinship with musicians, and I’m happy to have such an amazing way to hang out with players all over the world. My goal is to try to make guitar playing a little bit easier for all of them.” Over the last 10 years, Paul has amassed hundreds of videos as part of his course’s online lesson library, which is constantly growing and evolving. Paul has also provided direct, personal guidance and feedback to thousands of his students over the years, and has built a collection of over 12,700 Video Exchanges that all of his students can access and learn from as a member of his course. “I’m happy that students often follow my example and play guitar first,” Paul says. “When I listen to them play, I get the best idea of what I can do to help or inspire them. I’ve found, from being a student myself, that the best questions are usually the ones that I haven’t thought of yet! Then three lessons in, you start to figure out where you really are, and what you need to work on.” Check out this quick video from Paul showcasing a few of his favorite moments from the over 200 “Bonus Lessons” available through his course: Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [rock guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned shred guitar master [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner guitar to advanced rock riffs, shred techniques, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) [Paul Gilbert Celebrates 12,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-celebrates-12000-video-exchanges) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-5/) **Published:** May 23, 2022 **Author:** ArtistWorks **Excerpt:**

The final 5 parts of the Mike Seeger interview series have just been added! Mike walks us through a variety of banjos showing us all the different styles and designs of the instrument, giving us a brief look at the history and evolution of the Banjo. If you've already checked out the first 29 parts CLICK HERE to go straight to part 30. If you’re just seeing this for the first time CLICK HERE to start from the beginning.

**Content:** ![]() The final 5 parts of the Mike Seeger interview series have just been added! Mike walks us through a variety of banjos showing us all the different styles and designs of the instrument, giving us a brief look at the history and evolution of the Banjo. If you’ve already checked out the first 29 parts [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/196595) to go straight to part 30. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Electric Bass Lesson: An Introduction to Slapping](https://blog.artistworks.com/electric-bass-lesson-introduction-slapping/) **Published:** May 20, 2022 **Author:** ArtistWorks **Excerpt:**

Since its inception in the 1970s, slap bass and its signature sound have become essential to the aesthetic of a variety of genres ranging from rock to funk, jazz, R&B, country, soul, and more.

**Content:** ![]() Since its inception in the 1970s, slap bass and its signature sound have become essential to the aesthetic of a variety of genres ranging from rock to funk, jazz, R&B, country, soul, and more. The invention of slapping techniques on the electric bass is originally credited to Larry Graham, most notably known as the bassist of funk and soul groups Sly and the Family Stone and Graham Central Station. Larry is said to have pioneered this technique to fill the role and sonic space of a drummer during a time when he was playing in a drummer-less band. The slap of the thumb was said to exist in place of the bass drum while the pop of the index or middle fingers replaced the snare drum. Traditional slap bass playing couples a percussive thumb-slapping technique of the lower strings with an aggressive finger-snap of the higher strings, often in rhythmic alternation. This combination of slapping and popping creates a thick, low-end thump and a percussive high-end attack resulting in an unmistakably unique harmonic and rhythmic musical foundation. In this [online bass guitar lesson](https://artistworks.com/bass-lessons-stu-hamm), world-renowned powerhouse of the low-end and legendary bassist for Steve Vai, Joe Satriani, and more, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), teaches the basics of slapping, specifically the introductory methods used when slapping with the thumb. Stu provides guidance on how to attack the strings and where to place your hand to achieve the most desirable tone, as well as a handful of exercises to quickly get you thumping with your thumb. LEARN MORE: [Want to learn how to play bass from a master musician like Stu Hamm? Try some free online bass guitar lessons now!](https://go.artistworks.com/bass-lessons-stu-hamm) “Slapping is a percussive style of bass playing and is a method that lets you get a totally different, unique sound out of the instrument,” Stu explains. “It’s a technique that I’ve studied, followed, and am a fan of. And, it’s something that I’ve tried to add my own twist to over the years and use in different ways.” Bassists that are new to slapping tend to apply a lot of force when attacking the string with their thumb. The thinking behind this is often that more force will create a more percussive and thick-sounding tone. However, that is typically not the case. “As with most techniques, the main thing you want to focus on when slapping is that you’re producing a tone that sounds good,” Stu explains. “When they’re first starting to slap, a lot of players think they should use a really heavy, hard motion. But, it really doesn’t have to be. It should really be a very controlled motion and is preferable that way because it often allows you to produce a truer tone.” To learn more about basic slap bass techniques and how to implement them into your playing, dive into this [online bass guitar lesson](https://artistworks.com/bass-lessons-stu-hamm) from [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm): An Introduction to Slapping with Stu Hamm: LEARN MORE: Have you always wanted to learn how to play bass guitar? Through our comprehensive [bass guitar lessons online](https://artistworks.com/bass-lessons-stu-hamm) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm), and get personal feedback on your playing. Stu’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques, improvisation methods, two-hand tapping, slapping, sliding harmonics, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Electric Bass with Stu Hamm” is Now Open!](https://blog.artistworks.com/electric-bass-stu-hamm-now-open) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [New Lesson Added: Béla Single String Concepts - Getting Started](https://blog.artistworks.com/new-lesson-added-béla-single-string-concepts-getting-started/) **Published:** May 19, 2022 **Author:** ArtistWorks **Excerpt:**

We've just added a new lesson to the Intermediate lesson department! In this new 2 part lesson, Tony gets you started with the basics you'll need to develop your single string style playing. He introduces some great exercises to build the dexterity and get comfortable with this style, used extensively by the great Béla Fleck. To check out the lesson now CLICK HERE. Happy picking!

**Content:** ![]() We’ve just added a new lesson to the Intermediate lesson department! In this new 2 part lesson, Tony gets you started with the basics you’ll need to develop your single string style playing. He introduces some great exercises to build the dexterity and get comfortable with this style, used extensively by the great Béla Fleck. To check out the lesson now [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191707). Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [30 Day Ukulele Challenge: “Brown Eyed Girl” Collaboration](https://blog.artistworks.com/30-day-ukulele-challenge-brown-eyed-girl/) **Published:** May 19, 2022 **Author:** ArtistWorks **Excerpt:**

Since 2017, internationally-renowned musicians and ArtistWorks ukulele instructors Craig Chee and Sarah Maisel have hosted routine 30 Day Ukulele Challenges exclusively for their students here at ArtistWorks. These fun and often collaborative challenges are designed to encourage students to learn a new song over 30 days and submit a performance video to share with the rest of the ArtistWorks ukulele community. Student participants rally together and support one another as the community steps out of their collective comfort zones to learn something new and share it with their peers.

**Content:** ![]() Since 2017, internationally-renowned musicians and ArtistWorks [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah) instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) have hosted routine 30 Day Ukulele Challenges exclusively for their students here at ArtistWorks. These fun and often collaborative challenges are designed to encourage students to learn a new song over 30 days and submit a performance video to share with the rest of the ArtistWorks ukulele community. Student participants rally together and support one another as the community steps out of their collective comfort zones to learn something new and share it with their peers. For their most recent challenge, which kicked off at the end of February 2022, Craig and Sarah designed an exciting and unique collaborative opportunity for their students. Through a series of 11 individual lesson videos, Craig and Sarah taught their students how to play and sing Van Morrison’s 70s classic, “Brown Eyed Girl.” LEARN MORE: [Want to learn how to play ukulele from master musicians like Craig Chee & Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-music-lessons-craig-and-sarah) Students submitted videos performing not only “Brown Eyed Girl’s” iconic melody, but also the full chordal arrangement, lead vocal part, and supporting vocal harmonies. From there, Craig and Sarah aggregated all of the performances and created a collaboration video showcasing all of the student participants playing together as a virtual ensemble. Today, we’ll be debuting said video to the public… “For this challenge, we picked some themes and techniques that students could find throughout our ArtistWorks curriculum. We wanted to make sure they could apply things they learned into a new song or project like this,” Craig and Sarah explain. “Although most challenges are individual, we thought it would be fun to combine the different parts of the arrangement and feature the students at every turn. It was great to have a ‘virtual’ band, especially for those who haven’t been able to safely join others in music over the past few years.” Due to the musical structure of “Brown Eyed Girl” and how Craig and Sarah crafted the lessons and song arrangement, students of all levels were able to participate in the challenge. Whether a beginner just getting comfortable strumming a few chords or a more advanced player perfecting their finger-picking, students at any point in their musical journey were able to join in the fun! When asked about their experience taking on this challenge, one student said, “this was the first time I had tried finger-picking. My favorite part was playing to the backing track that Craig and Sarah provided. It was hard, but it really helped with my timing.” Watch the full collaborative performance of Van Morrison’s “Brown Eyed Girl” from Craig and Sarah’s ArtistWorks ukulele students here: “One of our favorite parts of this project is seeing students push themselves,” said Craig and Sarah. “For many of them, it was their first time performing! It was wonderful to see them grow and help them hone their parts utilizing the video exchange program before they did their final recording. We look forward to the next one, which we’ll announce later this year.” LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee) [Sarah Maisel & Craig Chee Monthly Ukulele Livestream: January 2022 feat. Diane Nalini](https://blog.artistworks.com/sarah-maisel-craig-chee-monthly-ukulele-livestream-january-2022-feat-diane-nalini) [Ukulele Lesson: Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Electric Bass with Stu Hamm” is Now Open!](https://blog.artistworks.com/electric-bass-stu-hamm-now-open/) **Published:** May 17, 2022 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Electric Bass with Stu Hamm,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Electric Bass with Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Widely considered one of the premier bassists of the progressive rock and fusion scenes, [Stu Hamm](https://artistworks.com/bass-lessons-stu-hamm) is a technique-pioneering powerhouse of the low-end. With a unique style all his own, Stu is recognized and revered by bass players around the globe and has shared the stage with some of the world’s best musicians. Most commonly known for his boundary-pushing, funk-inspired thump supporting shred and rock guitar giants like Steve Vai, Joe Satriani, Frank Gambale, Gretchen Menn, and more, Stu employs a unique combination of two-hand tapping, slapping, and sliding harmonics alongside traditional fingerstyle techniques to create an approach that has reinvented the rock bass guitar paradigm. Through Stu’s [online bass guitar lessons](https://artistworks.com/bass-lessons-stu-hamm) here at ArtistWorks, you’ll learn the ins and outs of Stu’s distinct approach to rock bass playing, and the intricate techniques and methods that shape Stu’s one-of-a-kind sound and style. “This course will give you a well-rounded overview of the way that I approach harmony on the fretboard—hand positioning, outlining chords, seeing intervals, and understanding note relationships,” Stu explains. “This is a course for players of all levels, so, regardless of your current skill level, this will make you a better musician and a better bass player.” In addition to countless hours performing on stages around the globe, Stu is also an experienced and dedicated music educator. In 2011, Stu accepted the position of Director of Bass Programs at the prestigious Musician’s Institute in Hollywood, CA, a role which he held for several years. He also continues to be one of the world’s most sought-after and in-demand bass clinicians, traveling worldwide to teach bass students of all levels. Stu has drawn from decades of performance experience to create a comprehensive course of [bass guitar lessons online](https://artistworks.com/bass-lessons-stu-hamm) designed to teach players of all levels how to play rock bass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Stu and get an intimate look into his unique approach and style. Grow as a bass player while simultaneously furthering yourself as a musician, and get direct guidance from Stu at every step of your musical journey. “There’s a great community of bass players here at ArtistWorks,” Stu explains. “We can all share ideas, videos, and music, and learn together. I hope to see you online!” [Sign up now](https://artistworks.com/bass-lessons-stu-hamm) to gain access to Stu’s library of [bass guitar lessons](https://artistworks.com/bass-lessons-stu-hamm), as well as our patented Video Exchange Learning® platform. Stu reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 44 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Jazz Piano Lesson: Altered Dominant Chords](https://blog.artistworks.com/jazz-piano-lesson-altered-dominant-chords/) **Published:** May 13, 2022 **Author:** ArtistWorks **Excerpt:**

Most jazz compositions, whether classic or modern, heavily feature dominant seventh chords. This hybridized major and minor harmony is an enormous contributor to the jazz sound and has become a staple of the genre’s aesthetic.

**Content:** ![]() Most jazz compositions, whether classic or modern, heavily feature dominant seventh chords. This hybridized major and minor harmony is an enormous contributor to the jazz sound and has become a staple of the genre’s aesthetic. You may be wondering: what is a dominant seventh chord? A dominant seventh chord is a four-note harmony comprised of a major triad (the root, major third, and perfect fifth) with the addition of the minor seven tonality, hence the major/minor hybridization. The bridging between the major and minor tonalities gives these chords a unique sound and a very specific function within their musical context. Due to the frequency that dominant seventh chords appear in jazz, musicians will often apply extensions to these harmonies to add interest and complexity to the chords. These extensions most commonly include the ninth (which is the major second an octave up) and the thirteenth (which is the major sixth an octave up). To add further sonic complexity to these harmonies, jazz musicians will often raise or lower these extensions by a half-step to create what’s known as altered dominant seventh chords. These altered textures give the harmonies a particularly jazz sound, and implementing them will elevate the maturity of your jazz vocabulary. In this [online jazz piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist, recording artist, producer, and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), details the concept of altered dominant chords, outlines a few of the most common harmonies and their accompanying voicings on the piano, and teaches you how to incorporate altered dominant chords into your playing. LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) “More often than not, my instinct when I’m playing is to migrate more toward the altered dominant than traditional dominant seventh tonalities,” George explains. “Traditional dominant seventh chords tend to provide a happy, consonant sound to my ear, while altered dominant harmonies create a much jazzier, hip feel.” It can be intimidating to begin implementing altered dominant seventh chords into your playing at first, especially if you’re reading lead sheets calling for complex-feeling chords with multiple altered extensions in a single harmony, etc. While lead sheets of this nature may feel daunting at first, remember to approach this concept with patience. As this idea sinks in, altered dominant chords will feel increasingly approachable and will quickly be falling under your fingers in no time. “A great way to practice your altered dominant seventh chord voicings is to take one specific extension and play it through the circle of fifths,” explains George. “For example, take one singular dominant seven voicing with a sharp nine and play that voicing through the circle of fifths. Before long, you’ll develop muscle memory so that you can quickly recall that voicing in all twelve keys.” To learn more about altered dominant chords and how to implement them into your playing, dive into this [online jazz piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty) from [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): Altered Dominant Chords with George Whitty: LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive [jazz piano lessons online](https://artistworks.com/jazz-piano-lessons-george-whitty) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), and get personal feedback on your playing. George’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: Learn How to Play “Tune Up” with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-learn-how-play-tune-up-george-whitty) [Jazz Piano Lesson: Learning Approach Patterns with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns) [ArtistWorks Music Series Podcast—Explore the Styles of Jazz with George Whitty](https://blog.artistworks.com/new-podcast-george-whitty-exploring-styles-jazz) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Cello Lesson: Bluegrass Bowing Techniques](https://blog.artistworks.com/cello-lesson-bluegrass-bowing-techniques/) **Published:** May 11, 2022 **Author:** ArtistWorks **Excerpt:**

In the classical music tradition, how a player approaches their technique on stringed instruments such as the violin, viola, and cello is very rigid and specific. A player’s bowing technique, in particular, is tremendously calculated and must follow a distinct set of guidelines. When placed in the context of other genres, however, string players have the freedom to explore other bowing techniques that are often more experimental and less ubiquitous among musicians.

**Content:** ![]() In the classical music tradition, how a player approaches their technique on stringed instruments such as the violin, viola, and cello is very rigid and specific. A player’s bowing technique, in particular, is tremendously calculated and must follow a distinct set of guidelines. When placed in the context of other genres, however, string players have the freedom to explore other bowing techniques that are often more experimental and less ubiquitous among musicians. In this [online cello lesson](https://artistworks.com/cello-lessons-mike-block), Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block) teaches a few unconventional cello bowing techniques specifically designed to assist in performing rhythmic passages commonly heard in bluegrass. He also provides a few cello bowing exercises to help you refine these techniques and easily incorporate them into your playing. LEARN MORE: [Want to learn how to play the cello from a master musician like Mike Block? Try some free online cello lessons now!](https://go.artistworks.com/free-online-cello-lessons-mike-block) Unlike classical music, bluegrass music heavily emphasizes the backbeat, which gives bluegrass its very distinct feel and musical energy. The backbeat consists of beats two and four within a measure of music, as opposed to the downbeat, which refers to beats one and three. As bluegrass does not commonly emphasize the downbeat, the common bowing techniques utilized by classical cellists need to be altered to accommodate the unique qualities of bluegrass rhythm. “One fundamental bowing pattern that’s commonly used in both classical and bluegrass genres is called the shuffle pattern,” Mike explains. “However, the way we approach this shuffle pattern and where we place emphasis when we’re bowing is completely different depending on the style of music we’re playing. This all has to do with whether or not we’re emphasizing the downbeat or the backbeat.” If you’re a classically trained cellist, learning to place emphasis on the backbeat when playing a shuffle pattern rather than the downbeat may feel a bit uncomfortable at first. But, have no fear, this will quickly become second nature to you. Remember to have patience and be kind to yourself as you work out the intricacies of the altered rhythmic pattern. “The key to playing bluegrass groove is filling in the subdivisions and having fun with the accents,” Mike explains. “But, these fundamental grooves, the shuffle and the push are going to underpin everything.” To learn more about bluegrass bowing rhythms and how to implement them into your cello playing, dive into this [online cello lesson](https://artistworks.com/cello-lessons-mike-block) from [Mike Block](https://artistworks.com/cello-lessons-mike-block): Bluegrass Bowing Techniques with Mike Block: LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques, classic popular songs in a variety of genres and styles, [improvisation](https://artistworks.com/music-improvisation), [music theory](https://artistworks.com/music-theory-and-musicianship), and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Block Releases New Album, Machines That Fly](https://blog.artistworks.com/mike-block-releases-new-album-machines-that-fly) [Darol Anger Jams with Bronwyn Keith-Hynes](https://blog.artistworks.com/darol-anger-jams-bronwyn-keith-hynes) [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Music Roundtable Podcast—Episode 4: Andy McKee & Trevor Gordon Hall](https://blog.artistworks.com/artistworks-podcast-andy-mckee-trevor-gordon-hall/) **Published:** May 6, 2022 **Author:** ArtistWorks **Excerpt:**

Welcome to the latest episode of the ArtistWorks Music Roundtable podcast! In this new installment, our Director of Content and Production, Marcus Luscombe, is joined by the latest addition to the ArtistWorks faculty, world-renowned acoustic guitarist Andy McKee, and fellow fingerstyle guitar virtuoso and TrueFire and JamPlay instructor, Trevor Gordon Hall.

**Content:** ![]() Welcome to the latest episode of the ArtistWorks Music Roundtable podcast! In this new installment, our Director of Content and Production, Marcus Luscombe, is joined by the latest addition to the ArtistWorks faculty, world-renowned acoustic guitarist [Andy McKee](https://go.artistworks.com/guitar-lessons-andy-mckee), and fellow fingerstyle guitar virtuoso and [TrueFire](https://truefire.com/educators/trevor-gordon-hall/e4601) and [JamPlay](https://jamplay.com/guitar-lessons/trevor-gordon-hall) instructor, Trevor Gordon Hall. Together, Andy and Trevor discuss their experiences touring together and teaching guitar clinics around the globe. They also share the characteristics of the acoustic guitar that inspired them to initially pick up the instrument, the events that drew them together as musical contemporaries, and more. LEARN MORE: Want to learn how to play guitar from a master musician like Andy McKee? [Sign up here to stay updated on Andy’s new acoustic fingerstyle guitar course coming to ArtistWorks in June 2022!](https://go.artistworks.com/guitar-lessons-andy-mckee) Andy McKee is widely considered to be one of the finest acoustic guitar players of all time. His unique style and approach to the instrument have garnered him worldwide attention, established him as a pioneer of modern acoustic music, and have put him on stage with some of the greatest musicians of all time including Prince, Dream Theater, Eric Johnson, Tommy Emmanuel, and more. Most commonly known for his technical prowess, use of progressive fingerstyle methods, and soulful songwriting, Andy brings unparalleled youthful energy to his guitar performance and musical compositions. While Andy incorporates boundary-pushing techniques such as two-hand-tapping, partial capos, slap harmonics, alternate tunings, percussive hits, and more, he never loses focus on the importance of song structure and melody. We are proud to welcome Andy as the newest member of the ArtistWorks faculty of master musicians and are excited to launch his new [acoustic fingerstyle guitar course](https://go.artistworks.com/guitar-lessons-andy-mckee) in June 2022. “I was always drawn to the acoustic guitar because of how personal it is,” Andy explains. “It’s just one person with an instrument. When I’m writing music on the acoustic guitar, I can take my time to dive into the instrument and discover something that really speaks. Whenever I’m writing music, my goal is to create something that will be meaningful to somebody else.” A relatively young guitarist, Trevor Gordon Hall is one of the preeminent acoustic musicians of the last decade. Emerging on the fringe of the Philadelphia music scene as a virtuoso in the early 2000s, Trevor’s unique combination of technical fingerpicking and intimate songwriting quickly skyrocketed him onto the radars of music and guitar lovers around the globe. He was rated a top 30 under 30 guitarist by Acoustic Guitar Magazine and has shared the stage with or drawn praise from peers and guitar legends such as John Mayer, Steve Miller, Graham Nash, Steve Hackett, Pat Martino, Stanley Jordan, Tommy Emmanuel, and more. Trevor and Andy have performed together for years, and continue to musically conspire to this day. “We understood each other right away,” Trevor expresses to Andy. “We both grew up listening to Michael Hedges and I remember we quickly connected on that shortly after meeting. I feel like you and I were both inspired by Michael to use the instrument to say something different, but also to create music that would really resonate with other people.” To learn more about these two master guitarists and their lives as world-renowned performers and educators, listen to the full podcast with [Andy McKee](https://go.artistworks.com/guitar-lessons-andy-mckee) and Trevor Gordon Hall here: If you’re interested in studying the acoustic fingerstyle guitar and learning about Andy’s unique approaches to performance, musicianship, and songwriting, check out his upcoming [online guitar lessons](https://go.artistworks.com/guitar-lessons-andy-mckee) that will be launching here at ArtistWorks in June 2022! ABOUT THE ARTISTWORKS MUSIC ROUNDTABLE PODCAST: On the ArtistWorks Music Roundtable, members of our faculty of master musicians are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, [musicianship](https://artistworks.com/music-theory-and-musicianship), [music theory](https://artistworks.com/music-theory-and-musicianship), technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes of the ArtistWorks Music Roundtable podcast where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [New Course: Announcing “Acoustic Fingerstyle Guitar” with Andy McKee](https://blog.artistworks.com/announcing-acoustic-fingerstyle-guitar-andy-mckee) [ArtistWorks Music Roundtable Podcast—Episode 3: Tony Trischka & Kenny Kosek](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-3-tony-trischka-kenny-kosek) [ArtistWorks Music Roundtable Podcast—Episode 2: Keith Wyatt & Don Mock](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-2-keith-wyatt-don-mock) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lesson Department with New Lessons Added: 5-String Fiddle!](https://blog.artistworks.com/new-lesson-department-new-lessons-added-5-string-fiddle/) **Published:** May 5, 2022 **Author:** ArtistWorks **Excerpt:**

We're excited to announce the addition of a brand new lesson department on 5-String Fiddle! Darol has lined up a whole series of new lessons covering the 5-string fiddle, we are kicking it off today with 3 new lessons but stay tuned cause there are more tunes coming in the weeks ahead. You can find this new series of lessons right in the Lessons Main Menu, or to go straight to one of the lessons from here click any of the links below. Enjoy!

5-String Fiddle: Introduction 5-String Fiddle: The C String 5-String Fiddle: "Breaker's Bakedown"

**Content:** ![]() We’re excited to announce the addition of a brand new lesson department on 5-String Fiddle! Darol has lined up a whole series of new lessons covering the 5-string fiddle, we are kicking it off today with 3 new lessons but stay tuned cause there are more tunes coming in the weeks ahead. You can find this new series of lessons right in the Lessons Main Menu, or to go straight to one of the lessons from here click any of the links below. Enjoy! [5-String Fiddle: Introduction](https://my.artistworks.com/darol-anger/learning/195886) [5-String Fiddle: The C String](https://my.artistworks.com/darol-anger/learning/195887) [ ](https://my.artistworks.com/darol-anger/learning/192084)[5-String Fiddle: “Breaker’s Bakedown”](https://my.artistworks.com/darol-anger/learning/192084) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Harmonica Lesson: An Introduction to Bending](https://blog.artistworks.com/harmonica-lesson-note-bending/) **Published:** May 4, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most expressive qualities of the human voice as a musical instrument is its ability to bend notes and glide seamlessly from one pitch to the next. Note bending is a technique that singers employ frequently, and it’s often mimicked as accurately as possible by a variety of different musical instruments. One instrument, in particular, through which you can bend notes and capture this expressive vocal texture is the harmonica.

**Content:** ![]() One of the most expressive qualities of the human voice as a musical instrument is its ability to bend notes and glide seamlessly from one pitch to the next. Note bending is a technique that singers employ frequently, and it’s often mimicked as accurately as possible by a variety of different musical instruments. One instrument, in particular, through which you can bend notes and capture this expressive vocal texture is the harmonica. In this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy), Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), teaches the basics of note bending on the harmonica. He outlines what note bending is, describes how the construction of the harmonica allows for note bending and illustrates how to execute the technique and incorporate note bending into your own playing. LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) You may be wondering—“what is note bending?” Note bending is a controlled technique that musicians utilize to smoothly transition a musical note from one pitch to another. With unfretted stringed or other continuous-pitch instruments such as the trombone or human voice, this type of variation in pitch is often described as note intonation. Bent notes, however, are commonly played on fretted instruments by literally bending the string with excess finger pressure to raise a note seamlessly in pitch. On brass instruments, such as the trumpet, notes can be bent by adjusting the lip shape within the mouthpiece. On free-reed instruments, such as the harmonica, players are able to bend notes by altering their tongue, throat, and lip positions and using excess air pressure to overblow the reed. “Students that I teach are always chomping at the bit to learn how to bend notes on the harmonica,” Howard explains. “The expressive nature of bending is part of what draws people to play the harmonica in the first place. It really plays into the bluesiness of it all.” There are a few physical elements that are all at play when you’re attempting to bend a note on the harmonica—tongue placement, lip position, air pressure, and throat shape. The relationship between these four facets of your playing will all determine the clarity and efficacy of each note you attempt to bend. Masters this process can be frustrating when you’re first learning, but, we promise, your patience will pay off and you’ll be playing bluesy bends in no time! “Learning to bend notes cleanly and quickly has a lot to do with building muscle memory,” Howard explains. “As you continue to work on your bending, you’ll begin to learn the positions in which you need to hold your mouth and throat, the amount of air you’ll need to produce, and the way you hold your lips to the instrument. It will all become second nature.” To learn more about bending notes on the harmonica and how to implement this technique into your playing, dive into this [online harmonica lesson](https://artistworks.com/harmonica-lessons-howard-levy) from [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy): An Introduction to Bending with Howard Levy: LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, classic popular tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Howard Levy Releases New Album, From the Vault, Vol. 4: Duets with Friends](https://blog.artistworks.com/howard-levy-releases-new-album-from-the-vaults-vol-4-duets-with-friends) [New Musical Mechanics Courses Now Available](https://blog.artistworks.com/new-musical-mechanics-courses-available) [Harmonica Lesson: How to Hold the Harmonica with Howard Levy](https://blog.artistworks.com/how-hold-harmonica) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing “Acoustic Fingerstyle Guitar with Andy McKee”](https://blog.artistworks.com/announcing-acoustic-fingerstyle-guitar-andy-mckee/) **Published:** May 3, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming June 2022, “Acoustic Fingerstyle Guitar with Andy McKee.”

**Content:** ![]() We are excited to announce our newest course coming June 2022, “[Acoustic Fingerstyle Guitar with Andy McKee](https://go.artistworks.com/guitar-lessons-andy-mckee).” Andy McKee is widely considered to be one of the finest acoustic guitar players of all time. His unique style and approach to the instrument have garnered him worldwide attention, established him as a pioneer of modern acoustic music, and have put him on stage with some of the greatest musicians of all time including Prince, Dream Theater, Eric Johnson, Tommy Emmanuel, and more. Most commonly known for his technical prowess, use of progressive fingerstyle methods, and soulful songwriting, Andy brings unparalleled youthful energy to his guitar performance and musical compositions. While Andy incorporates boundary-pushing techniques such as two-hand-tapping, partial capos, slap harmonics, alternate tunings, percussive hits, and more, he never loses focus on the importance of song structure and melody. Andy’s technical abilities combined with his sensibilities as a songwriter elevate him above the rest. Through his online fingerstyle guitar lessons here at ArtistWorks, you’ll learn the ins and outs of Andy’s distinct approach to the acoustic guitar, and the intricate methods that define Andy’s one-of-a-kind sound and style. “What I’ve created here at ArtistWorks is a curriculum that aligns with the ways that I learned how to play fingerstyle guitar,” Andy explains. “I’ve tried to take everything I’ve learned as a musician and break it down piece by piece. I ease players into it by starting at a beginner level and progress from there to intermediate and, finally, advanced.” In addition to his expertise as a performer, Andy is also a committed educator with decades of experience teaching guitar. Andy has drawn from his deep knowledge as both a professional guitarist and music instructor to create a comprehensive course of acoustic guitar lessons online designed to teach players of all levels how to play fingerstyle guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Andy and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Andy at every step of your musical journey. “This is a step-by-step path of lessons that covers everything from traditional fingerpicking to more modern techniques like two-hand-tapping, slap harmonics, and percussion on the guitar body,” Andy explains. “I don’t hold anything back. There are no secrets. I’ll show you everything I know.” [Sign up now](https://go.artistworks.com/guitar-lessons-andy-mckee) for news updates from Andy and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and other materials, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 43 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [Bluegrass Guitar Lesson: Harmonizing a Major Scale with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-harmonizing-major-scale-chris-eldridge) [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-carulli-andantino-g-major) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Livestream Recital with Hugh Sung and LA Philharmonic Violinist Mitchell Newman](https://blog.artistworks.com/livestream-recital-hugh-sung-and-la-philharmonic-violinist-mitchell-newman-0/) **Published:** May 3, 2022 **Author:** ArtistWorks **Excerpt:**

Violinist Mitchell Newman, 30 year member of the Los Angeles Philharmonic, will be performing a free livestream recital with pianist Hugh Sung at Cunningham Piano in King of Prussia, PA on Saturday, May 7 at 7 pm EST. Mitchell and Hugh will perform works by Mozart, Lucas Richman, and Respighi.

Click here to RSVP for the Livestream performance.

**Content:** Violinist Mitchell Newman, 30 year member of the Los Angeles Philharmonic, will be performing a free livestream recital with pianist Hugh Sung at Cunningham Piano in King of Prussia, PA on Saturday, May 7 at 7 pm EST. Mitchell and Hugh will perform works by Mozart, Lucas Richman, and Respighi. [Click here](https://www.cunninghampiano.com/mitchell-newman-violin-livestream-recital-may-7-at-7-pm/) to RSVP for the Livestream performance. ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Livestream Recital with Hugh Sung and LA Philharmonic Violinist Mitchell Newman](https://blog.artistworks.com/livestream-recital-hugh-sung-and-la-philharmonic-violinist-mitchell-newman/) **Published:** May 3, 2022 **Author:** ArtistWorks **Excerpt:**

Violinist Mitchell Newman, 30 year member of the Los Angeles Philharmonic, will be performing a free livestream recital with pianist Hugh Sung at Cunningham Piano in King of Prussia, PA on Saturday, May 7 at 7 pm EST.

Mitchell and Hugh will perform works by Mozart, Lucas Richman, and Respighi.

Click here to RSVP for the Livestream performance.

**Content:** ![]() Violinist Mitchell Newman, 30 year member of the Los Angeles Philharmonic, will be performing a free livestream recital with pianist Hugh Sung at Cunningham Piano in King of Prussia, PA on Saturday, May 7 at 7 pm EST. Mitchell and Hugh will perform works by Mozart, Lucas Richman, and Respighi. [Click here](https://www.cunninghampiano.com/mitchell-newman-violin-livestream-recital-may-7-at-7-pm/) to RSVP for the Livestream performance. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Advanced Lesson Added: Béla Rhythmic Subdivisions](https://blog.artistworks.com/new-advanced-lesson-added-béla-rhythmic-subdivisions/) **Published:** May 3, 2022 **Author:** ArtistWorks **Excerpt:**

We're happy to announce the release of another great new lesson filmed during Tony's recent ArtistWorks studios visit. This is a stacked 8 part lesson breaking down a variety of examples of interesting and very musical "Béla Fleck style" rhythmic phrasing. The lesson is complete with tablature to help you find the notes, to check it right now CLICK HERE. Happy picking!

**Content:** ![]() We’re happy to announce the release of another great new lesson filmed during Tony’s recent ArtistWorks studios visit. This is a stacked 8 part lesson breaking down a variety of examples of interesting and very musical “Béla Fleck style” rhythmic phrasing. The lesson is complete with tablature to help you find the notes, to check it right now [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191695). Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jared James Nichols Releases New Single, “Hard Wired”](https://blog.artistworks.com/jared-james-nichols-new-single-hard-wired/) **Published:** April 29, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, blues rock powerhouse and ArtistWorks instructor, Jared James Nichols released his brand new single, “Hard Wired,” on Black Hill Records.

**Content:** ![]() This morning, blues rock powerhouse and ArtistWorks instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) released his brand new single, “Hard Wired,” on Black Hill Records. In line with Jared’s signature sonic blend of vintage-inspired blues and modern hard rock, “Hard Wired” showcases the “Blues Power” titan’s unwavering prowess as a guitar player. It also highlight’s Jared’s unique ability to write songs that both pay homage to the music of the 60s, 70s, and 80s while simultaneously progressing the blues rock genre to new heights. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “‘Hard Wired’ is an all-out, supercharged anthem dedicated to every single person who loves to a fault,” Jared explains. “No matter how hard you try, you cannot get away from what you love, even if you know it’s bad for you.” The anthemic blues rock track begins in just the manner you’d expect from Jared—with a face-melting guitar solo. The wah-wah infused distorted guitar leads wash over you just as the drums and bassline begin pounding, setting the tune’s powerful tone. A catchy guitar riff ensues and is shortly followed by Jared’s ferocious vocals. From there, buckle up and ride! Jared James Nichols – Hard Wired (Official Audio): “Between the screaming Blues Power shred guitar and moaning vocal lines, “Hard Wired” will completely rock you,” explains Jared. Co-written by Jared James Nichols, Tyler Bryant, and Graham Whitford and produced by Eddie Spear, “Hard Wired” was recorded in the legendary Blackbird Studios in Nashville, TN. Jared will be on tour performing his new single and the rest of his “Blues Power” catalog in cities throughout the United States this spring and summer: JARED JAMES NICHOLS 2022 TOUR DATES: \*With Black Label Society & Nita Strauss \*\*Solo Dates \*Apr 30 – San Diego, CA – House of Blues \*May 1 – Reno, NV – Virginia Street Brewhouse \*May 3 – Casper, WY – Casper Events Center \*\*May 4 – Sioux City, IA – The Marquee \*May 5 – Belvidere, IL – Apollo Theatre \*May 6 – Sault Ste. Marie, MI – Kewadin Casino \*May 9 – Lexington, KY – Manchester Music Hall \*May 10 – Raleigh, NC – The Ritz \*May 11 – Chattanooga, TN – The Signal \*May 13 – Fayetteville, AR – JJ’s Live \*May 14 – Tyler, TX – Country River Club \*May 15 – New Orleans, LA – The Fillmore New Orleans \*May 17 – Birmingham, AL – Iron City \*May 18 – Mobile, AL – Soul Kitchen Music Hall \*May 19 – Daytona, FL – Welcome to Rockville \*May 20 – N. Myrtle Beach, SC – House of Blues \*May 21 – Inwood, WV – Shiley Acres \*\*May 29 – Sacramento, CA – Folsom Saloon (with Austin Mo) \*\*Jun 2 – West Hollywood, CA – Viper Room (with Desert of Talking Shadows & Radio Ritual) \*\*Jun 4 – Anaheim, CA – Chain Reaction (with Desert of Talking Shadows) Oct 9 – Sacramento, CA – Aftershock Festival Click [here](https://www.jaredjamesnichols.com/) to purchase your tickets today! LEARN MORE: Have you always wanted to learn how to play blues rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and songs. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! While Jared’s course officially launches on September 21, 2021, you can sign up today to be first in line to become one of Jared’s first online students ever. Learn more [here](https://artistworks.com/guitar-lessons-jared-james-nichols). Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: An Introduction to Power Chords with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-introduction-power-chords-jared-james-nichols) [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) [Jared James Nichols Restores One of the First Gibson Les Paul Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Guitar Lesson: Variations on the 12 Bar Blues](https://blog.artistworks.com/blues-guitar-lesson-variations-12-bar-blues/) **Published:** April 28, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore.

**Content:** ![]() One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore. In a past lesson, critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master blues guitar instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), walked us through the most basic, fundamental version of the classic 12 bar blues chord progression. He highlighted pivotal guitar chords and fingerings for the progression and discussed introductory blues improvisational techniques that can be employed over this foundational song form. You can explore that lesson [here](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt). In this [online blues guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), Keith elaborates on his introductory lesson by teaching a few of the most common variations on the 12 bar blues form and provides different ways that you can spice up the progression. In particular, he outlines two variations on the 12 bar blues progression: the quick-change progression, which alters bar 2 of the form, and a common alteration to bars 9 and 10 in which the progression moves from the IV to the V chord. LEARN MORE: [Want to learn how to play blues guitar from a master musician like Keith Wyatt? Try some free online blues guitar lessons now!](https://go.artistworks.com/free-online-blues-guitar-lessons) “There are some very common variations on the 12 bar progression that every blues guitarist should know,” Keith explains. “It’s quite common to add different changes to the standard, stripped-down 12 bar blues progression in order to create a different harmonic flow. Especially at slower tempos, folks will often add more chords to keep the energy of the song moving.” As you continue to internalize the sound and feel of the standard, stripped-down 12 bar blues progression, as Keith refers to it, don’t be afraid to explore the vast array of alternative variations to the form. While veering away from the standard 12 bar progression may feel intimidating at first, familiarizing yourself with these common variations will provide you with the necessary vocabulary to play in the blues style, and will also help cement the 12 bar form in your musical memory. “One thing that’s true of a lot of blues arranging is that nobody really says anything,” Keith explains. “You just have to stay relaxed, keep your ears open, and listen to hear where the bass player is going. Having knowledge of the most common variations to the progression will help you respond and make quick adjustments to your playing when you need to.” To learn more about the different variations on the 12 bar blues progression, dive into this [online blues guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): Variations on the 12 Bar Blues with Keith Wyatt: LEARN MORE: Have you always wanted to learn how to play blues guitar? Through our comprehensive [blues guitar lessons online](https://artistworks.com/guitar-lessons-keith-wyatt) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and get personal feedback on your playing. Keith’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic blues tunes, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as blues guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt)\\ [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) [Blues Rock Guitar Lesson: An Introduction to Power Chords with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-introduction-power-chords-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The Great Guitars USA Tour 2022](https://blog.artistworks.com/great-guitars-usa-tour-2022/) **Published:** April 26, 2022 **Author:** ArtistWorks **Excerpt:**

Originally formed in 1973, the Great Guitars was a jazz supergroup comprised of three master guitarists: Charlie Byrd, Herb Ellis, and Barney Kessel. Together, these three giants of six-string jazz toured the globe sporadically and recorded four live albums together between 1973 and 1992.

**Content:** ![]() Originally formed in 1973, the Great Guitars was a jazz supergroup comprised of three master guitarists: Charlie Byrd, Herb Ellis, and Barney Kessel. Together, these three giants of six-string jazz toured the globe sporadically and recorded four live albums together between 1973 and 1992. Herb Ellis departed from the group in the mid-1980s and was replaced by Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), who performed alongside Byrd and Kessel as a member of the Great Guitars for nearly a decade. Unfortunately, the group disbanded for a few years shortly after Kessel suffered an untimely stroke that ended his career in 1992. 30 years later, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) has revitalized the ensemble and reformatted the lineup to usher in the Great Guitars of the 21st century. In the spirit of the group’s original structure, Martin has partnered up with three of his fellow six-string jazz virtuosos: [John Jorgenson](https://truefire.com/educators/john-jorgenson/), Bruce Forman, and [Frank Vignola](https://truefire.com/educators/frank-vignola/). Together these four master guitarists are continuing Byrd, Ellis, and Kessel’s legacies and sharing the beauty of jazz guitar with the world. LEARN MORE: [Want to learn how to play fingerstyle jazz guitar from a master musician like Martin Taylor? Try some free online guitar lessons now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) In fact, Taylor, Jorgenson, Forman, and Vignola have announced a United States tour, which will officially begin on April 29, 2022. They will be hosting twelve shows in cities throughout the country and will be performing across the US through May 18, 2022: 4/29/22 — University of Vermont: Burlington, VT 4/30/22 — The Egg: Albany, NY 5/1/22 — Shalin Liu Performance Center: Rockport, MA 5/2/22 — Sellersville Theatre: Sellersville, PA 5/3/22 — The Birchmere: Alexandra, VA 5/6/22 — ECC Center: Elgin, IL 5/7/22 — Sheldon Concert Hall: St Louis, MO 5/10/22 — WYO Theatre: Sheldan, WY 5/13/22 — Ellen Theatre: Bozeman, MT 5/14/22 — Lone Tree Arts Center: Lone Tree, CO 5/17/22 — Dimitriou’s Jazz Alley: Seattle, WA 5/18/22 — Dimitriou’s Jazz Alley: Seattle, WA Click [here](https://martintaylor.com/tour/) to purchase your tickets today! In addition to being virtuosic guitarists, Taylor, Jorgenson, and Vignola are also wonderful educators who teach as masterfully as they play. [Taylor](https://artistworks.com/guitar-lessons-martin-taylor) teaches a comprehensive [fingerstyle jazz guitar](https://artistworks.com/guitar-lessons-martin-taylor) course through ArtistWorks, while [Jorgenson](https://truefire.com/educators/john-jorgenson/) and [Vignola](https://truefire.com/educators/frank-vignola/) both host guitar courses through our sister company, [TrueFire](https://truefire.com/). **LEARN MORE:** Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive electric [guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced fingerstyle techniques, classic jazz standards, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! **READ MORE:** [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Jazz Guitar Lesson: Tips for Transcribing with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-tips-transcribing) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [May 2022 VE Deadline Dates](https://blog.artistworks.com/may-2022-ve-deadline-dates-0/) **Published:** April 25, 2022 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Popular Piano Family,

Here are the upcoming May VE submission deadline dates. Please note that I will be away for most of June for concerts and other activities - I may not be able to record any VE responses until the very last week of June, so be sure to take advantage of the available May dates. And please, if possible, try to post your VE submissions on or before the deadline dates - late submissions may run the risk of being missed until the next date!

Thanks!

**Content:** Dear ArtistWorks Popular Piano Family, Here are the upcoming May VE submission deadline dates. Please note that I will be away for most of June for concerts and other activities – I may not be able to record any VE responses until the very last week of June, so be sure to take advantage of the available May dates. And please, if possible, try to post your VE submissions on or before the deadline dates – late submissions may run the risk of being missed until the next date! - Sunday, May 1 - Sunday, May 22 - Sunday, May 29 Thanks! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [May 2022 VE Deadline Dates](https://blog.artistworks.com/may-2022-ve-deadline-dates/) **Published:** April 25, 2022 **Author:** ArtistWorks **Excerpt:**

Dear ArtistWorks Popular Piano Family,

Here are the upcoming May VE submission deadline dates. Please note that I will be away for most of June for concerts and other activities - I may not be able to record any VE responses until the very last week of June, so be sure to take advantage of the available May dates. And please, if possible, try to post your VE submissions on or before the deadline dates - late submissions may run the risk of being missed until the next date!

Thanks!

**Content:** Dear ArtistWorks Popular Piano Family, Here are the upcoming May VE submission deadline dates. Please note that I will be away for most of June for concerts and other activities – I may not be able to record any VE responses until the very last week of June, so be sure to take advantage of the available May dates. And please, if possible, try to post your VE submissions on or before the deadline dates – late submissions may run the risk of being missed until the next date! - Sunday, May 1 - Sunday, May 22 - Sunday, May 29 Thanks! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-4/) **Published:** April 25, 2022 **Author:** ArtistWorks **Excerpt:**

The next installment (5 parts) of the Mike Seeger interview series have just been added! In these new episodes, we see Mike in his home studio discussing more on his experience as a live performer, the evolution of banjo music across different countries, and the variety of music styles played on a banjo as he digs deeper into the banjo’s history. If you’ve already checked out the first 24 parts, CLICK HERE to go to part 25. If you’re just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for more new content announcements, there’s even more ahead in this series. Happy picking!

**Content:** ![]() The next installment (5 parts) of the Mike Seeger interview series have just been added! In these new episodes, we see Mike in his home studio discussing more on his experience as a live performer, the evolution of banjo music across different countries, and the variety of music styles played on a banjo as he digs deeper into the banjo’s history. If you’ve already checked out the first 24 parts, [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/195765) to go to part 25. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. Stay tuned to the blogs for more new content announcements, there’s even more ahead in this series. Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Jamming Skills: Jam Protocol & Etiquette](https://blog.artistworks.com/bluegrass-jamming-protocol-etiquette/) **Published:** April 22, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most amazing and celebrated elements of bluegrass music culture is its propensity for collaboration, community engagement, and audience participation. This natural cultural tendency of the genre is most clear in the context of the ever-popular bluegrass jam session.

**Content:** ![]() One of the most amazing and celebrated elements of bluegrass music culture is its propensity for collaboration, community engagement, and audience participation. This natural cultural tendency of the genre is most clear in the context of the ever-popular bluegrass jam session. Jamming is a critical facet of bluegrass culture. At bluegrass festivals around the globe, for example, attendees of all ages are encouraged to grab an instrument and perform at campfire and post-concert jams, regardless of the attendees’ skill levels or preferred instruments. In fact, these jam sessions are often the highlight of the event for many festival-goers. Due to the impromptu nature of bluegrass jamming, it is critical that current and future participants alike understand the best practices and procedures that accompany a jam session. No one wants to step on each other’s musical toes, so to speak. It’s all about having fun! In this [online music lesson](https://artistworks.com/), Grammy-nominated bluegrass artist, internationally-renowned singer and guitarist, and ArtistWorks bluegrass vocals instructor, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) provides his deep insights on the proper protocol and etiquette to employ when attending a bluegrass jam session. He even outlines some of the most common verbal and nonverbal cues used within most jams, discusses best practices for calling solos, presents ways to keep a session moving smoothly, and more. LEARN MORE: [Want to learn how to sing in the bluegrass style from a master vocalist like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-bluegrass-vocals-lessons-michael-daves) “There are no hard or fast rules when it comes to the classic bluegrass jam session,” explains Michael. “But, one of the great things about these jams is that there are enough common assumptions wherever you go about how these sessions are supposed to work that folks are able to get up and make music with complete strangers. It’s really an amazing thing.” When attending a bluegrass jam session, it’s always important to keep an open mind, especially if you’re a beginner or you’re new to playing. Jamming with a new group of folks may feel intimidating at first, but jam sessions are often a safe place to explore your instrument and try new things. The attitude surrounding most jam sessions is almost always positive and encouraging. So, don’t be afraid to leap out of your comfort zone. “From a musical standpoint, listening, blending, and dynamics are the three most important things to keep in mind when playing in a jam session,” Michael explains. “You want to make sure you’re listening to your fellow musicians and reacting accordingly, and that you’re blending in well with the rest of the ensemble, whether you’re supporting as a rhythm player or taking a solo. Dynamics play a huge role in blending properly.” To learn more about the proper etiquette and best practices to employ within a bluegrass jam session, dive into this [online music lesson](https://artistworks.com/) from [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves): Jam Protocol & Etiquette with Michael Daves: LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned musicians, like [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), and get personal feedback on your singing. Michael’s course starts with the basics and teaches everything from beginner vocal methods to advanced performance techniques, classical bluegrass tunes, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Michael Daves Celebrates 2,000 Video Exchanges](https://blog.artistworks.com/michael-daves-celebrates-2000-video-exchanges) [Bluegrass Guitar Lesson: Walking Bass Runs with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-walking-bass-lines) [ArtistWorks Music Roundtable Podcast — Episode 3: Tony Trischka & Kenny Kosek](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-3-tony-trischka-kenny-kosek) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Classical Guitar Lesson: Learn to Play Carulli’s “Andantino in G Major”](https://blog.artistworks.com/classical-guitar-lesson-carulli-andantino-g-major/) **Published:** April 19, 2022 **Author:** ArtistWorks **Excerpt:**

Ferdinando Carulli is widely considered to be one of the most prolific composers and performers of the 19th century and is highly regarded, in particular, as one of history’s greatest contributors to the classical guitar repertoire.

**Content:** ![]() Ferdinando Carulli is widely considered to be one of the most prolific composers and performers of the 19th century and is highly regarded, in particular, as one of history’s greatest contributors to the classical guitar repertoire. Born to an affluent, upper-class family in Naples, Italy in 1770, Carulli spent the bulk of his childhood years studying and performing music. While he began his musical career on the cello, Carulli discovered the guitar when he was twenty, and, from then on, devoted his life to the advancement of the instrument. As there was no formal guitar instructor in Naples at the time, Carulli developed his own unique playing style, which is still taught to this day, and composed over 400 works for classical guitar before he passed in 1841 at the age of 71. In this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux), Grammy Award-winning guitarist and ArtistWorks instructor, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux) teaches how to perform one of Carulli’s more iconic works, and a great piece for beginner guitarists, “Andantino in G Major.” In addition to performing the piece in its entirety, Jason walks through all of the necessary techniques needed to play the composition, and even dissects some of the more difficult excepts in detail. LEARN MORE: [Want to learn how to play classical guitar from a master musician like Jason Vieaux? Try some free online classical guitar lessons now!](https://go.artistworks.com/five-online-lessons-classical-guitar) “This particular piece by Carulli is very popular, and is a very good one for beginner guitarists,” Jason explains. “In terms of difficulty, it falls somewhere between the Matteo Carcassi method exercises and Fernando Sor études. It’s also just a wonderfully beautiful piece.” When learning to play “Andantino in G Major,” it’s important to break the piece down into digestible segments and to tackle each section one at a time. Learning new pieces using this method makes encourages you to slow down and master the techniques required to perform each section before moving from one to the next. It’s an approach that players of all levels should employ when working through a new piece of music. “It’s important to phrase this piece in two-bar phrases,” Jason explains. “As such, I recommend breaking each two-bar phrase down and learning each phrase one at a time. You’ll also want to make sure that you focus on following the recommended righthand fingerings closely throughout.” To learn more about how to play Ferdinando Carulli’s “Andantino in G Major” and the essential techniques required to perform the piece, dive into this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux) from [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux): Learn to Play Carulli’s “Andantino in G Major” with Jason Vieaux: To access the sheet music for this piece, as well as many more detailed lesson videos and other supplemental materials, sign up for Jason’s classical guitar course [here](https://artistworks.com/guitar-lessons-jason-vieaux). LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [classical guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personal feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, iconic classical guitar works, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jason Vieaux Releases New Album, Bach Volume 2: Works for Violin](https://blog.artistworks.com/jason-vieaux-releases-new-album-bach-volume-2-works-violin) [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [Classical Guitar Lesson: Combing the Right & Left Hand with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-combining-right-left-hand) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [The Great Guitars USA Tour 2022 - Taylor-Vignola-Jorgenson-Forman](https://blog.artistworks.com/great-guitars-usa-tour-2022-taylor-vignola-jorgenson-forman/) **Published:** April 18, 2022 **Author:** ArtistWorks **Excerpt:**

Here's details for the upcoming Great Guitars USA Tour with Martin Taylor, John Jorgenson, Frank Vignola, Bruce Forman....

04/29 Burlington, VT - University of Vermont (Martin Taylor-John Jorgenson-Frank Vignola)

04/30 Albany, NY - The Egg (Martin Taylor-John Jorgenson-Frank Vignola)

05/01 Rockport, MA - Shalin Liu Performance Center (Martin Taylor-John Jorgenson-Frank Vignola)

05/02 Sellersville, PA - Sellersville Theatre (Martin Taylor-John Jorgenson-Frank Vignola)

05/03 Alexandra, VA - The Birchmere (Martin Taylor-John Jorgenson-Frank Vignola)

05/05 Mamaroneck, NY - Emelin Theatre (Martin Taylor-John Jorgenson-Frank Vignola)

05/06 Elgin, IL - ECC Center (Martin Taylor-John Jorgenson-Frank Vignola)

05/07 St Louis, MO - Sheldon Concert Hall (Martin Taylor-John Jorgenson-Frank Vignola)

05/10 Sheldan, WY - WYO Theatre (Martin Taylor-John Jorgenson-Bruce Forman)

05/13 Bozeman, MT - Ellan Theatre (Martin Taylor-John Jorgenson-Bruce Forman)

05/14 Lone Tree, CO - Lone Tree Arts Center (Martin Taylor-John Jorgenson-Bruce Forman)

05/17 Seattle, WA - Dimitriou's Jazz Alley (Martin Taylor-John Jorgenson-Bruce Forman)

05/18 Seattle, WA - Dimitriou's Jazz Alley (Martin Taylor-John Jorgenson-Bruce Forman)

Frank Vignola will be playing the first half of the tour only, then Bruce Forman will join Martin and John for the second half of the tour.

For more information go to martintaylor.com

**Content:** ![]() Here’s details for the upcoming Great Guitars USA Tour with Martin Taylor, John Jorgenson, Frank Vignola, Bruce Forman…. 04/29 Burlington, VT – University of Vermont (Martin Taylor-John Jorgenson-Frank Vignola) 04/30 Albany, NY – The Egg (Martin Taylor-John Jorgenson-Frank Vignola) 05/01 Rockport, MA – Shalin Liu Performance Center (Martin Taylor-John Jorgenson-Frank Vignola) 05/02 Sellersville, PA – Sellersville Theatre (Martin Taylor-John Jorgenson-Frank Vignola) 05/03 Alexandra, VA – The Birchmere (Martin Taylor-John Jorgenson-Frank Vignola) 05/05 Mamaroneck, NY – Emelin Theatre (Martin Taylor-John Jorgenson-Frank Vignola) 05/06 Elgin, IL – ECC Center (Martin Taylor-John Jorgenson-Frank Vignola) 05/07 St Louis, MO – Sheldon Concert Hall (Martin Taylor-John Jorgenson-Frank Vignola) 05/10 Sheldan, WY – WYO Theatre (Martin Taylor-John Jorgenson-Bruce Forman) 05/13 Bozeman, MT – Ellan Theatre (Martin Taylor-John Jorgenson-Bruce Forman) 05/14 Lone Tree, CO – Lone Tree Arts Center (Martin Taylor-John Jorgenson-Bruce Forman) 05/17 Seattle, WA – Dimitriou’s Jazz Alley (Martin Taylor-John Jorgenson-Bruce Forman) 05/18 Seattle, WA – Dimitriou’s Jazz Alley (Martin Taylor-John Jorgenson-Bruce Forman) Frank Vignola will be playing the first half of the tour only, then Bruce Forman will join Martin and John for the second half of the tour. For more information go to martintaylor.com ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Jazz Guitar Lesson: Tips for Transcribing](https://blog.artistworks.com/jazz-guitar-lesson-tips-transcribing/) **Published:** April 15, 2022 **Author:** ArtistWorks **Excerpt:**

For jazz musicians of all instruments and skill levels, transcribing the melodies and improvised solos of some of the genre’s greatest masters is an essential practice and a guaranteed method for improving your playing, musical ear, and musicianship. Transcribing the work of our musical heroes does not necessarily mean putting pen to paper and applying notes to the staff, although that can be highly impactful. Transcriptions can more simply be defined as dissecting a piece of music by ear, translating it onto your instrument, and being able to perform it.

**Content:** ![]() For jazz musicians of all instruments and skill levels, transcribing the melodies and improvised solos of some of the genre’s greatest masters is an essential practice and a guaranteed method for improving your playing, musical ear, and musicianship. Transcribing the work of our musical heroes does not necessarily mean putting pen to paper and applying notes to the staff, although that can be highly impactful. Transcriptions can more simply be defined as dissecting a piece of music by ear, translating it onto your instrument, and being able to perform it. In this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker), award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) discusses the benefits that transcribing solos can provide and outlines critical techniques to assist you through the transcription process. Dave even shares a handful of his favorite musicians and their tunes that he’s transcribed over the years that have had the greatest influence on his playing. LEARN MORE: [Want to learn how to play jazz guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) “Transcribing is the most fundamental way to learn jazz music and expand your jazz vocabulary,” Dave explains. “I always found that my playing improved and I’d elevate to that next level any time I put a little bit of effort into transcribing.” The practice of transcribing music is rooted in the act of listening. You will naturally pick up on critical facets of musical vocabulary just by listening. Taking the next step to implement it on your instrument will further engrain those musical ideas and they’ll become a natural part of your playing from there. Musicians and guitarists of all skill levels, from beginner to advanced, can all continuously benefit from regularly transcribing music. To motivate yourself to make transcribing a consistent part of your practice routine, focus on learning pieces that you most enjoy listening to. “The jazz feel will naturally seep into your playing the more you listen and the more you transcribe your favorite players,” Dave explains. “If you listen to a Kenny Burrell or a Grant Green, you’re going to hear how they really put that time and feel into their music, and that’s really what’s so important.” To learn more about how to approach transcribing your favorite musicians and how it can impact your playing, dive into this [online jazz guitar lesson](https://artistworks.com/jazz-guitar-lessons-dave-stryker) from [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker): Tips for Transcribing with Dave Stryker: LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [jazz guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic jazz standards, improvisation, music theory, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as jazz guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor) [ArtistWorks Jazz All-Stars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Dave Stryker Releases New Album, As We Are](https://blog.artistworks.com/dave-stryker-releases-new-album-as-we-are) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mr Sun has a new recoding coming out an here's a preview single.](https://blog.artistworks.com/mr-sun-has-new-recoding-coming-out-heres-preview-single/) **Published:** April 15, 2022 **Author:** ArtistWorks **Excerpt:**

https://bluegrasstoday.com/track-premiere-breakers-bakedown-debut-single-from-darol-anger-and-mr-sun/

**Content:** > [Track premiere: Breaker’s Bakedown – debut single from Darol Anger and Mr. Sun](https://bluegrasstoday.com/track-premiere-breakers-bakedown-debut-single-from-darol-anger-and-mr-sun/) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Breaker’s Bakedown on the 5-string Fiddle](https://blog.artistworks.com/breaker’s-bakedown-5-string-fiddle/) **Published:** April 15, 2022 **Author:** ArtistWorks **Excerpt:**

Greetings fiddlers! We’re inaugurating a whole new 5-string Fiddle lesson series with this preview: a lesson on my original tune “Breaker’s Bakedown”.
This is a 5-string fiddle tune that appears on my new Mr Sun Band recording, "Extrovert", released on Compass Records in mid-May. This is a preview and you can hear the single on Bluegrass Today at this URL.?
Mr Sun always likes to put at least one unapologetically straight-ahead fiddle tune into every show and every recording. I wrote this one to feature and celebrate the five-string fiddle; you can't really play this one right without that bottom string on there.?Right at the crux of the tune, it's like that first hill on the roller coaster, up to the top all the way to the bottom.?I was thinking about Kenny Baker a lot when this tune got made, and I feel like there's a lot of Mr Baker in there. He had some pretty sly, dry humor going in so many of his tunes. So... in honor of Kenny and all the thousands of cooking shows we watched during the pandemic, this one's called "Breaker's Bakedown".

**Content:** Greetings fiddlers! We’re inaugurating a whole new 5-string Fiddle lesson series with this preview: a lesson on my original tune “Breaker’s Bakedown”. This is a 5-string fiddle tune that appears on my new **Mr Sun** Band recording, “**Extrovert**“, released on Compass Records in mid-May. This is a preview and you can hear the single on [Bluegrass Today at this URL](https://bluegrasstoday.com/track-premiere-breakers-bakedown-debut-single-from-darol-anger-and-mr-sun/).? **Mr Sun** always likes to put at least one unapologetically straight-ahead fiddle tune into every show and every recording. I wrote this one to feature and celebrate the five-string fiddle; you can’t really play this one right without that bottom string on there.?Right at the crux of the tune, it’s like that first hill on the roller coaster, up to the top all the way to the bottom.?I was thinking about Kenny Baker a lot when this tune got made, and I feel like there’s a lot of Mr Baker in there. He had some pretty sly, dry humor going in so many of his tunes. So… in honor of Kenny and all the thousands of cooking shows we watched during the pandemic, this one’s called “**Breaker’s Bakedown**“. This spring and summer we’ll be releasing 5 new lessons on how to play the 5-string fiddle with some traditional and original tunes that work well, including the great Johnny Gimble’s **“Gimble’s 5th (string, that is)”** And as a bonus, I’ll be releasing an instruction video of my solo on this tune exclusively here on the Fiddle School site, soon. ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [New Musical Mechanics Courses Now Available](https://blog.artistworks.com/new-musical-mechanics-courses-available/) **Published:** April 14, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce the availability of four brand new courses designed to provide all the instruction and resources you need to become a more complete musician.

**Content:** ![]() We are excited to announce the availability of four brand new courses designed to provide all the instruction and resources you need to become a more complete musician. Our [Musical Mechanics](https://artistworks.com/music-theory-and-musicianship) courses are designed to deepen your knowledge of music theory and musicianship. Regardless of your instrument, style, or skill level, these specialized online music lessons will teach you techniques to become a more complete musician. Through these courses, you can learn [how to read sheet music](https://artistworks.com/how-to-read-music), read and write [tablature](https://artistworks.com/how-to-read-tablature), [develop a stronger musical ear](https://artistworks.com/ear-training), and [improvise](https://artistworks.com/music-improvisation). When combined with instruction from any of our [Video Exchange® courses](https://artistworks.com/all-courses), these “mechanics” will provide a deeper, fuller understanding of your craft. [HOW TO READ SHEET MUSIC](https://artistworks.com/how-to-read-music): Taught by ArtistWorks Popular Piano instructor [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung), this workshop teaches musicians of all levels how to sight-read music. Students begin with basic note values and rhythmic markings, then learn how to read the staff lines, key signatures, melodies, chords, and more. This 10-level course features over 100 lessons that provide all the skills you need to start sight-reading music. [SIGN UP HERE!](https://artistworks.com/how-to-read-music) [HOW TO READ TABLATURE](https://artistworks.com/how-to-read-tablature): Taught by ArtistWorks Bluegrass Guitar instructor [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), this workshop will teach you all the skills needed to read and create tablature for any fretted stringed instrument. You’ll master the tablature format and common symbols, and learn the actual process for creating tablature using the industry-leading tablature software program, [Guitar Pro](https://www.guitar-pro.com/). [SIGN UP HERE!](https://artistworks.com/how-to-read-tablature) [MUSICAL IMPROVISATION](https://artistworks.com/music-improvisation): Taught by ArtistWorks jazz instructors [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), this expansive improvisation workshop details the many approaches and methods used by these masters improvisers. They’ll teach you dozens of techniques ranging from simple to advanced concepts and beyond. These in-depth lessons include demonstrations, analysis, and discussions that will truly elevate your skills. [SIGN UP HERE!](https://artistworks.com/music-improvisation) [EAR TRAINING](https://artistworks.com/ear-training)**:** Taught by Berklee College of Music alumnus David Olivas, this five-section series of lessons covers everything from basic ear training concepts to terminology, and how to hear and read musical relationships. David details multiple approaches to ear training and leads comprehensive lessons to teach you to identify Intervals, Chord Qualities, Tonal Relationships, Rhythms, and more. [SIGN UP HERE!](https://artistworks.com/ear-training) ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “Electric Bass with Stu Hamm” Now Available](https://blog.artistworks.com/pre-sale-vip-memberships-electric-bass-stu-hamm-now-available) [Try our FREE Downloadable Practice Packets](https://blog.artistworks.com/try-our-free-downloadable-practice-packets) [Explore Our Video Learning Pathways](https://blog.artistworks.com/explore-our-video-learning-pathways) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Walking Bass Runs](https://blog.artistworks.com/bluegrass-guitar-lesson-walking-bass-lines/) **Published:** April 12, 2022 **Author:** ArtistWorks **Excerpt:**

Truly excellent bluegrass guitar players can exercise choice when playing the role of both the melodic lead and supporting rhythmic instrument. What do we mean by choice? In this case, we’re referring to a player’s ability to apply a variety of different techniques to craft a dynamic performance and retain the interest of the listener. Concerning rhythm guitar playing specifically, it is particularly important to be able to utilize an array of embellishment methods to accomplish this goal, such as walking bass lines, alternating bass techniques, strumming variations, and more.

**Content:** ![]() Truly excellent bluegrass guitar players can exercise choice when playing the role of both the melodic lead and supporting rhythmic instrument. What do we mean by choice? In this case, we’re referring to a player’s ability to apply a variety of different techniques to craft a dynamic performance and retain the interest of the listener. Concerning rhythm guitar playing specifically, it is particularly important to be able to utilize an array of embellishment methods to accomplish this goal, such as walking bass lines, alternating bass techniques, strumming variations, and more. In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), teaches how to integrate walking bass lines into your rhythm guitar playing. He explains the role of the walking bass line within the bluegrass rhythm guitar style and illustrates how walking bass runs can be utilized in any key and in just about any musical context to provide a predictable harmonic foundation for the ensemble and listeners. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “The idea of a walking bass is a vital part of bluegrass rhythm,” Bryan explains. “It’s been a part of bluegrass rhythm guitar playing since the early days. Walking bass lines help us add interest to the music and lead the band and listener from one chord to the next. It creates predictability and trustworthiness in our rhythm.” While walking bass lines may sound complex and may feel intimidating to implement in your playing, the fundamental concept behind executing them is much simpler than you’d expect. In essence, all walking bass lines are derived from the key center in which you’re playing a tune. For example, if you’re performing a song in the key of G Major, your walking bass runs will feature notes from the G Major scale. Keep this in mind as you attempt to craft your walking bass lines, and explore various walking bass options in new tunes. “When we play different songs, we’re going to notice different ways to use our walking bass techniques,” Bryan explains. “But, at their core, they’re all derived similarly. They are scale notes that help us navigate from one chord to the next.” To learn more about crafting walking bass lines and methods to expand your rhythm guitar vocabulary, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): Walking Bass Runs with Bryan Sutton: This lesson is part of a series of lessons called the “Rhythm Guitar Toolbox” that Bryan recently added to his comprehensive [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) course here at ArtistWorks. If you enjoyed this lesson, sign up for Bryan’s course, keep your momentum going, and take your flatpicking to the next level. Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today. LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton) [Bluegrass Guitar Lesson: Embellishing Your Boom Chuck Strumming with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-embellishing-your-boom-chuck-strumming-bryan-sutton) [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton%E2%80%99s-bluegrass-acoustic-guitar-course-additions-updates) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass, Guitar --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-3/) **Published:** April 11, 2022 **Author:** ArtistWorks **Excerpt:**

The next 4 parts of the Mike Seeger interview series have just been added! In these, we find Mike performing and discussing topics that include popular artists of their time, banjo history, and much more. Along the way we see Mike performing on a variety of instruments including the Fiddle, Banjo, and even a Banjo Ukulele! If you’ve already checked out the first 20 parts, CLICK HERE to go to part 21. If you’re just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for announcements, there’s still much more to come!

**Content:** ![]() The next 4 parts of the Mike Seeger interview series have just been added! In these, we find Mike performing and discussing topics that include popular artists of their time, banjo history, and much more. Along the way we see Mike performing on a variety of instruments including the Fiddle, Banjo, and even a Banjo Ukulele! If you’ve already checked out the first 20 parts, [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/195108) to go to part 21. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. Stay tuned to the blogs for announcements, there’s still much more to come! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Music Roundtable Podcast—Episode 3: Tony Trischka & Kenny Kosek](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-3-tony-trischka-kenny-kosek/) **Published:** April 8, 2022 **Author:** ArtistWorks **Excerpt:**

In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game!

**Content:** ![]() In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! In this episode of the ArtistWorks Music Roundtable, our Director of Content and Production, Marcus Luscombe, is joined by world-renowned banjo player and ArtistWorks bluegrass banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and critically acclaimed music educator and fiddle virtuoso, Kenny Kosek. Together, Tony and Kenny discuss their experiences sharing the stage as part of the bluegrass outfit Breakfast Special, as well as early bluegrass festivals, the culture surrounding them, and how they’ve evolved over the decades. They also recount a few of their favorite shows they performed together, their touring shenanigans, the time they both met Bob Dylan, and more. LEARN MORE: [Want to learn how to play banjo from a bluegrass master like Tony Trischka? Try a free banjo lesson now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Kenny Kosek is one of the preeminent fiddlers of the last several decades. A master of the bluegrass style, Kenny has performed and recorded with acts ranging from Country Cooking to Breakfast Special, Bill Keith, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and beyond. Kenny is also a highly in-demand session musician and has collaborated with artists as diverse as Laurie Anderson, Steve Goodman, John Denver, James Taylor, Jerry Garcia, Loudon Wainwright III, The New Blue Velvet Band, and more. Kenny and Tony have shared a long history of performing together, and continue to musically conspire to this day. “Tony and I have played in numerous bands together over the years. The main band that we focused most heavily on was Breakfast Special, which really only lasted from 1973 through 1975. But, its deeds, music, and memories resonate through time,” Kenny explains with a chuckle. Tony goes on to explain his first interactions with Kenny, and how their experience recording together on the first Country Cooking album, released on Rounder Records, altered Tony’s perception of music and performing with a fiddle player. “Peter Wernick, the other banjo player in Country Cooking, knew Kenny and recruited him to record on the first Country Cooking album with us,” Tony explains. “I didn’t know Kenny at the time, but, when I heard him play, it completely blew me away. I had never had an experience playing with a fiddler of that caliber before.” To learn more about these two master musicians and their life as world-renowned bluegrass performers and educators, listen to the full podcast with [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and Kenny Kosek here: If you’re interested in studying the banjo and learning about Tony’s unique approaches to performance, musicianship, and the bluegrass style, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC ROUNDTABLE PODCAST: On the ArtistWorks Music Roundtable, members of our faculty of master musicians are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, [musicianship](https://artistworks.com/music-theory-and-musicianship), [music theory](https://artistworks.com/music-theory-and-musicianship), technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes of the ArtistWorks Music Roundtable podcast where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Roundtable Podcast—Episode 2: Keith Wyatt & Don Mock](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-2-keith-wyatt-don-mock) [Bluegrass Banjo Lesson: Leapfrogging 6ths with Tony Trischka](https://blog.artistworks.com/bluegrass-banjo-lesson-leapfrogging-6ths-tony-trischka) [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast%E2%80%94episode-1-mike-marshall-caterina-lichtenberg) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fingerstyle Jazz Guitar Lesson: The Art of Phrasing with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-art-phrasing-martin-taylor/) **Published:** April 4, 2022 **Author:** ArtistWorks **Excerpt:**

How you phrase melodic lines is one of the primary elements that defines your musical voice on your instrument. Much like speaking, how you phrase a musical idea and integrate subtle inflections, nuances in your cadence, and adjustments in your pacing all greatly impact the message that you convey to your audience and how you’re received. Your musical phrasing can be equated to your sonic fingerprint, and, as such, it should be calculated, monitored, and refined as you progress. It should be intentional.

**Content:** ![]() How you phrase melodic lines is one of the primary elements that defines your musical voice on your instrument. Much like speaking, how you phrase a musical idea and integrate subtle inflections, nuances in your cadence, and adjustments in your pacing all greatly impact the message that you convey to your audience and how you’re received. Your musical phrasing can be equated to your sonic fingerprint, and, as such, it should be calculated, monitored, and refined as you progress. It should be intentional. In this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor), Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) provides his unique approach to and insights on phrasing in the context of both single-note lines and chord-melody playing. He even outlines a few different techniques that you can utilize in your jazz guitar playing to vary your phrasing and alter the expressive quality of your performance. LEARN MORE: [Want to learn how to play fingerstyle jazz guitar from a master musician like Martin Taylor? Try some free online guitar lessons now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) “It’s not enough just to play a line or a few measures of a line. We have to phrase them,” Martin explains. “How you phrase a line is all based on your unique interpretation of the music. Once you bring phrasing into the music, even instrumental music, it can become very poetic.” Regardless of your skill level, it’s important to begin integrating different performance methods into your playing specifically with your phrasing in mind. This accomplishes two things: it encourages you to implement various technical skills into a musical context and practice them, and it keeps you focused on your primary goal as a musician—self-expression. “If you hear Stan Goetz interpreting a melody, he had a very specific way of phrasing,” Martin explains. “So, apart from his unique sound, his playing became very identifiable based on the way he would phrase something. He would never play a phrase just exactly as it was written down. He would always approach it in a manner that was uniquely his own.” To learn more about how to approach phrasing and integrate different phrasing techniques into your fingerstyle guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor) from [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor): The Art of Phrasing with Martin Taylor: LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, improvisation methods, and jazz standards. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fingerstyle guitar players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor) [Sign Up for the 5 Day Fingerstyle Guitar Challenge](https://blog.artistworks.com/sign-5-day-fingerstyle-guitar-challenge-0) [Fingerstyle Jazz Guitar Lesson: Introduction to Tenths with Martin Taylor](https://blog.artistworks.com/martin-taylor-introduction-10ths-scaffolding) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Jason Vieaux Releases New Album, "Bach Volume 2: Works for Violin"](https://blog.artistworks.com/jason-vieaux-releases-new-album-bach-volume-2-works-violin/) **Published:** April 1, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, Grammy Award-winning classical guitarist and ArtistWorks guitar instructor, Jason Vieaux released his latest album entitled Bach Volume 2: Works for Violin.

**Content:** ![]() This morning, Grammy Award-winning classical guitarist and ArtistWorks guitar instructor, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux) released his latest album entitled Bach Volume 2: Works for Violin. The much anticipated follow up to Jason’s 2009 release Bach Volume 1: Works for Lute, Bach Volume 2: Works for Violin completes Jason’s Bach cycle with J. S. Bach’s Partita No. 3 in E Major, BWV 1006, which is both the Violin Partita No. 3 and Lute Suite No. 4; Sonata No. 3 in C Major, BWV 1005; and Sonata No. 1 in G minor, BWV 1001. Described by NPR as “perhaps the most precise and soulful classical guitarist of his generation,” Jason showcases the accuracy of this description through his solo performances, and the works captured on Bach Volume 2 are no exception to this truth. LEARN MORE: [Want to learn how to play classical guitar from a master musician like Jason Vieaux? Try some free online guitar lessons now!](https://go.artistworks.com/five-online-lessons-classical-guitar) “Indeed, it’s been well over a decade since the 2009 issue of three lute works of Johann Sebastian Bach (1685-1750), Bach Vol. 1, Works For Lute, was out on Azica,” Jason explains. “The idea Azica and I had back then was that there would eventually be a Volume 2, which would complete the ‘lute’ set by making a ‘violin’ record that included BWV 1006… Well, ‘eventually’ turned out to be about 13 years, 2 kids, 700 more gigs, and over 8 hours of commercial releases later.” Despite the 13 year gap between Bach Volume 1: Works for Lute’s release and the 2022 follow-up, it is clear that the music of J. S. Bach is held near and dear to Jason’s heart. The breathtaking performances on the 15 track album will leave any classical music aficionado or nylon string guitar enthusiast speechless. That quickly becomes apparent even seconds into the recording. “Appointments, marriage, raising kids, care for aging parents, the departure of so many important and dear people, massive changes to the music business, whatever it may be… one of the great things about Bach’s music is that it’s always just there, for us to continually explore,” Jason explains. “His music doesn’t need anything. It is not only comforting and inspiring in its musical greatness, it’s humbling in how his notes, phrases, structures, compositional decisions, harmonic details, etc, are seemingly all-knowing (divine) and expressive (mortal) all at once, which is always a great respite in such a turbulent world.” Listen to the first track from Bach Volume 2: Works for Violin here: To listen to Bach Volume 2: Works for Violin, head to Jason’s website [here](https://www.jasonvieaux.com/music/) or enjoy it on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from master classical guitarist [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personal feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, music theory, and iconic compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Guitar Lesson: Combing the Right & Left Hands with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-combining-right-left-hand) [Pat Metheny’s Road to the Sun featuring Jason Vieaux](https://blog.artistworks.com/pat-metheny-road-sun) [Sign Up for the 5 Day Classical Guitar Challenge with Jason Vieaux](https://blog.artistworks.com/sign-5-day-classical-guitar-challenge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [2 New Lessons Just Added!](https://blog.artistworks.com/2-new-lessons-just-added-0/) **Published:** March 30, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has just been added to the curriculum: “Roll in My Sweet Baby’s Arms”, which you can find in the Intermediate Banjo lessons, this is an update to the original lesson page where where you can now find 2 versions of the tune; a syllabic version, and an Earl Scruggs version. This new 4 part lesson addition was filmed at the new ArtistWorks studios very recently and is accompanied with tablature and a very in-depth breakdown of the tune. CLICK HERE to go straight there. We've also just added Earl's Syncopation to the Intermediate section, to check that lesson out CLICK HERE. Happy picking!

**Content:** ![]() We’re excited to announce a new lesson has just been added to the curriculum: **“Roll in My Sweet Baby’s Arms”,** which you can find in the Intermediate Banjo lessons, this is an update to the original lesson page where where you can now find 2 versions of the tune; a syllabic version, and an Earl Scruggs version. This new 4 part lesson addition was filmed at the new ArtistWorks studios very recently and is accompanied with tablature and a very in-depth breakdown of the tune. [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/25270) to go straight there. We’ve also just added **Earl’s Syncopation** to the Intermediate section, to check that lesson out [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191717). Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Howard Levy Releases New Album, "From the Vaults, Vol. 4: Duets with Friends"](https://blog.artistworks.com/howard-levy-releases-new-album-from-the-vaults-vol-4-duets-with-friends/) **Published:** March 30, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, Howard Levy released his latest record as a solo artist or bandleader and the 4th installment in his “From the Vaults” series entitled, From the Vaults, Vol. 4: Duets with Friends.

**Content:** ![]() This morning, Grammy Award-winning multi-instrumentalist, co-founder of Béla Fleck & The Flecktones, and ArtistWorks harmonica instructor, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) released his latest record as a solo artist or bandleader and the 4th installment in his “From the Vaults” series entitled, From the Vaults, Vol. 4: Duets with Friends. Described by Howard as the “crowning jewel” of his archive of recorded music, Duets with Friends shines a light on the power of spontaneous creativity and the collaboration of brilliant musical minds. By joining forces with some of Chicago’s greatest musicians, including Joe Rendon on congas, Willy Schwarz on tabla and mridangam, Kelly Sill on upright bass, and Anthony Molinaro on piano, Howard was able to create a grooving exploration of improvisation hybridizing elements from Latin, Indian, and Jazz musical styles. LEARN MORE: [Want to learn how to play the harmonica from a master musician like Howard Levy? Try some free online harmonica lessons now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) “When you team up with great musicians, you usually end up with music that is far beyond your expectations, and that’s the case here,” Howard explains. “One of the many benefits of playing with your friends is that you know each other so well that words are not necessary—music is more than enough. I believe that this duets album contains some of the very best music that I have ever recorded.” Captured while on a break from touring during his first year with Béla Fleck & The Flecktones, Howard tracked a bulk of the records on Duets with Friends during a two-day studio session in December of 1990. Bursting with musical energy, the album documents spontaneous duets, with each guest musician guiding Howard into a different, unique musical territory. “Spontaneous, exciting, interactive, and elaborate improvised compositions are what we are talking about here,” Howard explains. “And, fun fact, we headed into the studio with no planning. We didn’t rehearse, barely discussed anything, and wore no headphones. I’ve waited over 30 years to release this project, and I’m excited for the world to hear it.” To download From the Vaults, Vol. 4: Duets with Friends, head to Howard’s website [here](https://levyland.com/music-duets-with-friends) or listen on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play the harmonica? Through our comprehensive [harmonica lessons online](https://artistworks.com/harmonica-lessons-howard-levy) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from master harmonica player [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and get personal feedback on your playing. Howard’s course starts with the basics and teaches everything from beginner harmonica to advanced performance techniques, improvisation methods, music theory, and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as harmonica players and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Try Our FREE Downloadable Practice Packets!](https://blog.artistworks.com/try-our-free-downloadable-practice-packets) [ArtistWorks Music Series Podcast—“The Musical Levy Family”: Howard Interviews His Parents](https://blog.artistworks.com/new-podcast-musical-levy-family-howard-levy-interviews-his-parents) [Harmonica Lesson: How to Hold the Harmonica with Howard Levy](https://blog.artistworks.com/how-hold-harmonica) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [April 2022 VE Submission Deadline Dates](https://blog.artistworks.com/april-2022-ve-submission-deadline-dates/) **Published:** March 29, 2022 **Author:** ArtistWorks **Excerpt:**

Hello ArtistWorks Popular Piano Family! Here are the April 2022 Video Exchange Submission deadline dates:

Keep up the great work, Everyone!

**Content:** Hello ArtistWorks Popular Piano Family! Here are the April 2022 Video Exchange Submission deadline dates: - Sunday, April 10 - Sunday, April 24 Keep up the great work, Everyone! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Music Roundtable Podcast—Episode 2: Keith Wyatt & Don Mock](https://blog.artistworks.com/artistworks-music-roundtable-podcast-episode-2-keith-wyatt-don-mock/) **Published:** March 26, 2022 **Author:** ArtistWorks **Excerpt:**

In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game!

**Content:** ![]() In the ArtistWorks Music Roundtable podcast series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! In this episode of the ArtistWorks Music Roundtable, our Director of Content and Production, Marcus Luscombe, is joined by critically acclaimed guitarist and ArtistWorks blues guitar instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and world-renowned music educator and jazz guitar virtuoso, Don Mock. Together, they discuss the origins of the Guitar Institute of Technology (where Keith and Don both taught), their shared history as music educators, how guitar learning methods have evolved over the decades, and their musical development as guitarists in Los Angeles. LEARN MORE: [Want to learn how to play blues guitar from a master musician like Keith Wyatt? Try a free guitar lesson now!](https://go.artistworks.com/free-online-blues-guitar-lessons) Don Mock is a virtuosic jazz and fusion guitarist known for his amazing technique and total command of the instrument. Originally from Seattle, WA, Don began his career as a music educator in 1972, teaching at the Cornish School and Olympic Jr. College in the Pacific Northwest. Shortly after meeting Guitar Institute of Technology (GIT) founder Howard Roberts, Don relocated to Los Angeles, CA in 1977 to begin his tenure as the primary instructor and curriculum author for GIT, which has since evolved into the Musician’s Institute in Hollywood, CA. There, Don met an aspiring young guitarist, Keith Wyatt, who would become one of Don’s first students at GIT. “Keith and I met at GIT in Los Angeles,” Don explains. “I was teaching there from the beginning, and Keith was one of my first students. Keith was one of those shining examples of a student with immense talent. After he graduated from GIT, we invited him to come aboard as a teacher. We taught alongside each other at GIT for years.” Shortly after expanding their course offerings to include other instruments and rebranding to the Musician’s Institute, Keith became the Director of Programs at the school. As their discussion progressed, Keith and Don recount how the process of learning an instrument has drastically changed over the years and the new resources that aspiring musicians now have at their disposal. “If you wanted to learn to become a professional guitar player, GIT was the mecca for modern guitar education,” Keith explains. “And, we were the ones that pioneered video education for music. We wrote, shot, and directed dozens and dozens of guitar instructional videos throughout the early years. It was amazing.” To learn more about these two master musicians and their life as performers and educators, listen to the full podcast with [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) and Don Mock here: If you’re interested in studying the blues guitar and learning about Keith’s unique approaches to performance and musicianship, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-keith-wyatt) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC ROUNDTABLE PODCAST: On the ArtistWorks Music Roundtable, members of our faculty of master musicians are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes of the ArtistWorks Music Series podcast where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt) [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) [Beginner Rock Guitar Lesson: Learn a Classic Minor Chord Progression with Kevin Barry](https://blog.artistworks.com/beginner-rock-guitar-lesson-learn-classic-minor-chord-progression-kevin-barry) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-2/) **Published:** March 25, 2022 **Author:** ArtistWorks **Excerpt:**

The next 3 parts of the Mike Seeger interview series have just been added! In these, we find Mike performing and discussing topics that include popular artists of their time, banjo history, and much more. Along the way we see Mike performing on a variety of instruments including the Fiddle, Banjo, and even a Banjo Ukulele! If you’ve already checked out the first 17 parts, CLICK HERE to go to part 18. If you’re just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for announcements, there’s still much more to come!

**Content:** ![]() The next 3 parts of the Mike Seeger interview series have just been added! In these, we find Mike performing and discussing topics that include popular artists of their time, banjo history, and much more. Along the way we see Mike performing on a variety of instruments including the Fiddle, Banjo, and even a Banjo Ukulele! If you’ve already checked out the first 17 parts, [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/194434) to go to part 18. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. Stay tuned to the blogs for announcements, there’s still much more to come! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing “Electric Bass with Stu Hamm”](https://blog.artistworks.com/new-course-announcing-electric-bass-stu-hamm/) **Published:** March 22, 2022 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming May 2022, “Electric Bass with Stu Hamm.”

**Content:** ![]() We are excited to announce our newest course coming May 2022, “[Electric Bass with Stu Hamm](https://go.artistworks.com/bass-lessons-stu-hamm).” Widely considered one of the premier bassists of the progressive rock and fusion scenes, Stu Hamm is a technique-pioneering powerhouse of the low-end. With a unique style all his own, Stu is recognized and revered by bass players around the globe and has shared the stage with some of the world’s best musicians. Most commonly known for his boundary-pushing, funk-inspired thump supporting shred and rock guitar giants like Steve Vai, Joe Satriani, Frank Gambale, Gretchen Menn, and more, Stu employs a unique combination of two-hand tapping, slapping, and sliding harmonics alongside traditional fingerstyle techniques to create an approach that has reinvented the rock bass guitar paradigm. Through Stu’s online electric bass lessons here at ArtistWorks, you’ll learn the ins and outs of Stu’s distinct approach to rock bass playing, and the intricate techniques and methods that shape Stu’s one-of-a-kind sound and style. “This course will give you a well-rounded overview of the way that I approach harmony on the fretboard—hand positioning, outlining chords, seeing intervals, and understanding note relationships,” Stu explains. “This is a course for players of all levels, so, regardless of your current skill level, this will make you a better musician and a better bass player.” In addition to countless hours performing on stages around the globe, Stu is also an experienced and dedicated music educator. In 2011, Stu accepted the position of Director of Bass Programs at the prestigious Musician’s Institute in Hollywood, CA, a role which he held for several years. He also continues to be one of the world’s most sought-after and in-demand bass clinicians, traveling worldwide to teach bass students of all levels. Stu has drawn from decades of performance experience to create a comprehensive course of bass guitar lessons online designed to teach players of all levels how to play rock bass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Stu and get an intimate look into his unique approach and style. Grow as a bass player while simultaneously furthering yourself as a musician, and get direct guidance from Stu at every step of your musical journey. “There’s a great community of bass players here at ArtistWorks,” Stu explains. “We can all share ideas, videos, and music, and learn together. I hope to see you online!” [Sign up now](https://go.artistworks.com/bass-lessons-stu-hamm) for news updates from Stu and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert) [Beginner Rock Guitar Lesson: Learn a Classic Minor Chord Progression with Kevin Barry ](https://blog.artistworks.com/beginner-rock-guitar-lesson-learn-classic-minor-chord-progression-kevin-barry) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Jazz Drum Lesson: Learning ‘Elvin Triplets’ with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-learning-elvin-triplets-peter-erskine/) **Published:** March 21, 2022 **Author:** ArtistWorks **Excerpt:**

As you continue to progress on the jazz drums, one of the most important performance elements on which to focus your efforts is the way you add variety to and embellish your playing patterns. Keeping your improvisations, grooves, and fills feeling fresh is a critical part of retaining the attention of your fellow musicians and listeners, and is an important strategy to make continuous improvements on the drum kit and level up your skills.

**Content:** ![]() As you continue to progress on the jazz drums, one of the most important performance elements on which to focus your efforts is the way you add variety to and embellish your playing patterns. Keeping your improvisations, grooves, and fills feeling fresh is a critical part of retaining the attention of your fellow musicians and listeners, and is an important strategy to make continuous improvements on the drum kit and level up your skills. In this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine), two-time Grammy Award-winning drummer, member of iconic jazz-fusion groups Weather Report and Steps Ahead, and ArtistWorks master instructor, [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), teaches one of his favorite triplet patterns, which he lovingly refers to as “Elvin Triplets” in honor of the late great jazz drummer Elvin Jones. Peter provides several variations on his original bass drum, snare, and floor tom-tom “Elvin Triplet” to illustrate how subtle adjustments to a relatively straightforward pattern can create immensely different grooves, feels, and dynamic variation. LEARN MORE: [Want to learn how to play jazz drums from a master musician like Peter Erskine? Try some free online drum lessons now! ](https://go.artistworks.com/free-music-lessons-peter-erskine) “I merrily went through much of my life playing these ‘Elvin Triplet’ patterns with the bass drum on the third tuplet, and a sticking pattern of right, left, foot,” Peter explains. “Eventually, I started exploring with variations on this pattern, and began alternating between right, left, foot, and left, right, foot. This created a completely new sound. It was a more dangerous, unpredictable, and fantastic feeling. This small adjustment made all the difference, and let me down a rabbit-hole of exploration.” As you begin deconstructing these various “Elvin Triplet” patterns, try placing the bass drum on different tuplets. Try alternating your sticking pattern: begin with the left, then the right, then try alternating them in sequence. From there, explore the different drums and cymbals you can employ when playing the pattern. You’ll be surprised and pleased by the range of tones and feels you can produce by altering this one simple pattern. “These patterns create a lot of kinetic energy,” Peter explains. “And, that’s something you always want to give the music. You want to keep the beat very grounded, but also indicate to your listeners that something cool, exciting, and new is about to happen.” To learn more about different variations on the Elvin Jones-inspired triplet pattern and how to integrate them properly into your jazz drumming methods, dive into this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine) from [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine): Learning ‘Elvin Triplets’ with Peter Erskine: LEARN MORE: Have you always wanted to learn how to play jazz drums? Through our comprehensive [drum lessons online](https://artistworks.com/jazz-drum-lessons-peter-erskine) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned drum master [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), and get personal feedback on your playing. Peter’s course starts with the basics and teaches everything from beginner drums to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as drummers and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [Jazz Drum Lesson: How to Hold the Drumsticks with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-how-hold-drumsticks-peter-erskine) [Explore Our Video Learning Pathways](https://blog.artistworks.com/explore-our-video-learning-pathways) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Rock Guitar Lesson: Smooth Soloing with Paul Gilbert](https://blog.artistworks.com/rock-guitar-lesson-smooth-soloing-paul-gilbert/) **Published:** March 16, 2022 **Author:** ArtistWorks **Excerpt:**

For so many of us rock guitar players, our biggest aspiration is to be able to step onto the arena stage under the spotlight and take that face-melting, shredding guitar solo in the fashion of our favorite musical heroes. Who wouldn’t want to unlock the virtuosic stylings of players like Eddie Van Halen, Joe Satriani, Steve Vai, or Paul Gilbert in their own playing, right?

**Content:** ![]() For so many of us rock guitar players, our biggest aspiration is to be able to step onto the arena stage under the spotlight and take that face-melting, shredding guitar solo in the fashion of our favorite musical heroes. Who wouldn’t want to unlock the virtuosic stylings of players like Eddie Van Halen, Joe Satriani, Steve Vai, or [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) in their own playing, right? Truly learning to shred on the electric guitar is no easy task, however. In the process of working out shred exercises and increasing playing speed, many aspring rockers focus the bulk of their attention on their picking hand and tend to pick every note they play as a result. In addition to being very physically strenuous, picking every individual note can actually detract from the musicality of a solo or shredding melodic line. In this [online guitar lesson](https://artistworks.com/guitar-lessons-paul-gilbert), shred guitar icon, founding member of legendary groups Mr. Big and Racer X, and ArtistWorks rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) teaches essential techniques to incorporate smooth legato playing methods into your solo and lead playing using a combination of hammer-ons and pull-offs. He even provides a handful of great exercises using scales to employ these legato approaches. LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “Picking every note, in a way, can be a very arbitrary decision,” Paul explains. “But, often times, the more musical solution is to use other tools. We can often get a much smoother sound and a more consistently good performance in our lead playing by combining picking techniques with well-placed hammer-ons and pull-offs.” This paradigm of picking every note is not unique to beginner rock guitarists. In fact, intermediate and advanced players alike often over-focus on the picking hand when learning to shred, leaving their fretting hand unaddressed and essential techniques on the table. “Basically, whenever I’ve got the opportunity to incorporate a pull-off, I take it whenever I can,” Paul explains. “This gives my pick some recovery time, and allows me to actually play much faster, and, often times, with more musicality. It also prevents me from tensing up and allows me to play quickly, but in a much more relaxed way.” To learn more about properly weaving smooth legato playing techniques into your shred guitar soloing methods, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-paul-gilbert) from [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert): Smooth Soloing with Paul Gilbert: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned shred guitar master [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner guitar to advanced rock riffs, shred techniques, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Paul Gilbert Celebrates 12,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-celebrates-12000-video-exchanges) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [ArtistWorks Music Series Podcast—Artist Bio Series: Paul Gilbert](https://blog.artistworks.com/new-podcast-paul-gilbert-artist-bio-series) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Digital Piano Practice Tips by Frederic Chiu](https://blog.artistworks.com/digital-piano-practice-tips-frederic-chiu/) **Published:** March 14, 2022 **Author:** ArtistWorks **Excerpt:**

I recently saw a question in the shoutout box about whether or not a digital piano can be beneficial for learning to play the piano, versus an acoustic instrument. In short: yes, absolutely! Here is a video by my friend and pianist extraordinaire Frederic Chiu, sharing some amazing tips on how to maximize the benefits of practicing on a digital piano:

**Content:** I recently saw a question in the shoutout box about whether or not a digital piano can be beneficial for learning to play the piano, versus an acoustic instrument. In short: yes, absolutely! Here is a video by my friend and pianist extraordinaire Frederic Chiu, sharing some amazing tips on how to maximize the benefits of practicing on a digital piano: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Try Our FREE Downloadable Practice Packets!](https://blog.artistworks.com/try-our-free-downloadable-practice-packets/) **Published:** March 12, 2022 **Author:** ArtistWorks **Excerpt:**

It goes without saying that dedicating focused time to practice is the best way to improve on your instrument. However, many of us don’t have the luxury of being able to commit 8 hours or even 1 hour a day to practice. Many of us are only able to allocate 30 or sometimes even just 10 to 15 minutes to our practice per day.

**Content:** ![]() It goes without saying that dedicating focused time to practice is the best way to improve on your instrument. However, many of us don’t have the luxury of being able to commit 8 hours or even 1 hour a day to practice. Many of us are only able to allocate 30 or sometimes even just 10 to 15 minutes to our practice per day. However, regardless of the number of minutes or hours that you’re able to practice each week, you can still improve at a consistent rate and reach your playing goals by practicing efficiently and effectively. But, putting together an effective practice plan can sometimes be difficult to accomplish on your own… That’s why we’ve created a collection of FREE downloadable [Practice Packets](https://go.artistworks.com/practice-packets) designed by a handful of our master ArtistWorks instructors to guide you through an effective practice session and put you on the path to musical growth. We have [Practice Packets](https://go.artistworks.com/practice-packets) available from the following artists teaching the following instruments and genres: - Electric Country Guitar with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) - Bluegrass Banjo with [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) - Electric Blues Guitar with [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) - Ukulele with [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) - Jazz Saxophone with [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) - Harmonica with [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) - Multi-Style Cello with [Mike Block](https://artistworks.com/cello-lessons-mike-block) - Classical Violin with [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso) Each Practice Packet includes: - A practice video detailing a new performance technique for you to tackle and work on - One or more play-along backing tracks that allow you to practice this new technique in a musical context - Tablature, notation, and other supplemental written materials to aid in your learning - A “Learning Outcomes” practice plan to help you take critical next steps and continue to improve as a player - An exclusive VIP offer to join the ArtistWorks course of your choice Click [here](https://go.artistworks.com/practice-packets) to download your FREE Practice Packet today! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Saxophone Lesson: Basic Embouchure with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-basic-embouchure-eric-marienthal) [Mike Block Releases New Album, Machines That Fly](https://blog.artistworks.com/mike-block-releases-new-album-machines-that-fly) [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Music Roundtable Podcast—Episode 1: Mike Marshall & Caterina Lichtenberg](https://blog.artistworks.com/artistworks-music-roundtable-podcast—episode-1-mike-marshall-caterina-lichtenberg/) **Published:** March 11, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to welcome you to our brand new podcast series—the ArtistWorks Music Roundtable. In this series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game!

**Content:** ![]() We’re excited to welcome you to our brand new podcast series—the ArtistWorks Music Roundtable. In this series, members of the ArtistWorks faculty are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! In this inaugural episode of the ArtistWorks Music Roundtable, our Director of Content and Production, Marcus Luscombe, is joined by two of our mandolin instructors—world-renowned bluegrass mandolin and multi-style instrumentalist, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and classical mandolin icon, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). Together, they discuss their favorite instruments, what drew them both to the mandolin, a few stories from their time touring, and the importance of the number “2” in their personal and musical lives. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a free mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) For those of you who may not know, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) are a married couple. In addition to performing around the globe, recording, and teaching as a duo, Mike and Caterina share their lives together and, for reasons they cannot explain, the number “2” has played a significant role in their relationship. “Caterina and I might be the strangest married couple out there,” Mike explains with a chuckle. “We’re two mandolin players with two young children. We live on two continents in two countries. We speak two languages in our house, and all of our instruments feature strings paired in twos.” Having both performed around the globe for most of their musical careers, Caterina and Mike share some amazing stories from their times on the road. Caterina describes a particularly humorous performance during one of her past tours in Chile and Argentina. “After a performance in Chile, I traveled to Argentina for my next show,” Caterina explains. “When I arrived in Argentina, I was under the impression that I had the rest of the day for myself based on the itinerary I was provided for the tour. So, that evening I went and enjoyed a nice steak dinner and relaxed with some wine. I normally don’t drink very much, but that night I had most of a bottle. After finishing my meal, the concert host ran in to tell me that my show was about to start. Let’s just say, that night I asked the guitar player who was accompanying me to play as loud as he could.” LEARN MORE: [Want to learn classical mandolin from a master musician like Caterina Lichtenberg? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) To learn more about these two master musicians and their life of touring, recording, and performing, listen to the full podcast with [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) here: If you’re interested in studying the mandolin and learning about Mike and Caterina’s unique approaches to performance and musicianship, check out their [online mandolin lessons](https://artistworks.com/mandolin-lessons) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC ROUNDTABLE PODCAST: On the ArtistWorks Music Roundtable, members of our faculty of master musicians are joined by notable musical guests to discuss topics on anything and everything music. Subjects ranging from touring and memorable moments on the road to recording, songwriting, musicianship, music theory, technique, and more will be addressed. Nothing is off-limits, and all musical themes are fair game! Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes of the ArtistWorks Music Series podcast where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall) [Caterina Lichtenberg Solo Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award) [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Coming Soon: The ArtistWorks Music Roundtable Podcast](https://blog.artistworks.com/coming-soon-artistworks-music-roundtable-podcast/) **Published:** March 9, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce the debut of our brand new podcast series that will be premiering this Friday, March 11, 2022—the ArtistWorks Music Roundtable.

**Content:** ![]() We’re excited to announce the debut of our brand new podcast series that will be premiering this Friday, March 11, 2022—the ArtistWorks Music Roundtable. After over two years of production and 61 amazing episodes, we concluded the ArtistWorks Music Series podcast last month and are launching our brand new series, the ArtistWorks Music Roundtable. Like the ArtistWorks Music Series, the ArtistWorks Music Roundtable podcast will feature new episodes published every other week. However, the show will be taking a slightly different format. In each episode of the ArtistWorks Music Roundtable, members of the ArtistWorks faculty will be joined by one or more notable musical guests—their friends, peers, colleagues, fellow musicians that they’ve toured, recorded, or taught with, etc.—to participate in roundtable discussions on a variety of musical topics. In these discussions, topics ranging from touring and memorable moments on the road to recording, songwriting, technique, musicianship, music theory, selecting instruments, practice regimens, and more will be addressed. Nothing is off-limits, and subjects on all things music are fair game! Be sure to tune in this Friday, March 11 to catch the first episode of the ArtistWorks Music Roundtable podcast featuring [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg)! To listen to more music podcasts, check out all 61 episodes of the ArtistWorks Music Series [here](https://artistworks.com/podcasts). ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [ArtistWorks Music Series Podcast—How to Find Your Own Sound: Sierra Hull](https://blog.artistworks.com/new-podcast-sierra-hull-how-find-your-own-sound) [Artistworks Music Series Podcast—Punch Brother’s Hell On Church Street: Noam Pikelny & Chris Eldridge](https://blog.artistworks.com/new-podcast-punch-brothers-hell-church-street-interview-chris-eldridge-noam-pikelny) [ArtistWorks Music Series Podcast—“The Musical Levy Family:” Howard Levy Interviews His Parents](https://blog.artistworks.com/new-podcast-musical-levy-family-howard-levy-interviews-his-parents) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-1/) **Published:** March 7, 2022 **Author:** ArtistWorks **Excerpt:**

The next 4 parts of the Mike Seeger interview series have just been added! In these, we find Mike talking with Bruce Clark on a variety of topics including some banjo history and music influences along side some performances with Mike on the Guitar and Bruce on the Banjo. If you've already checked out the first 13 parts, CLICK HERE to go to part 14. If you're just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for announcements, there's still much more to come!

**Content:** ![]() The next 4 parts of the Mike Seeger interview series have just been added! In these, we find Mike talking with Bruce Clark on a variety of topics including some banjo history and music influences along side some performances with Mike on the Guitar and Bruce on the Banjo. If you’ve already checked out the first 13 parts, [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/193749) to go to part 14. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. Stay tuned to the blogs for announcements, there’s still much more to come! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Saxophone Lesson: Basic Embouchure with Eric Marienthal](https://blog.artistworks.com/saxophone-lesson-basic-embouchure-eric-marienthal/) **Published:** March 7, 2022 **Author:** ArtistWorks **Excerpt:**

When you’re first learning how to play the saxophone, one of the most important techniques to focus on is your embouchure. Now, you may be wondering, “what is saxophone embouchure?” Embouchure is the way in which a player applies or positions their lips and mouth to the mouthpiece of a brass or woodwind instrument.

**Content:** ![]() When you’re first learning how to play the saxophone, one of the most important techniques to focus on is your embouchure. Now, you may be wondering, “what is saxophone embouchure?” Embouchure is the way in which a player applies or positions their lips and mouth to the mouthpiece of a brass or woodwind instrument. The crux of a player’s tone stems directly from their embouchure. Therefore, it’s critical to establish good habits and develop proper embouchure muscle memory, and it’s important for players of all levels to consistently monitor and modify their embouchure as necessary. In this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), Grammy Award-winning saxophonist, lead alto chair of Gordon Goodwin’s Big Phat Band, and former member of the Chick Corea Elektric Band, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) teaches the basic methods for developing a proper embouchure and provides a handful of techniques to employ when practicing and refining your embouchure and tone. LEARN MORE: [Want to learn how to play the jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) “Embouchure is one of those elements of playing that you really need to get right from the beginning,” Eric explains. “But, it’s also one of those things that you always need to be checking. Even as a professional sax player, I’m constantly aware of and monitoring my embouchure.” A key facet of your embouchure that will drastically impact the quality of your tone is the amount of pressure you place on both the top of the saxophone’s mouthpiece and also the reed. Too much pressure will often choke your notes, but not enough pressure will produce a weak and often out-of-tune sound. “The tone that you produce on your saxophone stems directly from the amount that your reed is able to vibrate,” explains Eric. “The more pressure that you apply to the reed with your mouth, the less the reed is going to be able to vibrate. However, if you don’t use enough pressure, your playing will sound out of control. It’s about experimenting and finding the sweet spot.” To learn about how to properly craft your embouchure on the saxophone as well as a few practice techniques to help refine it, dive into this [online saxophone lesson](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) from [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal): Basic Embouchure with Eric Marienthal: LEARN MORE: Have you always wanted to learn how to play jazz saxophone? Through our comprehensive [saxophone lessons online](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and get personal feedback on your playing. Eric’s course starts with the basics and teaches everything from beginner saxophone to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as saxophonists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig) [3 ArtistWorks Instructors Nominated for 2022 Grammy Awards](https://blog.artistworks.com/3-artistworks-instructors-nominated-2022-grammy-awards) [ArtistWorks Music Series Podcast—How to Play at an Advanced Level: Eric Marienthal & John Patitucci](https://blog.artistworks.com/new-podcast-john-patitucci-eric-marienthal-how-play-advanced-level) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mandolin Lesson: An Introduction to Mandocello with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-introduction-mandocello-mike-marshall/) **Published:** March 4, 2022 **Author:** ArtistWorks **Excerpt:**

Believe it or not, the mandolin is actually part of a family of instruments that all feature four sets of paired strings. The instruments that make up the mandolin family come in a variety of sizes, shapes, and tunings. As such, they offer a diverse palette of tones, covering registers ranging from soprano to bass and everything in between. Among these instruments are the mandolin, mandola, mandocello, octave mandolin, and more.

**Content:** ![]() Believe it or not, the mandolin is actually part of a family of instruments that all feature four sets of paired strings. The instruments that make up the mandolin family come in a variety of sizes, shapes, and tunings. As such, they offer a diverse palette of tones, covering registers ranging from soprano to bass and everything in between. Among these instruments are the mandolin, mandola, mandocello, octave mandolin, and more. As part of his collection of [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) here at ArtistWorks, world-renowned mandolinist, Grammy-nominated musician, and bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) offers an entire section within his course specifically teaching the mandocello. In this introductory lesson, Mike teaches the basics of the instrument, explaining the differences between the mandocello and its smaller familial counterparts, how the mandocello is uniquely tuned, as well as techniques and simple mandolin chords that translate on the mandocello. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “The mandocello is tuned exactly like a cello, hence the name,” Mike explains. “Its top three strings are A, D, and G, much like the lower three strings of a mandolin. However, all of the strings on the mandocello are tuned an octave below a traditional mandolin and a lower C string is added to the mix.” While the tuning of a mandocello is very similar to a mandolin, and thus many of the same fingerings and chord shapes apply well on both instruments, it’s important to keep the immensely differing tonal registers in mind when approaching the manner in which you play both instruments. This is something that mandolinists of all levels should keep in mind as they begin learning how to play the mandocello. “The low C string on the mandocello is even lower than the lowest string on a guitar,” Mike explains. “So, you’re really heading into the bass register when you play this instrument. As such, the mandocello functions totally differently in a band context compared to a mandolin.” To learn more about the tone, construction, tuning, and performance methods used on the mandocello, dive into this [online mandocello lesson](https://artistworks.com/mandolin-lessons-mike-marshall) from [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall): An Introduction to Mandocello with Mike Marshall: LEARN MORE: Have you always wanted to learn how to play the bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Community Donates Mandolin to Fellow Student](https://blog.artistworks.com/artistworks-community-donates-mandolin-fellow-student) [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mike Block Releases New Album, "Machines That Fly"](https://blog.artistworks.com/mike-block-releases-new-album-machines-that-fly/) **Published:** March 4, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, Grammy Award-winning cellist and ArtistWorks instructor, Mike Block released his 16th record as a solo artist or bandleader entitled Machines That Fly.

**Content:** ![]() This morning, Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block) released his 16th record as a solo artist or bandleader entitled Machines That Fly. Restricted by the isolation of the pandemic, Mike was unable to perform many of the pieces that he had released on his October 2020 album, The Edge of The Atmosphere, with a full rock ensemble as they were originally recorded. Determined to circumvent this obstacle, Mike composed stripped-down and intimate solo cello and vocal arrangements of seven of The Edge of The Atmosphere’s original twelve pieces in order to perform them without the support of a band. These seven songs became the foundation of his latest work, Machines That Fly. LEARN MORE: [Want to learn how to play the cello from a master musician like Mike Block? Try some free online cello lessons now!](https://go.artistworks.com/free-online-cello-lessons-mike-block) “It was an awkward feeling to listen to my own album over and over in order to learn my own songs,” expressed Mike. “At first, I had the intention of meticulously recreating the full band arrangements by combining multiple lines into a composite cello groove. Over time, though, these solo arrangements took on a life of their own, and I let them transform around the strengths of the cello. I found opportunities to embrace the intimacy possible in stripped-down solo versions.” Machines That Fly is comprised of ten tracks, seven of which are reverse-engineered recreations of pieces from The Edge of The Atmosphere, while the remaining three are brand new releases unique to the 2022 album. The three pieces making their formal debut include “Going Home,” “The Chicken,” and “When the Birds Sing Along in the Morning,” which features lyrics pulled from the memoir of the legendary cellist, Pablo Casals. Also featured on “When the Birds Sing Along in the Morning” is world-renowned cello icon and one of Mike’s lifelong heroes and mentors, Yo-Yo Ma. Mike Block – “When the Birds Sing Along in the Morning” feat. Yo-Yo Ma (Official Music Video): “The title of the album comes from a phrase that Casals (born 1876) remembered his father telling him as a young boy: ‘when you grow up, there will be machines that fly,’” Mike explains. “I feel the process of good song-writing is a bit like Casal’s father trying to describe ‘machines that fly’ before airplanes were invented. I’m not always sure what it will end up like when I’m writing, but I know that once it’s done right, I’ll be able to fly.” Mike Block – “Going Home” (Official Music Video): To download Machines That Fly, head to Mike’s website [here](https://www.mikeblockmusic.com/music/#machinesthatfly), or listen on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from world-renowned cellist [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Cello Lesson: Building Pinkie Strength with Mike Block](https://blog.artistworks.com/top-cello-exercises-building-pinkie-strength) [Mike Block Releases Music Video for Single, “Fight or Flight”](https://blog.artistworks.com/mike-block-releases-music-video-single-fight-or-flight) [ArtistWorks Music Series Podcast—Performance Anxiety with Mike Block](https://blog.artistworks.com/new-podcast-mike-block-performance-anxiety) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Ukulele Lesson: Basic Picking Technique with Craig Chee](https://blog.artistworks.com/ukulele-lesson-basic-picking-technique-craig-chee/) **Published:** March 1, 2022 **Author:** ArtistWorks **Excerpt:**

Fingerstyle playing on any stringed instrument is all about subtlety and nuance. The slightest adjustment to the position of your fingers, hand, or palm, the fingers you chose to pick with, the length of your fingernails, and the part of the finger with which you strike the string all influence the quality of the tone that you produce on your instrument greatly. The ukulele is particularly responsive to adjustments in your picking technique, especially when compared to instruments like the steel-string acoustic guitar, because of its small size, short scale length (or string length between the instrument’s bridge and nut), and nylon strings.

**Content:** ![]() Fingerstyle playing on any stringed instrument is all about subtlety and nuance. The slightest adjustment to the position of your fingers, hand, or palm, the fingers you chose to pick with, the length of your fingernails, and the part of the finger with which you strike the string all influence the quality of the tone that you produce on your instrument greatly. The ukulele is particularly responsive to adjustments in your picking technique, especially when compared to instruments like the steel-string acoustic guitar, because of its small size, short scale length (or string length between the instrument’s bridge and nut), and nylon strings. In this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor, [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah) outlines his basic picking techniques on the ukulele to quickly get you playing your favorite melodies and producing a beautiful, singing tone on your instrument. He even provides a few exercises that you can practice to help improve the fluidity of your picking and your muscle memory. LEARN MORE: [Want to learn how to play the ukulele from a master musician like Craig Chee? Try some free online ukulele lessons now!](https://go.artistworks.com/free-online-ukulele-lessons) “Compared to many guitarists who often use multiple fingers to pluck the strings, we focus much more heavily on using the right thumb to pick when playing the ukulele,” explains Craig. “It may seem counterintuitive, but this helps ukulele players get the most out of their right hand and allows them to produce a nice clear tone on their instrument.” Using the tip of the thumb is critical when fingerpicking on the ukulele for two reasons. The first is that, by using the tip of the thumb, you’re able to easily access and pick the string from above to produce a nice full tone. The second reason is that using the tip of the thumb allows you to use your nail slightly in certain instances to give a note more attack or presence. “When you’re positioning your right hand to pick the strings, you want your wrist to be bent and at an angle so that you can access the strings from above,” Craig explains. “This gives you clearance to access each of the strings individually while still producing a clear, crisp tone.” To learn how to properly fingerpick and generate a beautiful, rich tone on the ukulele, dive into this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah) from [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah): Basic Picking Technique with Craig Chee: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques, improvisation methods, Hawaiian and popular music tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Sarah Maisel & Craig Chee Monthly Ukulele Livestream: January 2022 feat. Diane Nalini](https://blog.artistworks.com/sarah-maisel-craig-chee-monthly-ukulele-livestream-january-2022-feat-diane-nalini) [Ukulele Lesson: An Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee) [ArtistWorks Music Series Podcast—Building Your Practice Roadmap: Craig & Sarah](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Jazz Allstars: How to Prepare for a Gig](https://blog.artistworks.com/artistworks-jazz-allstars-how-prepare-gig/) **Published:** February 25, 2022 **Author:** ArtistWorks **Excerpt:**

Preparing for a performance or a gig can be a nerve-racking endeavor, especially if you’re relatively new to performing publicly or don’t gig very often. It can be even more daunting, and sometimes even overwhelming feeling, if you’re performing with a group you’ve never played with before, or an ensemble consisting of musicians you don’t know particularly well. Having to quickly learn each musician’s communication style and musical vocabulary on the bandstand can feel intimidating.

**Content:** ![]() Preparing for a performance or a gig can be a nerve-racking endeavor, especially if you’re relatively new to performing publicly or don’t gig very often. It can be even more daunting, and sometimes even overwhelming feeling, if you’re performing with a group you’ve never played with before, or an ensemble consisting of musicians you don’t know particularly well. Having to quickly learn each musician’s communication style and musical vocabulary on the bandstand can feel intimidating. Fortunately, a few of our ArtistWorks jazz instructors are here to provide a handful of tips and tricks to help you better prepare for your next gig! They’ll guide you through the preparation process so that you approach your next performance with confidence and excitement, rather than uncertainty and anxiety. Shortly before their 2018 performance at the highly-regarded Blue Note jazz club in Napa, CA, ArtistWorks instructors [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) sat down to share their different methods for preparing for a gig in a detailed panel discussion designed specifically for their ArtistWorks jazz students. In this discussion, they cover topics ranging from how to approach playing with new musicians to selecting a well-rounded repertoire, finding common musical ground with your peers, how to kick off a jam session, and more. LEARN MORE: [Want to learn how to play jazz from a true master musician? Try some free online piano, saxophone, bass, or drum lessons now!](https://artistworks.com/#freelessons) “One of the great things about being a musician, particularly a jazz musician, is that situations that provide you with the chance to play with your peers in various configurations is really part of what the genre is all about,” explains Eric. “One of the beautiful things about coming together as a group that’s never played together before is the potential for spontaneity, creativity, and sharing a new collective experience.” Focusing on the potential for a positive performance and embracing the excitement of the uncertainty is an important mindset to retain when approaching a new gig with a new group. A great way to get into a positive frame of mind is to begin by establishing a common ground with your fellow performers from a musical perspective. Beginning the performance with a song that you all know really well, for example, will help everyone get comfortable and understand each other’s communication styles more quickly. “We often play jazz standards because they’re an integral part of the musical vocabulary of the genre,” Peter explains. “But, they’re also great because most jazz musicians will know these tunes, and, by performing standards together that we all really know well, we’re able to better understand each other’s styles and approaches much more quickly.” To learn how to better prepare for your next gig, dive into this amazing discussion from ArtistWorks jazz instructors [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): Nathan East, Peter Erskine, Eric Marienthal, & George Whitty—How to Prepare for a Gig: ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [Jazz Piano Lesson: Learn How to Play “Tune Up” with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-learn-how-play-tune-up-george-whitty) [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east) [Jazz Drum Lesson: How to Hold the Drumsticks with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-how-hold-drumsticks-peter-erskine) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Piano Lesson: Learn How to Play “Tune Up” with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-learn-how-play-tune-up-george-whitty/) **Published:** February 24, 2022 **Author:** ArtistWorks **Excerpt:**

If you’re a lover of jazz music then you’ve definitely heard the classic standard, “Tune Up” by Miles Davis. First released by Miles on his 1954 record, Miles Davis Quartet, “Tune Up” has been performed and recorded by countless iconic jazz musicians around the globe. It was even recorded and performed by Miles and his various groups in a variety of different styles, instrumentations, tempos, and more throughout his career. Needless to say, it has become a jazz classic and a staple of modern jazz repertoire.

**Content:** ![]() If you’re a lover of jazz music then you’ve definitely heard the classic standard, “Tune Up” by Miles Davis. First released by Miles on his 1954 record, Miles Davis Quartet, “Tune Up” has been performed and recorded by countless iconic jazz musicians around the globe. It was even recorded and performed by Miles and his various groups in a variety of different styles, instrumentations, tempos, and more throughout his career. Needless to say, it has become a jazz classic and a staple of modern jazz repertoire. In Part 1 of this multi-part [online piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist, recording artist, producer, and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) deconstructs many of his improvisation techniques and teaches you how to solo over the chord changes of the iconic Miles classic, “Tune Up.” Specifically, George outlines how he uses the bop scale in combination with chromatic approach patterns to seamlessly navigate the chord progression, and perform tasteful, classic-sounding improvised jazz lines. To explore Part 2 of this lesson and more, join George’s online jazz piano course [here](https://artistworks.com/jazz-piano-lessons-george-whitty). To learn more about chromatic approach patterns and how to implement them into your improvisation techniques, check out George’s lesson [here](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns), which we published in a prior blog. LEARN MORE: [Want to learn how to play jazz piano from a master musician like George Whitty? Try some free online piano lessons now!](https://go.artistworks.com/free-online-jazz-piano-lessons-george-whitty) “‘Tune Up’ is one of those classic pieces that every jazz musician should know,” George explains. “We’ve heard Miles play it a number of different ways, as a slower piece and also as a brighter uptempo piece. So, there’s a lot of room for creative freedom with this tune.” The chord progression throughout the bulk of “Tune Up” features a series of ii – V – I progressions fluidly shifting between keys. The bop scale works perfectly over the top of these progressive ii – V – I passages. However, the tune eventually migrates from an A7 chord to a Bbmaj7, and at precisely that moment, chromatic approach patterns can be utlitized to transition effortlessly from one harmony to the other. “The trickiest section of this tune over which to improvise is the transition from the A7 to the Bb,” explains George. “But, once again, approach patterns to the rescue. There are tons of ways that you can use these approach patterns to transition beautifully from the A7 to the Bb.” To learn how to improve your improvising skills over the jazz classic, “Tune Up,” and seamlessly connect the bop scale and chromatic approach patterns, dive into this [online piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty) from [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): Learn How to Play “Tune Up” with George Whitty: LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive piano [lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like George Whitty, and get personal feedback on your playing. George’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques, improvisation methods, jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jazz Piano Lesson: Learning Approach Patterns with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns) [ArtistWorks Music Series Podcast—Explore the Styles of Jazz with George Whitty](https://blog.artistworks.com/new-podcast-george-whitty-exploring-styles-jazz) [Piano Lesson: Creating and Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger-0/) **Published:** February 23, 2022 **Author:** ArtistWorks **Excerpt:**

The next installment (4 parts) of the Mike Seeger interview series have just been added! In these new episodes, we see Mike in a different setting discussing a variety of artists including Dock Boggs, Ralph Stanley, and many more. There are also some performances by Mike of songs from the respective artists as he unfolds their history, including Dock's version of "Pretty Polly." If you’ve already checked out the first 9 parts, CLICK HERE to go to part 10. If you’re just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for more new content announcements, there’s much more to come. Happy picking!

**Content:** ![]() The next installment (4 parts) of the Mike Seeger interview series have just been added! In these new episodes, we see Mike in a different setting discussing a variety of artists including Dock Boggs, Ralph Stanley, and many more. There are also some performances by Mike of songs from the respective artists as he unfolds their history, including Dock’s version of “Pretty Polly.” If you’ve already checked out the first 9 parts, [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/193294) to go to part 10. If you’re just seeing this for the first time [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281) to start from the beginning. Stay tuned to the blogs for more new content announcements, there’s much more to come. Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-1/) **Published:** February 22, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has just been added to the curriculum: “Prairie Breezes”, which you can find in the Classic Style Banjo section, or CLICK HERE to go straight there. Enjoy!

**Content:** ![]() We’re excited to announce a new lesson has just been added to the curriculum: **“Prairie Breezes”,** which you can find in the Classic Style Banjo section, or [CLICK HER](https://my.artistworks.com/tony-trischka/learning/191698)E to go straight there. Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Next VE Submission Deadlines](https://blog.artistworks.com/next-ve-submission-deadlines/) **Published:** February 21, 2022 **Author:** ArtistWorks **Excerpt:**

Hello Folks! My March schedule is busier than expected, so I decided to add an "emergency" February VE deadline date so that there wouldn't be too much of a gap between VE sessions. Here are the next few deadline dates:

**Content:** Hello Folks! My March schedule is busier than expected, so I decided to add an “emergency” February VE deadline date so that there wouldn’t be too much of a gap between VE sessions. Here are the next few deadline dates: - Sunday, Feb. 27 - Sunday, Mar. 20 - Sunday, Mar. 27 ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Guthrie Trapp & John Oates: Acoustic Duo Tour](https://blog.artistworks.com/guthrie-trapp-john-oates-acoustic-duo-tour/) **Published:** February 21, 2022 **Author:** ArtistWorks **Excerpt:**

Last week, ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, Guthrie Trapp announced an upcoming tour with songwriter, guitarist, and founding member of the rock and soul duo Hall & Oates, John Oates.

**Content:** ![]() Last week, ArtistWorks [electric country guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) announced an upcoming tour with songwriter, guitarist, and founding member of the rock and soul duo Hall & Oates, John Oates. This tour does not mark the first time Guthrie and John will be sharing the stage. They have toured and performed around the world together many times throughout the last several years. Unlike some of their prior tours, however, this upcoming series of performances will feature the two musicians as a stripped-down acoustic guitar duet, with John providing solo vocals over the top of the pair of six-strings. These shows are certain to be an intimate showcase of musicianship and talent unlike any other. “I’m loving this duo and being able to hang with one of my best friends and make great music,” Guthrie explains. “We’re playing two acoustic guitars with Ear Trumpet microphones that sound wonderful, telling stories, and playing some super fun material.” LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) The tour will kick off on March 16, 2022, with a total of seven shows currently scheduled with tickets available for purchase, although Guthrie assures us that additional dates will be announced soon. “The material we’re performing on this tour is like an Americana roadmap,” Guthrie explains. “We are loving it, and I hope you do too. We have seven shows announced, but more dates will be added soon.” The seven shows that have been announced will be held in states throughout the northeast and will run from March 16 through March 26, 2022: 3/16/22 — The Colonial Theatre: Phoenixville, PA 3/18/22 — Colonial Theatre Laconia: Laconia, NH 3/19/22 — The Norwood Theater: Norwood, MA 3/20/22 — The Ridgefield Playhouse: Ridgefield, CT 3/22/22 — Sony Hall: New York, NY 3/24/22 — Bethesda Blues & Jazz Supper Club: Bethesda, MD 3/26/22 — Jane Pickens Theater & Events Center: Newport, RI Click [here](https://guthrietrapp.com/shows/) to purchase your tickets today! LEARN MORE: Have you always wanted to learn how to play country guitar? Through our comprehensive electric [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Country Guitar Lesson: Connecting the Pentatonic Scales to Chord Shapes with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-connecting-pentatonic-scales-chord-shapes-guthrie-trapp) [ArtistWorks Music Series Podcast—“How to Get Out of a Musical Slump” with Guthrie Trapp](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-get-out-musical-slump) [Live “Dispatch from Home”—How To Find Your Own Sound with Guthrie Trapp & Audley Freed](https://blog.artistworks.com/live-guthrie-trapp-audley-freed) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol Anger's Colorado tour with Mr Sun](https://blog.artistworks.com/darol-angers-colorado-tour-mr-sun/) **Published:** February 19, 2022 **Author:** ArtistWorks **Excerpt:**

MR SUN in Colorado in April
Mr Sun: Darol Anger, Joe K. Walsh, Grant Gordy, Aidan O'Donnell

**Content:** **MR SUN in Colorado in April** ***Mr Sun: Darol Anger, Joe K. Walsh, Grant Gordy, Aidan O’Donnell*** ***![]()*** **APRIL 13: 4pm & 7:00pm Buena Vista, CO: Workshops and Concerts** hello@coletrainmusicacademy.com https://coletrainmusicacademy.com/event/mrsun-workshop-concert/ https://coletrainmusicacademy.com/mrsun/ April 14. Denver, CO: Swallow Hill Music School, Tufts Theatre 8:00 PM MDT 71 East Yale Ave Denver, CO 80210 https://www.eventbrite.com/e/mr-sun-tickets-225079497837?aff=ebdsoporgprofile **April 15:** **eTOWN HALL Boulder, CO 7:00pm.** 1535 Spruce Street, Boulder, CO 80302 $25 https://www.etown.org/events/etown-presents-mr-sun-jayme-stone/ BUY TIX: https://www.eventbrite.com/e/etown-presents-mr-sun-jayme-stones-folklife-tickets-267791711217 **APRIL 16: Epiphany, Colorado Springs, CO** 32 S. Tejon, Suite 200 719.358.7500 https://epiphanycos.com/event/mr-sun/ ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Explore Our Video Learning Pathways](https://blog.artistworks.com/explore-our-video-learning-pathways/) **Published:** February 18, 2022 **Author:** ArtistWorks **Excerpt:**

At the heart of the ArtistWorks learning experience is our completely unique Video Exchange Learning® platform, which allows students to work directly with their instructor and receive tailored, personal guidance and feedback on their playing in the form of asynchronous video communication.

**Content:** ![]() At the heart of the ArtistWorks learning experience is our completely unique Video Exchange Learning® platform, which allows students to work directly with their instructor and receive tailored, personal guidance and feedback on their playing in the form of asynchronous video communication. Through our platform, students are able to submit questions, thoughts, or concerns regarding their musical progress to their master instructor, and the teacher will create a personal response video, which that student, as well as the rest of the online community of players, can view, digest, and learn from. The Video Exchange Learning® platform provides students with the unique opportunity to connect directly with a world-renowned master musician and also creates a wonderfully supportive community of like-minded players focused on pursuing their passion for music. In addition to our Video Exchange courses, we also offer another type of course, which we refer to as our “Video Learning Pathways.” These courses provide all of the same features that our Video Exchange courses do—hundreds of lesson videos, an enormous archive of Video Exchanges, play-along backing tracks, supplemental written materials including charts, notation, and tablature, exclusive artist interviews, and more. The only difference, however, is that they do not provide the option for students to submit new Video Exchanges. Regardless, our Video Learning Pathways are taught by some of the world’s most accomplished musicians and are packed with a seemingly unending wealth of knowledge. At only $29 a month, Video Learning Pathways are a great way to tap into the legacy of a musical master and take your playing to the next level. VIDEO LEARNING PATHWAYS—MEET OUR INSTRUCTORS: [JOHN PATITUCCI](https://artistworks.com/jazz-bass-lessons-john-patitucci): Acoustic & Electric Jazz Bass ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Patitucci_Blog_VLP_0.png) One of the world’s most respected jazz bass players, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) has played with some of music’s biggest names including Wayne Shorter, Chick Corea, B.B. King, Herbie Hancock, Wynton Marsalis, Wayne Shorter, Dizzy Gillespie, George Benson, and many others. Known for his versatility, sensitivity, and tone, Patitucci is widely regarded as one of today’s most influential jazz musicians and composers. John Patitucci’s vast musical knowledge and masterful playing can be found in hundreds of jazz [bass lessons online](https://artistworks.com/jazz-bass-lessons-john-patitucci) at ArtistWorks. Students in the jazz bass course have unlimited access to this archived video lesson and Video Exchange libraries, as well as music theory, backing tracks, and study materials. [CHUCK LOEB](https://artistworks.com/guitar-lessons-chuck-loeb): Jazz Guitar & Improvisation ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Loeb_Blog_VLP.png) [Chuck Loeb](https://artistworks.com/guitar-lessons-chuck-loeb) was a versatile composer, arranger, and producer with a passion for jazz guitar. He was exposed to jazz through fusion music of the early 70s and his influences included Wes Montgomery, George Benson, John McLaughlin, and Pat Martino. He played with jazz luminaries like Chico Hamilton, Ray Barreto, Hubert Laws, and many others during his career and became the musical director and composer for the Stan Getz band in 1979. He was a member of jazz and fusion groups Steps Ahead, Metro, and Fourplay until he passed away in 2017. Chuck Loeb’s legacy archive is a truly comprehensive video library with hundreds of [online jazz guitar lessons](https://artistworks.com/guitar-lessons-chuck-loeb). Students have unlimited access to online guitar lessons as well as tablature and backing tracks. Learn how to play the guitar from the late jazz legend. [ANDY HALL](https://artistworks.com/dobro-lessons-andy-hall): Dobro & Lap Steel Guitar ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Hall_Blog_VLP.png) [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) is a founding member of the acclaimed band, The Infamous Stringdusters, who in 2007 won 3 IBMA awards for their debut album, Fork In The Road. He has also released 3 albums of his own: Aquafier (2010), The Sound Of The Slide Guitar (2007), and Redwing (2004). Andy has played resophonic guitar with many legends in the studio and on stage with Dolly Parton, Earl Scruggs, Emmylou Harris, Zack Brown, Charlie Daniels, and more. Andy Hall captures his skillful bluegrass playing in this extensive library of [online dobro lessons](https://artistworks.com/dobro-lessons-andy-hall). Students enrolled in Andy’s guitar course have access to hundreds of video lessons, guitar tabs, backing tracks, and more. Learn how to play dobro and lap steel guitar from a bluegrass master. [LARI WHITE](https://artistworks.com/country-vocal-lessons-lari-white): Country Vocals ![](https://blog.artistworks.com/wp-content/uploads/2022/01/White_Blog_VLP.png) Industry veteran [Lari White](https://artistworks.com/country-vocal-lessons-lari-white) forged a wide-ranging career as a Grammy-winning recording artist, hit songwriter, and history-making record producer. After earning an RIAA Gold album as a country artist, she became the first female producer of a male superstar, with Toby Keith’s platinum album White Trash with Money. Her Nashville recording studio, The Holler, was a favorite creative home for songwriters and musicians of all musical genres. Before her passing in January 2018, she starred on Broadway in the Johnny Cash Musical: Ring Of Fire, and had sung with numerous major symphonies. Lari White captured her Grammy-winning sound in this rich legacy archive of [online country singing lessons](https://artistworks.com/country-vocal-lessons-lari-white). Students have unlimited access to hundreds of video lessons, backing tracks, vocal training exercises, and more. Learn how to sing from the late country artist. [DAVID BILGER](https://artistworks.com/trumpet-lessons-david-bilger): Classical Trumpet ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Bilger_Blog_VLP.png) [David Bilger](https://artistworks.com/trumpet-lessons-david-bilger) has been the Principal Trumpet of The Philadelphia Orchestra since 1995 and has also played with the Dallas Symphony, the Houston Symphony, the Oakland Symphony, Philharmonia Virtuosi of New York as well as numerous Chamber ensembles. A graduate of the Juilliard School of Music and the University of Illinois, David currently serves on the music faculties of the Curtis Institute of Music and Temple University. He has taught master classes at institutions including Juilliard, Indiana University, the Manhattan School of Music, and the Peabody Conservatory. David has condensed his years of experience into these comprehensive [online trumpet lessons](https://artistworks.com/trumpet-lessons-david-bilger). Students in the trumpet course have unlimited access to these video lessons, as well as daily exercises, orchestral excerpts, and sheet music. [DJ QBERT](https://artistworks.com/skratch-lessons-dj-qbert): Turntable & Hip-Hop Scratch ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Qbert_Blog_VLP.png) [DJ Qbert](https://artistworks.com/skratch-lessons-dj-qbert) is widely considered to be one of the most influential DJs of all time. Qbert gained worldwide recognition for his ability to amaze audiences with his turntable skills and later pioneered performing as a turntable band. A former DMC World Champion, he has long been sought out by equipment companies to help develop innovative products for DJs. He was the first to develop an all-in-one turntable and mixer combination, the QFO, which sparked an explosion of products that catered to turntable musicians. As a recording artist, Qbert has released several concept albums which showcase his continued evolution in turntable music. DJ Qbert has crafted the definitive turntable lesson series with hundreds of [online DJ scratch lessons](https://artistworks.com/skratch-lessons-dj-qbert). Students access in-depth scratching instruction, backing tracks, and guest teachers. Improve your DJ skills from one of the world’s top vinyl scratch DJs. [LUIS CONTE](https://artistworks.com/percussion-lessons-luis-conte): World Percussion ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Conte_Blog_VLP.png) Grammy-winning Cuban musician, [Luis Conte](https://artistworks.com/percussion-lessons-luis-conte) is one of the most respected and prolific percussionists in contemporary music. Known for flawless technique and an unparalleled ability to seamlessly incorporate Latin percussion and world drumming into popular music, Conte’s resume includes Madonna, James Taylor, Phil Collins, Eric Clapton, and Ray Charles among many others. He is a master of percussion instruments such as the cajon, congas, timbales, bongos, clave, cowbell, shakers, maracas, pandeiros, and guiro. In addition to Latin and World rhythms, Luis teaches Hip-Hop, Electronica, Jazz, Reggae, and many other styles. Luis has created an extensive repository of [online percussion lessons](https://artistworks.com/percussion-lessons-luis-conte). Students in the world percussion course have unlimited access to a collection of guided, high-quality percussion lessons and an extensive library of play-along tracks. ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) [Two New “Beginner’s Guide” Courses Now Open for Piano & Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar) [ArtistWorks Celebrates 100,000 Video Exchanges!](https://blog.artistworks.com/artistworks-celebrates-100000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [My New C.V....](https://blog.artistworks.com/my-new-cv-0/) **Published:** February 17, 2022 **Author:** ArtistWorks **Excerpt:**

...not quite sure about the last line, but I'll take it ;) hahahaha!

**Content:** ![]() …not quite sure about the last line, but I’ll take it 😉 hahahaha! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [My New C.V....](https://blog.artistworks.com/my-new-cv/) **Published:** February 17, 2022 **Author:** ArtistWorks **Excerpt:**

...not quite sure about the last line, but I'll take it ;) hahahaha!

**Content:** ![]() …not quite sure about the last line, but I’ll take it 😉 hahahaha! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Sierra Hull - How to Find Your Own Sound](https://blog.artistworks.com/new-podcast-sierra-hull-how-find-your-own-sound/) **Published:** February 16, 2022 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, Sierra Hull, to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, determining how you want to sound on your instrument, and setting goals so that you can achieve your desired tones on your stringed instrument of choice. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master [bluegrass mandolin](https://artistworks.com/mandolin-lessons-sierra-hull) instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, determining how you want to sound on your instrument, and setting goals so that you can achieve your desired tones on your stringed instrument of choice. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try a free mandolin lesson now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sound of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal, especially on a stringed instrument, can be daunting for beginner and advanced players alike. “One of the main things in music that’s always been a goal of mine is producing a beautiful sound quality and tone,” expresses Sierra. “What attracted me to so many of my favorite musicians and my musical heroes was the quality of their sounds fundamentally, and it’s one of the things that I don’t think gets discussed as much as it should compared to some of the more technical aspects of music-making.” The process of developing your unique sound on your instrument has as much to do with critical listening as it does with practicing with your instrument in hand. For example, focusing on the manner in which small adjustments in your posture, the way you hold the pick, or the pressure you apply to the string impacts the sound you produce is essential. Only from there can you begin to make the necessary technical tweaks in order to produce the tone you’re going for. “Above all, our ears have to be the most important thing, and we always have to be mindful of what we’re hearing,” Sierra explains. “The physical nature of each person is different, so the tones we generate on our instruments will likely be different even if we’re using the exact same techniques. There will be little adjustments that you’ll have to make in order to achieve what you want. But, that’s part of the beauty of the musical process.” To learn more about how you can develop your own unique sound and grow as a musician, regardless of the instrument you play, listen to the full podcast with [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) here: If you’re interested in studying the bluegrass mandolin and learning even more about Sierra’s approaches to developing a unique sound and style, check out her [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) right here at ArtistWorks! UPDATE: After 61 amazing episodes, we are concluding the ArtistWorks Music Series podcast, and launching a brand new series in the coming weeks—the ArtistWorks Music Roundtable. Like the ArtistWorks Music Series, the ArtistWorks Music Roundtable podcast will feature new episodes every other Wednesday. However, the show will be taking a slightly different format. In each episode, members of the ArtistWorks faculty will be participating in roundtable discussions on a variety of musical topics with one or more notable musical guests from outside of the ArtistWorks roster—their friends, peers, colleagues, fellow musicians that they’ve toured or taught with, etc. “This new format will provide one of those rare opportunities to get a behind-the-scenes look at the minds and experiences of our artists,” Patricia explains. “We’re excited for all we have in store. But, I also want to thank you for tuning into these musical conversations that I’ve hosted over the last few years. It has been a privilege and truly been one of those opportunities in my life that I appreciate deeply.” ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, co-founder Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. While this is the final episode of the ArtistWorks Music Series, tune in for episodes of our new upcoming podcast that will be released every other Wednesday on all platforms. Additionally, don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull) [ArtistWorks Music Series Podcast—??Punch Brothers’ Hell On Church Street: An Interview with Chris Eldridge & Noam Pikelny](https://blog.artistworks.com/new-podcast-punch-brothers-hell-church-street-interview-chris-eldridge-noam-pikelny) [Bluegrass Mandolin Lesson: Learn to Play “Amazing Grace” with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learn-play-amazing-grace-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Country Guitar Lesson: Connecting the Pentatonic Scales to Chord Shapes with Guthrie Trapp](https://blog.artistworks.com/country-guitar-lesson-connecting-pentatonic-scales-chord-shapes-guthrie-trapp/) **Published:** February 15, 2022 **Author:** ArtistWorks **Excerpt:**

When you’re first learning how to improvise, especially on the electric guitar, one of the best places to start is to develop an understanding of the major and minor pentatonic scales. These pentatonic scales are the building blocks on which most improvisations are built, especially within the blues, rock, and country genres, and are a great tool to get you improvising quickly and tastefully.

**Content:** ![]() When you’re first learning how to improvise, especially on the electric guitar, one of the best places to start is to develop an understanding of the major and minor pentatonic scales. These pentatonic scales are the building blocks on which most improvisations are built, especially within the blues, rock, and country genres, and are a great tool to get you improvising quickly and tastefully. After you’ve mastered the major and minor pentatonic scales across the guitar neck, it’s important to start deconstructing the scales to understand the function of each note within the scales’ patterns. When playing solely within the “pentatonic box,” as many guitarists refer to it, crafting melodic improvisations that really highlight the chord changes of the song you’re performing can feel difficult. However, learning how to use the pentatonic scales to emphasize specific chord tones from within a song’s progression will make your solos sound tailormade for each musical piece you play. In this [online guitar lesson](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) teaches you how to connect the major and minor pentatonic scales to chord shapes in order to take your improvising skills to the next level. He even outlines a few basic music theory concepts that will allow you to meld simple triads and arpeggios with your pentatonic playing to seamlessly spotlight the most critical notes within each chord of a song’s progression. LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try some free online guitar lessons now!](https://go.artistworks.com/free-country-guitar-lessons) “These concepts are really important because they show us how the chords and pentatonic scales are connected,” Guthrie explains. “Understanding how common chord shapes and penatonics work together will unlock a lot of the mysteries of improvising and will give you a deeper understanding of the fingerboard.” When approaching this technique, it can be helpful to break the overall pentatonic scale into smaller blocks of arpeggios. Guthrie presents this concept in a very direct and easily digestible way to allow you to better visualize where the chord tones are within each pentatonic scale. “By breaking the pentatonic scale into these smaller chunks, we’re actually looking at things in a much simpler way,” Guthrie explains. “It might feel a little bit intimidating at first because the pentatonic shape feels really comfortable, but, after working through these exercises, new doors will open for you musically.” To learn how to connect the major and minor Pentatonic Scales to fundamental chord shapes and continue to expand your understanding of the guitar neck, dive into this [online guitar lesson](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) from [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp): Connecting the Pentatonic Scales to Chord Shapes with Guthrie Trapp: LEARN MORE: Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic country tunes, improvisation methods, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—“How to Get Out of a Musical Slump” with Guthrie Trapp](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-get-out-musical-slump) [Live “Dispatch from Home”—How To Find Your Own Sound with Guthrie Trapp & Audley Freed](https://blog.artistworks.com/live-guthrie-trapp-audley-freed) [Guthrie Trapp Joins Billy Gibbons Tribute Show Lineup](https://blog.artistworks.com/guthrie-trapp-joins-billy-gibbons-tribute-show-lineup) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lesson Just Added!](https://blog.artistworks.com/new-lesson-just-added-0/) **Published:** February 14, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce a new lesson has just been added to the curriculum: “Southern Flavor”, which you can find in the Bill Monroe Tunes, or CLICK HERE to go straight there. Enjoy!

**Content:** ![]() We’re excited to announce a new lesson has just been added to the curriculum: **“Southern Flavor”**, which you can find in the Bill Monroe Tunes, or [CLICK HERE](https://my.artistworks.com/mike-marshall/learning/192859) to go straight there. Enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Two New Lessons Added!](https://blog.artistworks.com/two-new-lessons-added-2/) **Published:** February 11, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce two intermediate lessons have just been added to the curriculum: Approach Licks and Micro Variations. To go straight to Approach Licks, CLICK HERE, and to go straight to Micro Variations, CLICK HERE. More new content is headed your way soon, enjoy!

**Content:** ![]() We’re excited to announce two intermediate lessons have just been added to the curriculum: **Approach Licks** and **Micro Variations**. To go straight to Approach Licks, [CLICK HERE](https://my.artistworks.com/darol-anger/learning/192758), and to go straight to Micro Variations, [CLICK HERE](https://my.artistworks.com/darol-anger/learning/192759). More new content is headed your way soon, enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Community Donates Mandolin to Fellow Student](https://blog.artistworks.com/artistworks-community-donates-mandolin-fellow-student/) **Published:** February 11, 2022 **Author:** ArtistWorks **Excerpt:**

On December 30, 2021, a wildfire broke out in Colorado that would grow to become the most devastating in the state’s history. Over the course of just a few short days, the fire, which became known as the Marshall Fire, burned nearly 6,200 acres, destroyed over 1,000 homes and buildings, and required the evacuation of roughly 35,000 people. Causing over $500M in damages, the Marshall Fire was absolutely devastating and impacted the lives of thousands of Coloradans.

**Content:** ![]() On December 30, 2021, a wildfire broke out in Colorado that would grow to become the most devastating in the state’s history. Over the course of just a few short days, the fire, which became known as the Marshall Fire, burned nearly 6,200 acres, destroyed over 1,000 homes and buildings, and required the evacuation of roughly 35,000 people. Causing over $500M in damages, the Marshall Fire was absolutely devastating and impacted the lives of thousands of Coloradans. Among those affected was one of our ArtistWorks students, Mike M. of Boulder, CO, who has been a bluegrass mandolin student of [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall)’s for nearly five years. Much of Mike M.’s property was lost or severely damaged in the fire, including his beloved mandolin on which he’d been learning as a student of Mike Marshall’s. “Playing my music, as I’m sure is true with many of us, is mental therapy,” Mike M. expressed. “I needed that now more than ever.” When Mike M.’s fellow mandolin students at ArtistWorks heard about his situation, they immediately reached out with their condolences, sympathies, words of positivity, and, most importantly, support. When Mike M. shared that he had lost his instrument in the fire, one fellow student, in particular, stepped in to help. On January 18, 2022, said student, who has elected to remain anonymous, reached out to the ArtistWorks team to facilitate the gifting of one of his personal mandolins, an Eastman MD515 F-style, to Mike M. Of course, we were more than happy to help make this happen, and on February 2, 2022, Mike M. received his new instrument. “What can I say about my mandolin family,” Mike M. expressed. “When they learned of my unfortunate situation, they stepped up with a mandolin donation to bring me some needed therapy. They understood how powerful that would be. Their generosity inspires and humbles me, and I consider myself blessed to be a part of this brotherhood.” We were so inspired and amazed by the generosity of our ArtistWorks community, that we also gifted Mike M. a free year of online lessons with Mike Marshall. Mike M., thank you so much for allowing us to share your story and thank you to our amazing ArtistWorks community of players for your generosity and compassionate spirit. We’re honored to have helped facilitate the exchange of this beautiful gift. LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Both courses start with the basics and teach everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks) [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull) [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges!](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Darol Anger Jams with Bronwyn Keith-Hynes](https://blog.artistworks.com/darol-anger-jams-bronwyn-keith-hynes/) **Published:** February 10, 2022 **Author:** ArtistWorks **Excerpt:**

Hearing an amazingly talented musician perform solo is always a treat. However, when two brilliant minds join forces and play as a duet, the potential for a truly spectacular musical performance increases exponentially. It’s especially intriguing to hear two musicians perform on the same instrument side-by-side. The unique qualities of each player are amplified in the context of duelling instruments, which often makes for a remarkable listening experience.

**Content:** ![]() Hearing an amazingly talented musician perform solo is always a treat. However, when two brilliant minds join forces and play as a duet, the potential for a truly spectacular musical performance increases exponentially. It’s especially intriguing to hear two musicians perform on the same instrument side-by-side. The unique qualities of each player are amplified in the context of duelling instruments, which often makes for a remarkable listening experience. Recently, master fiddler, ArtistWorks instructor, and founding member of the David Grisman Quintet, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) had the opportunity to sit down with fellow fiddle virtuoso Bronwyn Keith-Hynes to perform a few tunes as a duet. Among these tunes were two Bill Monroe classics, “Fire on the Mountain” and “Road to Columbus.” LEARN MORE: [Want to learn how to play fiddle from a bluegrass master like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-music-lessons-darol-anger) Bronwyn Keith-Hynes is a rising star in the world of bluegrass fiddle and has become a familiar face among the heavy-hitters of the scene. Named Fiddle Player of the Year in 2021 by the International Bluegrass Music Association (IBMA), Bronwyn has continued to gain much-deserved momentum and notoriety over the last several years, going back even as far as 2014 to the formation of her bluegrass group, Mile Twelve. “I love playing with other fiddlers,” Bronwyn explains. “It instantly sparks inspiration and allows for new ideas to easily blossom.” Darol Anger & Bronwyn Keith-Hynes Perform “Road to Columbus:” In 2020, Bronwyn released her debut solo album, Fiddler’s Pastime, which features several original compositions as well as guest appearances by Sarah Jarosz, Laura Orsha, James Kee, Tim O’Brien, Wes Corbett, and ArtistWorks bluegrass instructors [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge). Currently, Bronwyn is on the road touring throughout the United States as a member of guitarist and songwriter Molly Tuttle’s group, Molly Tuttle & Golden Highway. “Double fiddles create a really wonderful and unique sound,” explains Bronwyn. “We featured double fiddles on the title track of my most recent record, Fiddler’s Pastime. The tune includes a guest performance from fellow fiddler Laura Orsha that’s just wonderful.” Darol Anger & Bronwyn Keith-Hynes Perform “Fire on the Mountain:” LEARN MORE: Have you always wanted to learn how to play bluegrass fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons-darol-anger) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Fiddle Lesson: Bow Speed, Pressure, & Placement](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement) [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [Classical Violin Lesson: Basic Vibrato with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-basic-vibrato-richard-amoroso) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Two New Lessons Added!](https://blog.artistworks.com/two-new-lessons-added-1/) **Published:** February 8, 2022 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce another two lessons have just been added to the curriculum: “Skip to My Lou” - Down the Neck, which you can find in the Beginner section, or CLICK HERE to go straight there. The second lesson is Chordal Inversions: Barre - F - D, which you can find in the Intermediate section, or CLICK HERE to go straight there. Much more to new content is headed your way soon, enjoy!

**Content:** ![]() We’re excited to announce another two lessons have just been added to the curriculum: **“Skip to My Lou” – Down the Neck**, which you can find in the Beginner section, or [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191703) to go straight there. The second lesson is **Chordal Inversions: Barre – F – D**, which you can find in the Intermediate section, or [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191713) to go straight there. Much more to new content is headed your way soon, enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Special Guest Interview: Mike Seeger](https://blog.artistworks.com/special-guest-interview-mike-seeger/) **Published:** February 8, 2022 **Author:** ArtistWorks **Excerpt:**

The next 5 parts of this series have just been added, if you've already checked out the first 4 parts, CLICK HERE to go part 5. If you're just seeing this for the first time CLICK HERE to start from the beginning. Stay tuned to the blogs for announcements, there's much more to come!

**Content:** ![]() The next 5 parts of this series have just been added, if you’ve already checked out the first 4 parts, **[CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192570)** to go part 5. If you’re just seeing this for the first time **[CLICK HERE](https://my.artistworks.com/tony-trischka/learning/192281)** to start from the beginning. Stay tuned to the blogs for announcements, there’s much more to come! We’re proud to announce a very special archival guest interview with the one and only Mike Seeger! Folk musician, folklorist and half-brother of the legendary Pete Seeger. This is a massive interview series that Tony has curated for you, there is around 3 hours of footage headed your way in this series. He touches on a variety of topics ranging from the history of the banjo to its influence on music cultures around the world. The first 4 parts of the series are ready to view now and we’ll be adding more parts each week so stay tuned! To check out part 1 now [**CLICK HERE**](https://my.artistworks.com/tony-trischka/learning/192281). But wait… there’s more! Tony has also added a new single string lesson to the Intermediate lessons, this new lesson is Don Reno’s version of “Arkansas Traveler” – you can find that at the end of the Single String lesson series in Intermediate or [**CLICK HERE**](https://my.artistworks.com/tony-trischka/learning/191710) to go straight there now. Happy Picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Harmonizing a Major Scale with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-harmonizing-major-scale-chris-eldridge/) **Published:** February 8, 2022 **Author:** ArtistWorks **Excerpt:**

Understanding the framework of the fretboard and the manner in which chords and notes fit together and relate to one another is essential as you progress on the acoustic guitar. Knowledge of basic music theory and how those concepts manifest themselves on the fingerboard will make everything from internalizing new tunes to learning songs by ear, alternating between keys, and more that much easier. It will also provide you with the confidence to take on new challenges as the puzzle pieces of bluegrass guitar continue to fit together.

**Content:** ![]() Understanding the framework of the fretboard and the manner in which chords and notes fit together and relate to one another is essential as you progress on the acoustic guitar. Knowledge of basic music theory and how those concepts manifest themselves on the fingerboard will make everything from internalizing new tunes to learning songs by ear, alternating between keys, and more that much easier. It will also provide you with the confidence to take on new challenges as the puzzle pieces of bluegrass guitar continue to fit together. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Punch Brothers co-founder, Grammy Award-winning guitarist, and ArtistWorks bluegrass guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) teaches you how to harmonize a major scale using a combination of major and minor thirds all the way up the neck. In addition to showing you how simple major and minor fingerings can be used to execute this harmonization, Chris also deconstructs the intervals between scale degrees and the harmonic framework of the major scale to provide you with a holistic understanding of how to approach harmonizing the scale. This is a great lesson for players of all levels because it combines both technical and theoretical practices to make you a more well-rounded bluegrass guitarist. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) “If you’re interested in expanding your concept of the guitar, or seeing how the whole guitar fits together and how notes interconnect, this is very much the first step,” Chris explains. “This is laying the foundation for being able to understand the entire guitar neck.” This lesson not only teaches you how to harmonize a major scale using major and minor thirds but also lays the groundwork for harmonizing the scale using major and minor triads, which are comprised of three rather than two scale degrees—the root, third, and fifth. Being able to harmonize the major scale using triads is the next step in your journey toward mastering the fretboard. Chris covers this in Part II of this lesson, which you can access as a member of his bluegrass guitar course [here](https://artistworks.com/guitar-lessons-chris-eldridge). “The reason that we want to understand the guitar neck in terms of triads is that we sort of get three notes for the price of one,” Chris explains. “Every time we think of a triad, we have the position of three different notes under our fingers rather than just one.” To learn how to harmonize a major scale and continue to expand your understanding of the guitar neck, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Harmonizing a Major Scale with Chris Eldridge: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Rhythm Guitar Lesson: Learn to Play “Shady Grove” with Chris Eldridge](https://blog.artistworks.com/bluegrass-rhythm-guitar-lesson-learn-play-shady-grove-chris-eldridge) [ArtistWorks Music Series Podcast—Punch Brothers’ Hell On Church Street: An Interview with Chris Eldridge & Noam Pikelny](https://blog.artistworks.com/new-podcast-punch-brothers-hell-church-street-interview-chris-eldridge-noam-pikelny) [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Darol Talks with Gabe Witcher](https://blog.artistworks.com/darol-talks-gabe-witcher/) **Published:** February 4, 2022 **Author:** ArtistWorks **Excerpt:**

We’re happy to announce the addition of a new interview series with the incredible Gabe Witcher - Grammy winning Artist/Producer/Composer and founding member of the genre-bending acoustic quintet, Punch Brothers. Darol and Gabe get deep into fiddle topics and their lives around it. Along the way they play Angeline the Baker and Gold Rush together and much more. The interview in its entirely is there for you to enjoy, to go to the first part of the interview now CLICK HERE. Happy Friday everyone, enjoy!

**Content:** ![]() We’re happy to announce the addition of a new interview series with the incredible Gabe Witcher – Grammy winning Artist/Producer/Composer and founding member of the genre-bending acoustic quintet, Punch Brothers. Darol and Gabe get deep into fiddle topics and their lives around it. Along the way they play Angeline the Baker and Gold Rush together and much more. The interview in its entirely is there for you to enjoy, to go to the first part of the interview now [**CLICK HERE**](https://my.artistworks.com/darol-anger/learning/192420). Happy Friday everyone, enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Banjo Lesson: Leapfrogging 6ths with Tony Trischka](https://blog.artistworks.com/bluegrass-banjo-lesson-leapfrogging-6ths-tony-trischka/) **Published:** February 4, 2022 **Author:** ArtistWorks **Excerpt:**

Parallel sixth harmonies can be heard throughout countless musical genres. They’re particularly prevalent, however, in country and bluegrass styles, and often function as a tool to transition smoothly between chords or key centers within a tune. As such, it’s important for bluegrass musicians of all instruments and skill levels to practice parallel sixth passages and develop a firm understanding of how to find them on their instrument and utilize them in the context of a song or improvisation.

**Content:** ![]() Parallel sixth harmonies can be heard throughout countless musical genres. They’re particularly prevalent, however, in country and bluegrass styles, and often function as a tool to transition smoothly between chords or key centers within a tune. As such, it’s important for bluegrass musicians of all instruments and skill levels to practice parallel sixth passages and develop a firm understanding of how to find them on their instrument and utilize them in the context of a song or improvisation. In this advanced [online banjo lesson](https://artistworks.com/banjo-lessons-tony-trischka), world-renowned bluegrass banjo player and member of our premier faculty here at ArtistWorks, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) teaches an interesting method for incorporating parallel sixth patterns into your alternating backward and forward banjo rolls. Tony refers to this approach as “Leapfrogging 6ths,” and employs them to add excitement and intricacy to a melodic line or improvised solo. In addition to sounding great, they’re a lot of fun to practice and play. LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) “Adding Leapfrogging, or Creeping 6ths as I like to call them, to your alternating backward and forward rolls creates a really beautiful sound,” Tony explains. “They add detail to a relatively straightforward concept and can blossom into really interesting embellishments within your playing.” When approaching Leapfrogging 6ths, as with most techniques on the banjo, it’s critical that you pay attention to the position of your picking hand. Picking closer to the bridge will create a sound with more attack and bite while playing toward the fretboard will create a warmer, fuller tone. “I prefer the tonality of Leapfrogging 6ths when I play further away from the bridge,” Tony explains. “It sounds a little bit sweeter to me that way. But, at the end of the day, it’s all about preference and what you prefer to hear. So, don’t be afraid to explore.” To learn how to play Leapfrogging 6ths and incorporate them into your backward and forward 5-string banjo rolls, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons-tony-trischka) from [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka): Leapfrogging 6ths with Tony Trischka: LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—Artist Bio Series: Tony Trischka](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series) [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons) [Bluegrass Banjo Lesson: Righthand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [New Podcast: Punch Brothers’ “Hell On Church Street”—An Interview with Chris Eldridge & Noam Pikelny](https://blog.artistworks.com/new-podcast-punch-brothers-hell-church-street-interview-chris-eldridge-noam-pikelny/) **Published:** February 2, 2022 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our Director of Content & Production, Marcus Luscombe guest-hosts an exclusive conversation with founding members of the Punch Brothers and ArtistWorks bluegrass instructors Chris Eldridge and Noam Pikelny. Together, they discuss the Punch Brothers’ latest album Hell On Church Street, which was recently released on January 14, 2022. They cover topics ranging from the conceptualization of the album to its unique recording process, the band’s first post-lockdown tour to support the release, and more. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our Director of Content & Production, Marcus Luscombe guest-hosts an exclusive conversation with founding members of the Punch Brothers and ArtistWorks bluegrass instructors [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). Together, they discuss the Punch Brothers’ latest album Hell On Church Street, which was recently released on January 14, 2022. They cover topics ranging from the conceptualization of the album to its unique recording process, the band’s first post-lockdown tour to support the release, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn banjo from a master musician like Noam Pikelny? Try some free online banjo lessons now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) As delineated in the album’s liner notes, “Hell On Church Street is a group reimagining of Tony Rice’s solo masterpiece Church Street Blues.” To describe the album as a prolific and inspired reimagining of Tony’s work is an understatement. This 12-track record is the first album consisting solely of cover songs that the Punch Brothers has released to date. Collectively, the band describes Tony as their greatest musical influence, and Church Street Blues as having made a profound impact on them as musicians. As such, they were “compelled to cover it in its entirety with the objective of interacting with it in the same spirit of respect-fueled adventure as Tony.” “We made this record in November of 2020, and it had been the longest drought that we’d ever experienced as far as being able to see each other and play music,” Noam explains. “Pretty late in the planning process, we realized that we were only going to have 2 weeks to make a record from start to finish, which is tight. A year prior, we played a set at Rockygrass 2019 that consisted of Church Street Blues performed in its entirety. So, we decided to revisit that idea and run with it.” LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now! ](https://go.artistworks.com/guitar-lessons-chris-eldridge) Tony Rice was influential to so many bluegrass musicians around the globe, and the Punch Brothers are no exception, but he was a hero to [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) in particular. The Punch Brothers envisioned recording this Church Street Blues tribute album with the idea that Chris would hand-deliver a copy to Tony to thank him for his influence and contributions to music. Unfortunately, because of Tony’s untimely passing, the band was unable to see that vision through. “We recorded Hell on Church Street in November 2020, and Tony passed away on Christmas day 2020,” Chris explains. “I had thought about calling him or sending him a text shortly after we recorded the album to tell him about the tribute and what we had planned. But, I didn’t because I didn’t want to spoil the surprise. Unfortunately, Tony passed before we had the opportunity to share it with him in that way, but our goal was to engage with this material with the same energy that he did, and, in that way, pay tribute to a hero.” To learn more about the Punch Brothers’ making of Hell On Church Street, listen to the full podcast here: If you’re interested in studying the banjo and learning more about Noam’s approaches to musicianship and playing, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) right here at ArtistWorks. If you’ve always wanted to play [bluegrass guitar](https://artistworks.com/guitar-lessons-chris-eldridge), learn to flatpick with Chris through his [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge)! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, co-founder Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Series: “The Musical Levy Family”—Howard Levy Interviews His Parents](https://blog.artistworks.com/new-podcast-musical-levy-family-howard-levy-interviews-his-parents) [Bluegrass Rhythm Guitar Lesson: Learn to Play “Shady Grove” with Chris Eldridge](https://blog.artistworks.com/bluegrass-rhythm-guitar-lesson-learn-play-shady-grove-chris-eldridge) [ArtistWorks Music Series: How to Find Your Own Sound—Noam Pikelny](https://blog.artistworks.com/new-podcast-noam-pikelny-how-find-your-own-sound) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Sarah Maisel & Craig Chee Monthly Ukulele Livestream: January 2022 feat. Diane Nalini](https://blog.artistworks.com/sarah-maisel-craig-chee-monthly-ukulele-livestream-january-2022-feat-diane-nalini/) **Published:** February 1, 2022 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() Since early 2020, internationally-renowned musicians and ArtistWorks [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah) instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) have hosted a private monthly livestreamed event exclusively for their students here at ArtistWorks. These live broadcasts are consistently packed with a plethora of information on all things ukulele, covering topics ranging from playing techniques to Hawaiian language and music, instrument care, and beyond. It’s no surprise—there’s also plenty of playing, singing, and music. Craig and Sarah frequently feature a monthly guest speaker in each of these virtual events, with the goal of exposing their students to other amazing musicians and educators as well as a variety of different ukulele playing styles and techniques. Previous guests in these events have included musicians such as Herb Ohta Jr., Kalei Gamiao, Aaron & Nicole Keim (of The Quiet American), and Lina Langi. For January 2022’s live broadcast, Craig and Sarah decided to format the show slightly differently and invited one of their long-time students, Diane Nalini, to join them on the livestream. LEARN MORE: [Want to learn how to play ukulele from master musicians like Craig Chee & Sarah Maisel? Try some free online ukulele lessons now!](https://go.artistworks.com/free-music-lessons-craig-and-sarah) Diane has been a student of Craig and Sarah’s since the very beginning, and joined ArtistWorks when their ukulele course launched in 2016. An accomplished jazz vocalist and musician of over 20 years, Diane joined Craig and Sarah’s course never having touched a ukulele, but her passion for jazz and the motivation to bring the ukulele into her jazz performance inspired her to enroll. Now, she performs and even teaches at ukulele festivals and events around the globe. ![](https://blog.artistworks.com/wp-content/uploads/2022/01/DianeNalini_Blog.png) When asked about her experience learning at ArtistWorks, Diane said, “In addition to Craig and Sarah’s outstanding teaching and wonderful, encouraging, and helpful Video Exchange responses, one of the things that I love about the ArtistWorks course is the wonderful and supportive community of fellow ukulele students.” Watch Diane and her quartet perform Antônio Carlos Jobim’s bossanova classic, “Agua de Beber:” In the last several years, Diane has performed and taught at some of the world’s premier ukulele festivals including the Strathmore UkeFest, the MidWest Uke Camp, UketoberFest, and the Port Townsend Ukulele Festival. Last year, she started an online [Ukulele Jazz Festival](https://www.ukulelejazzfestival.com/), where she was delighted to welcome Sarah and Craig among the teaching artists. This year’s festival, taking place May 21 and 22, 2022, will see Craig and Sarah returning as faculty and guest performers. Watch the full recap of Craig and Sarah’s January 2022 livestream event featuring Diane Nalini here: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Ukulele Lesson: Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee) [ArtistWorks Music Series Podcast—Building Your Practice Roadmap: Craig & Sarah](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap) [Craig Chee’s Guide to Ukulele Improvisation](https://blog.artistworks.com/craig-chees-guide-ukulele-improvisation) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Two New Lessons Added!](https://blog.artistworks.com/two-new-lessons-added-0/) **Published:** January 28, 2022 **Author:** ArtistWorks **Excerpt:**

We're happy to announce two new lessons have just been added. The first is an introduction to Simple Tags, and another lesson expands on the Bow Hold.

You can find these in the Beginner lesson list, or click the links below to go directly to the lesson page. Enjoy!

Introduction to Simple Tags

The Bow Hold

**Content:** ![]() We’re happy to announce two new lessons have just been added. The first is an introduction to Simple Tags, and another lesson expands on the Bow Hold. You can find these in the Beginner lesson list, or click the links below to go directly to the lesson page. Enjoy! [Introduction to Simple Tags](https://my.artistworks.com/darol-anger/learning/192015) [The Bow Hold](https://my.artistworks.com/darol-anger/learning/192014) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Michael Daves Celebrates 2,000 Video Exchanges!](https://blog.artistworks.com/michael-daves-celebrates-2000-video-exchanges/) **Published:** January 28, 2022 **Author:** ArtistWorks **Excerpt:**

Grammy-nominated bluegrass artist and internationally-renowned singer and guitarist, Michael Daves has been an instructor at ArtistWorks since 2016. Since joining the ArtistWorks roster as our instructor of bluegrass vocals, Michael has played an integral role in helping us achieve our mission—to “Teach the World Music”—and continues to bring his passion and musical mastery to his online instruction.

**Content:** ![]() Grammy-nominated bluegrass artist and internationally-renowned singer and guitarist, [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) has been an instructor at ArtistWorks since 2016. Since joining the ArtistWorks roster as our instructor of [bluegrass vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), Michael has played an integral role in helping us achieve our mission—to “Teach the World Music”—and continues to bring his passion and musical mastery to his online instruction. We’re excited and proud to announce that, on January 19, 2022, Michael completed his 2,000th Video Exchange. Congratulations Michael! What a fantastic milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge and skills. Thank you for all that you do! We’d also like to thank all of Michael’s wonderful bluegrass vocal pupils for consistently submitting videos and for being a part of this amazing online community of singers! LEARN MORE: [Want to learn how to sing from a master vocalist like Michael Daves? Try some free online vocal lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “Video Exchange gives me the ability to highlight specific moments in a student’s performance of a song. I can hit the pause button and say ‘that right there is exactly what we’re looking for—great job!’ or ‘I think you can tweak this vowel to get a more relaxed and open sound—here’s an example,’” Michael explains. “That level of specificity is really hard to achieve in a live performance situation because the moment is gone so quickly.” Judging by this wonderful Video Exchange milestone, Michael’s teaching techniques have clearly made an impact, as he’s had the opportunity to meet, mentor, and guide a vast array of bluegrass vocalists worldwide. Check out this message from Michael about reaching this outstanding achievement: When asked about the rewards of teaching through the ArtistWorks Video Exchange platform, Michael replied, “I’ve worked with so many students who start out thinking of themselves not as singers but who then discover that they’ve got something to offer. I love that because once they realize they have the ability it tends to open up doors in their lives—whether it’s participating in jams, starting to write their own music, or just having a new hobby that’s often therapeutic on some level. Any student that I see finding confidence about using their voice makes a lasting impression on me.” Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to sing in the bluegrass style? Through our comprehensive [bluegrass vocal lessons online](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) and get personal feedback on your singing. Michaels’ course starts with the basics and teaches everything from beginner vocal techniques to gaining confidence while performing, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced singer, all levels are welcome and all students will grow and improve their skills as vocalists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [2021 Holiday Music Special: An ArtistWorks Livestream Event feat. Michael Daves](https://blog.artistworks.com/2021-holiday-music-special-artistworks-livestream-event) [ArtistWorks Music Series Podcast—How to Get Out of a Musical Slump: Michael Daves](https://blog.artistworks.com/new-podcast-michael-daves-how-get-out-musical-slump) [Sign Up for the 5 Day Bluegrass Vocals Challenge](https://blog.artistworks.com/sign-5-day-bluegrass-vocals-challenge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Beginner Lesson Added!](https://blog.artistworks.com/new-beginner-lesson-added-1/) **Published:** January 27, 2022 **Author:** ArtistWorks **Excerpt:**

We're pleased to announce another new lesson added to the Beginner curriculum. Tony was in Napa at our new ArtistWorks studios very recently to film a whole batch of new lessons for you. In this new addition he teaches a version of Blackberry Blossom that integrates barre positions.

To check it out now CLICK HERE. Also, incase you missed it - we also recently added a huge new lesson series called "TT Tidbits" which you can find at the top of the Advanced lessons list. Happy picking!

**Content:** ![]() We’re pleased to announce another new lesson added to the Beginner curriculum. Tony was in Napa at our new ArtistWorks studios very recently to film a whole batch of new lessons for you. In this new addition he teaches a version of Blackberry Blossom that integrates barre positions. To check it out now [CLICK HERE](https://my.artistworks.com/tony-trischka/learning/191700). Also, incase you missed it – we also recently added a huge new lesson series called “TT Tidbits” which you can find at the top of the Advanced lessons list. Happy picking! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Win Lifetime VIP Access at ArtistWorks!](https://blog.artistworks.com/win-lifetime-vip-access-artistworks/) **Published:** January 27, 2022 **Author:** ArtistWorks **Excerpt:**

Enter now for a chance to become our very first 'Lifetime VIP' at ArtistWorks! PLUS, win a 1-on-1 video lesson with the artist of your choice.

**Content:** ![]() Enter now for a chance to become our very first ‘Lifetime VIP’ at ArtistWorks! PLUS, win a 1-on-1 video lesson with the artist of your choice. This is your opportunity to unlock limitless access to one of our amazing music courses teaching any instrument in any style. Our lesson libraries are designed for players of all levels, so all are welcome! We’ll also be awarding several other exciting prizes before announcing the grand prize recipient on 2/25, so there are plenty of chances to win. Enter our giveaway [HERE](https://go.artistworks.com/lifetime-membership-giveaway-q1-2022) before February 25, 2022 at 12:00am PST for a chance to win one of these amazing prizes: - **Prize #1: 3 months at the ArtistWorks course of your choice** - **Prize #2: 6 months at ArtistWorks + access to the Ear Training Workshop** - **Prize #3: 12 months at ArtistWorks + access to the Improv Workshop** - **GRAND PRIZE: Lifetime VIP at ArtistWorks + a 1-on-1 video lesson with any ArtistWorks teacher** Don’t miss out on your opportunity to win. Hurry, the giveaway ends on 2/25! Click [here](https://go.artistworks.com/lifetime-membership-giveaway-q1-2022) to sign up and enter. Then, check your inbox for a surprise! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull) [Mike Marshall on Tour with Edger Meyer, Sam Bush, & George Meyer](https://blog.artistworks.com/mike-marshall-tour-edgar-meyer-sam-bush-and-george-meyer) [Paul Gilbert Celebrates 12,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-celebrates-12000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol Talks with Bronwyn Keith-Hynes](https://blog.artistworks.com/darol-talks-bronwyn-keith-hynes/) **Published:** January 26, 2022 **Author:** ArtistWorks **Excerpt:**

We've just added a fun interview Darol did with Bluegrass fiddle extroadinare (and recent guest teacher right here at ArtistWorks!) Bronwyn Keith-Hynes, filmed a little while back. Enjoy some dual fiddle jamming as well as hearing Bronwyn talk about the early stages of her playing, her inspirations, a quick lesson on one of her original songs, and much more. Bronwyn is out on tour currently with Molly Tuttle and Golden Highway so be sure to check local listings for more information.

To go straight to the first part of the interview click the link below. Enjoy!

Darol Talks with Bronwyn Keith-Hynes - Part 1

**Content:** ![]() We’ve just added a fun interview Darol did with Bluegrass fiddle extroadinare (and recent guest teacher right here at ArtistWorks!) Bronwyn Keith-Hynes, filmed a little while back. Enjoy some dual fiddle jamming as well as hearing Bronwyn talk about the early stages of her playing, her inspirations, a quick lesson on one of her original songs, and much more. Bronwyn is out on tour currently with Molly Tuttle and Golden Highway so be sure to check local listings for more information. To go straight to the first part of the interview click the link below. Enjoy! [Darol Talks with Bronwyn Keith-Hynes – Part 1](https://my.artistworks.com/darol-anger/learning/191983) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: Learning Your Chord Scales with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learning-your-chord-scales-sierra-hull/) **Published:** January 25, 2022 **Author:** ArtistWorks **Excerpt:**

As you continue to progress on the mandolin, it’s important that you not only exercise your dexterity and improve your physical technique but also understand the basic music theory that supports the mandolin notes, scales, arpeggios, and chords you’re playing beneath your fingers. This will make learning new tunes easier, improvising simpler, sitting in at jam sessions more enjoyable, and make you a more well-rounded player.

**Content:** ![]() As you continue to progress on the mandolin, it’s important that you not only exercise your dexterity and improve your physical technique but also understand the basic music theory that supports the mandolin notes, scales, arpeggios, and chords you’re playing beneath your fingers. This will make learning new tunes easier, improvising simpler, sitting in at jam sessions more enjoyable, and make you a more well-rounded player. In Part 1 of this intermediate [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull), Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), details the chord qualities that are defined by each root note of the major scale. She calls this concept a “Chord Scale.” Using the G Major scale as an example, Sierra travels up each note of the scale and shows you the harmonic quality of each note’s chord within the key of G. This might sound a little bit intimidating or confusing at first, but it’s actually a fairly simple construct. Once it’s under your fingers, it will serve you well at your next jam session. To explore Part 2 of this lesson and more, join Sierra’s online mandolin course [here](https://artistworks.com/mandolin-lessons-sierra-hull). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) “Maybe you’ve been to a jam session before and you’ve heard someone say that they’re playing a ‘vi minor’ chord,” Sierra explains. “What exactly does that mean? In this lesson, I’m going to teach you what that means, how you can build that chord on your own, and quickly get you jammin’ with your friends.” As a starting point, it’s critical to understand where the I, IV, and V chords are located within the key that you’re playing. In the key of G, those chords are G Major, C Major, and D Major. Once you understand where those mandolin chords are located and why, finding chords like the ii and the vi becomes quite simple. “If you can remember the notes within the major scale, you can find the notes within the ii or vi chords relatively easily. It just takes a little bit of thought and consideration to make sure you’re staying within the key,” Sierra explains. “Eventually, you’ll commit the music theory that supports the chord scale to memory, and this will all become second nature.” To learn how to play chord scales on the mandolin and understand the fundamental music theory behind the harmonies of the major scale, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Learning Your Chord Scales with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: Setting Your Tone Goals with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-setting-your-tone-goals-sierra-hull) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) [Bluegrass Mandolin Lesson: Learn to Play “Amazing Grace” with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learn-play-amazing-grace-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Podcast: “The Musical Levy Family”—Howard Levy Interviews His Parents](https://blog.artistworks.com/new-podcast-musical-levy-family-howard-levy-interviews-his-parents/) **Published:** January 20, 2022 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, Grammy Award-winning musician and boundary-pushing harmonica player, Howard Levy sits down to interview two of his biggest musical influences—his parents. Together, Howard, his father Ira, and mother Arlene explore their family’s musical heritage. They discuss Ira’s passion for singing and career as a vocalist, the broadway musical Arlene wrote, the details of how they inspired Howard to pursue a life in music, and more. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, Grammy Award-winning musician and boundary-pushing harmonica player, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) sits down to interview two of his biggest musical influences—his parents. Together, Howard, his father Ira, and mother Arlene explore their family’s musical heritage. They discuss Ira’s passion for singing and career as a vocalist, the broadway musical Arlene wrote, the details of how they inspired Howard to pursue a life in music, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try a free harmonica lesson now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Music and the passion to pursue this amazing art form is often a gift that is passed down directly from one generation to the next. It is many times an element that unifies families, and the act of sharing musical knowledge and the beauties of music connects parents and their children. This was certainly the case for [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), who grew up in a household surrounded by music. “I remember as a kid that you and mom would have these musical parties, and various friends would come over to play music and perform,” Howard says to his father. “Some friends played the piano, some played violin, but everyone would gather around the piano that was in our living room and sing. I was a little kid at the time, and I just remember being drawn to the music like a moth to a flame.” Both Ira and Arlene Levy, who are now 98 and 95 years old respectively, spent much of their lives pursuing musical endeavors and exploring various vocal and instrumental outlets. Ira had an early career as a professional vocalist in New York, and Arlene is a cellist and wrote the lyrics for a Broadway musical. “My good friend, Lillian Krugman, and I wrote the lyrics to a Broadway musical when you were a kid,” Arlene explains to Howard. “Our neighbor across the street at the time was the business manager to some major Broadway stars at the time, and he got us connected. A wonderfully talented french woman wrote the music, but Lillian and I wrote the lyrics.” To learn more about the lives of Ira, Arlene, and [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), and the experiences of their musical family, listen to the full podcast here: If you’re interested in studying the harmonica and learning more about Howard’s approaches to growing as a musician, check out his [online harmonica lessons](https://artistworks.com/harmonica-lessons-howard-levy) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, co-founder Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [2021 Holiday Music Special: An ArtistWorks Livestream Event feat. Howard Levy](https://blog.artistworks.com/2021-holiday-music-special-artistworks-livestream-event) [ArtistWorks Music Series: Becoming a More Confident Player—Howard Levy](https://blog.artistworks.com/new-podcast-howard-levy-becoming-confident-player) [ArtistWorks Live with Howard Levy, Béla Fleck, & Bryan Sutton](https://blog.artistworks.com/live-howard-levy-bryan-sutton-b%C3%A9la-fleck) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Lessons Just Added: TT Tidbits Part 1 & 2](https://blog.artistworks.com/new-lessons-just-added-tt-tidbits-part-1-2/) **Published:** January 19, 2022 **Author:** ArtistWorks **Excerpt:**

We are pleased to announce the addition of 2 huge new lessons! Tony was in Napa recently to film a bunch of new content and this is first of many new lessons headed your way. In this series of "TT Tidbits" there are many individual little tricks and techniques to try out. Each lesson is complete with tablature too. To go straight there now click the links below:

TT Tidbits Part 1

TT Tidbits Part 2

**Content:** ![]() We are pleased to announce the addition of 2 huge new lessons! Tony was in Napa recently to film a bunch of new content and this is first of many new lessons headed your way. In this series of “TT Tidbits” there are many individual little tricks and techniques to try out. Each lesson is complete with tablature too. To go straight there now click the links below: [TT Tidbits Part 1](https://my.artistworks.com/tony-trischka/learning/191583) [TT Tidbits Part 2](https://my.artistworks.com/tony-trischka/learning/191584) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner Piano Lesson: “What is Harmony?” with Zachary Deak](https://blog.artistworks.com/beginner-piano-lesson-what-harmony-zachary-deak/) **Published:** January 19, 2022 **Author:** ArtistWorks **Excerpt:**

Generally speaking, western music is comprised of three primary elements: melody, rhythm, and harmony. Most of us, regardless of our experience level as musicians, understand the concepts of melody and rhythm. A melody is a song’s linear musical theme, and rhythm is the pattern in which notes fall in time. Harmony, however, is a slightly more complicated concept to grasp, and perhaps requires a bit more investigation to understand.

**Content:** ![]() Generally speaking, western music is comprised of three primary elements: melody, rhythm, and harmony. Most of us, regardless of our experience level as musicians, understand the concepts of melody and rhythm. A melody is a song’s linear musical theme, and rhythm is the pattern in which notes fall in time. Harmony, however, is a slightly more complicated concept to grasp, and perhaps requires a bit more investigation to understand. In this [online piano lesson](https://artistworks.com/beginner-piano-lessons) for beginners, keyboard instructor at CSU Los Angeles and ArtistWorks’ “[Beginner’s Guide to Piano](https://artistworks.com/beginner-piano-lessons)” teacher, Zachary Deak, outlines the concept of harmony, explains the relationship between different notes and chords, and illustrates how harmony functions on both the vertical and horizontal musical planes. He even provides a few examples of common chord progressions to help these basic music theory concepts sink in. “As the name implies, harmony has to do with togetherness, connectedness, consonance, dissonance, and even forces of attraction in music,” Zachary explains. “Harmony creates relationships and musical hierarchies that we then intuitively hear and react to.” LEARN MORE: [Want to learn how to play piano from a master musician and member of the CSU Los Angeles keyboard faculty? Try some free online piano lessons now!](https://go.artistworks.com/free-adult-piano-lessons) Understanding how harmony works will not only provide you with a better understanding of music theory, it will greatly improve your musical ear and your technical abilities when playing as well. It will help you better internalize the keyboard and help you make more informed decisions as a player. As such, it’s as important to take the time to master these theoretical concepts as it is to practice your scales and arpeggios. “Out of context, a chord or harmonic moment can mean many different things,” Zachary explains. “But, in the context of other chords, that original chord takes on a very specific meaning. There’s now structure and intent, and it’s critical to understand that relationship.” To learn more about the concept of harmony, how it works, and the relationship between notes, dive into this [online piano lesson](https://artistworks.com/beginner-piano-lessons) designed specifically for adult beginners from [Zachary Deak](https://artistworks.com/beginner-piano-lessons): “What is Harmony?” with Zachary Deak: LEARN MORE: Have you always wanted to learn how to play piano? Through our comprehensive [beginner piano lessons online](https://artistworks.com/beginner-piano-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from CSU Los Angeles piano instructor, [Zachary Deak](https://artistworks.com/beginner-piano-lessons), and get personal feedback on your playing. Zachary’s comprehensive course teaches all the fundamental beginner piano basics and will quickly get you playing your favorite classic piano music. This is the perfect course for adult beginners and first-time players and will lead all students to grow and improve their skills as pianists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner Piano Lesson: Major vs. Minor Pentascales with Zachary Deak](https://blog.artistworks.com/beginner-piano-lesson-major-vs-minor-pentascales-zachary-deak) [Piano Lesson: Creating an Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung) [Classical Piano Lesson: Practicing with the F.E.R.N. Approach with Christie Peery](https://blog.artistworks.com/classical-piano-lesson-practicing-fern-approach) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Darol's January 2022 News](https://blog.artistworks.com/darols-january-2022-news/) **Published:** January 17, 2022 **Author:** ArtistWorks **Excerpt:**

Greetings, Fiddlers!

As most of you good folks know, I've been releasing stuff slowly but steadily as I've been able to, on my Bandcamp page, which is a very good way to obtain new music.

Now I want to let you know that I've got a major release coming up in early March: The long-awaited sequel in the ongoing Mr Sun saga, entitled Extrovert...

That's kind of a jokey title, since everybody in the band is most definitely NOT an extrovert... even though this recording sure sounds like it. The music itself is jumping out of the grooves, or whatever we're calling them now, screaming "put me in, coach!" Be great to have it out.

It'll be available on Compass Records soon, and I'm pondering releasing some musical samples of the new thing here on Bandcamp for you, the elect few. Just have to check with the Compass people... they usually like it when an artist does some promo on their own.

**Content:** Greetings, Fiddlers! As most of you good folks know, I’ve been releasing stuff slowly but steadily as I’ve been able to, on my **[Bandcamp](https://darolanger1.bandcamp.com/)** page, which is a very good way to obtain new music. Now I want to let you know that I’ve got a major release coming up in early March: The long-awaited sequel in the ongoing **Mr Sun** saga, entitled **Extrovert**… ![]() That’s kind of a jokey title, since everybody in the band is most definitely NOT an extrovert… even though this recording sure sounds like it. The music itself is jumping out of the grooves, or whatever we’re calling them now, screaming *“put me in, coach!”* Be great to have it out. It’ll be available on [**Compass Records**](https://store.compassrecords.com/products/generation-nation) soon, and I’m pondering releasing some musical samples of the new thing here on Bandcamp for you, the elect few. Just have to check with the Compass people… they usually like it when an artist does some promo on their own. **Mr Sun** will be touring all over the place in 2022 as well, so keep an eyeball peeled for that news, either [**here**](https://darolanger.com/shows) or at [Mr Sun’s website](https://www.mrsunband.com/) or the [Mr Sun Facebook](https://www.facebook.com/anger.walsh.gordy) site. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall on Tour With Edgar Meyer, Sam Bush, and George Meyer](https://blog.artistworks.com/mike-marshall-tour-edgar-meyer-sam-bush-and-george-meyer/) **Published:** January 17, 2022 **Author:** ArtistWorks **Excerpt:**

This Wednesday, January 19, 2022, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, Mike Marshall kicks off a two-and-a-half week tour with legendary upright bassist Edgar Meyer, mandolin icon Sam Bush, and Edgar’s son and violin virtuoso, George Meyer.

**Content:** ![]() This Wednesday, January 19, 2022, world-renowned mandolinist, Grammy-nominated musician, and ArtistWorks bluegrass mandolin instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) kicks off a two-and-a-half week tour with legendary upright bassist Edgar Meyer, mandolin icon Sam Bush, and Edgar’s son and violin virtuoso, George Meyer. Together, these four master musicians will be embracing their hybridized sound, blending elements from the bluegrass, classical, newgrass, and jazz genres to provide a unique acoustic experience that can only be categorized as amazing. Now, music-lovers throughout Florida, North Carolina, Virginia, Alabama, Mississippi, and New York can enjoy a collaborative performance that can typically only be heard on the summer bluegrass festival circuit. “I’m very excited about this upcoming tour,” Mike expresses. “There’s nothing better than reuniting with long-time friends to perform, and, as a quartet, we can really stretch our musical limbs and explore the variety of genres that inspire us.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) The quartet will be performing a handful of works from Edgar Meyer and Joshua Bell’s 1999 album release, *Short Trip Home*, which heavily featured both Mike Marshall and Sam Bush, as well as brand new original music written exclusively for this tour. The tour will be comprised of ten shows and will run from January 19 through February 5, 2022: - 1/19/22 — Phillips Center: Gainesville, FL - 1/22/22 — Carolina Theater: Greensboro, NC - 1/23/22 — Jefferson Center: Roanoke, VA - 1/27/22 — Gogue Performing Arts Center: Auburn, AL - 1/28/22 — Ford Center: Oxford, MS - 1/29/22 — Riley Center: Meridian, MS - 2/2/22 — The Barns at Wolf Trap: Vienna, VA - 2/3/22 — The Barns at Wolf Trap: Vienna, VA - 2/4/22 — Troy Savings Bank Music Hall: Troy, NY - 2/5/22 — Wellin Hall, Schambach Center: Clinton, NY Click [here](https://edgarmeyer.com/calendar/) to purchase your tickets today! LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Livestream: Mike Marshall & Darol Anger Perform with WDR Big Band](https://blog.artistworks.com/livestream-mike-marshall-darol-anger-perform-wdr-big-band) [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks) [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner Rock Guitar Lesson: Learn a Classic Minor Chord Progression with Kevin Barry](https://blog.artistworks.com/beginner-rock-guitar-lesson-learn-classic-minor-chord-progression-kevin-barry/) **Published:** January 13, 2022 **Author:** ArtistWorks **Excerpt:**

As you begin learning to play the electric guitar, there are a series of essential guitar chords that every first-time player should practice and get under their fingers. These chords are called the “open position” chords, and are used in countless rock and roll classics written across decades.

**Content:** ![]() As you begin learning to play the electric guitar, there are a series of essential guitar chords that every first-time player should practice and get under their fingers. These chords are called the “open position” chords, and are used in countless rock and roll classics written across decades. You may be wondering, “what is an open position guitar chord?” Open position chords are a collection of chordal shapes or fingerings stationed between the guitar’s first and third frets, and are sometimes also referred to as “cowboy chords.” In this [online guitar lesson](https://artistworks.com/beginner-rock-guitar-lessons) for beginners, Associate Professor of Guitar Performance at Berklee College of Music and ArtistWorks “[Beginner’s Guide to Rock Guitar](https://artistworks.com/beginner-rock-guitar-lessons)” instructor, Kevin Barry, outlines three of the most critical open position minor chords, A minor, E minor, and D minor. He’ll also show you how to play them in a sequence (or chord progression) that is commonly heard throughout dozens of classic rock tunes. After watching this lesson, you’ll be well on your way to playing some of your favorite rock ‘n’ roll hits! “You’ve heard these chord voicings and even this chord progression in countless songs from every genre imaginable,” Kevin explains. “So, mastering them and really getting them under your fingers is important. That being said, it’s going to take a little bit of time to transition between each of these chord voicings comfortably. Remember to be patient, and kind with yourself. It’s all going to click!” LEARN MORE: [Want to learn how to play rock guitar from a master musician and Berklee College of Music Professor? Try some free online guitar lessons from Kevin Barry now!](https://go.artistworks.com/free-adult-rock-guitar-lessons) Learning new chord voicings and getting comfortable with new fingerings can sometimes be tedious and even frustrating. If you encounter those feelings, don’t be afraid to stop, take a deep breath, and remember why you’re pursuing the instrument. “We always want to retain the fun in learning,” explains Kevin. “It’s why we’re doing this. It’s why we learn music. Keep that in mind as you work through this exercise, and find ways to expand on it and make it more exciting once you get comfortable with the basics. Try to write or sing a melody over these chords, or experiment with different sounds. Just remember to have fun!” To learn this classic progression and master these three pivotal minor guitar chords, dive into this [online guitar lesson](https://artistworks.com/beginner-rock-guitar-lessons) designed specifically for adult beginners from [Kevin Barry](https://artistworks.com/beginner-rock-guitar-lessons): Learn a Classic Minor Chord Progression with Kevin Barry: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [beginner guitar lessons online](https://artistworks.com/beginner-rock-guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from Associate Professor of Guitar Performance at Berklee College of Music, [Kevin Barry](https://artistworks.com/beginner-rock-guitar-lessons), and get personal feedback on your playing. Kevin’s comprehensive course teaches all the fundamental beginner guitar basics to quickly get you playing your favorite classic rock tunes on the electric guitar. This is the perfect course for adult beginners and first-time players and will lead all students to grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner Rock Guitar Lesson: How to Tune the Guitar with Kevin Barry](https://blog.artistworks.com/beginner-rock-guitar-lesson-how-tune-guitar-kevin-barry) [Blues Rock Guitar Lesson: An Introduction to Power Chords with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-introduction-power-chords-jared-james-nichols) [Two New “Beginner’s Guide” Courses Now Open for Piano and Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Paul Gilbert Celebrates 12,000 Video Exchanges!](https://blog.artistworks.com/paul-gilbert-celebrates-12000-video-exchanges/) **Published:** January 11, 2022 **Author:** ArtistWorks **Excerpt:**

AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to "Teach the World Music," and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding.

**Content:** ![]() AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive [online music lessons](https://artistworks.com/), patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding. Award-winning master guitarist, co-founder of bands Racer X and Mr. Big, and internationally-renowned shred guitar icon, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) has been an instructor at ArtistWorks since 2012 and has played an integral role in helping us achieve, and continue to live up to, our mission, vision, and values. We’re excited and proud to announce that, on January 4, 2022, Paul completed his 12,000th Video Exchange. Congratulations Paul! What an amazing milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge. Thank you to all of Paul’s wonderful rock guitar pupils for consistently submitting videos! LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online rock guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) “In my ten years teaching at ArtistWorks, recording Video Exchanges has taught me to focus on short pieces of music,” Paul explains. “I often think, ‘If this student was in my band, what could I expect them to have ready for the gig tomorrow.’ I always try to get them to tackle goals that are within reach. Small successful steps really work.” Judging by this fantastic Video Exchange milestone, Paul’s teaching techniques have clearly made an impact, as he’s had the opportunity to meet, mentor, and guide a vast array of rock guitar players worldwide. Check out this message from Paul about reaching this outstanding achievement: When asked how students can get the most out of their Video Exchanges, Paul replied, “Enjoy the guitar and music! Some teachers give massive homework assignments. ‘Learn these scales in every key, in every position,’ is something that I’ve never said to anyone ever. I much prefer that my students find ways to connect to the music, connect with each other, and choose phrases to work on as if the gig were tomorrow night. Because it often is!” We’ll be celebrating this impressive achievement by giving away an exclusive prize package, which includes a PG-14 Distortion Pedal from JHS Pedals signed by Paul, a handful of Paul’s signature picks, and more, to the student who submitted Paul’s 12000th Video Exchange. ![](https://blog.artistworks.com/wp-content/uploads/2022/01/Screen_Shot_2022-01-10_at_12.17.44_PM.png) “I just want to keep connecting with musicians,” Paul says. “I’m happy that people are interested in rock, and all the styles that overlap with it. At my school, we often delve into blues, fusion, jazz, pop, funk, classical, and of course, metal! I’ve always felt a kinship with musicians. And I’m happy to have such an amazing way to hang out with players all over the world and try to make learning guitar a little bit easier for them.” Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to shred on guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from rock guitar icon [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner rock riffs to advanced shred techniques and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Paul Gilbert’s New Holiday Album, ‘TWAS](https://blog.artistworks.com/new-podcast-paul-gilbert-new-holiday-album-release-twas) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [ArtistWorks Music Series—Artist Bio Series: Paul Gilbert](https://blog.artistworks.com/new-podcast-paul-gilbert-artist-bio-series) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [January/February 2022 VE Deadline Dates](https://blog.artistworks.com/januaryfebruary-2022-ve-deadline-dates/) **Published:** January 11, 2022 **Author:** ArtistWorks **Excerpt:**

Hello ArtistWorks Popular Piano Family and Happy New Year! My apologies, but I need to delay the next January VE deadline date to Sunday, Jan. 23. Here are the next 3 VE submission deadline dates through February:

Stay safe and have a musical new year!

**Content:** Hello ArtistWorks Popular Piano Family and Happy New Year! My apologies, but I need to delay the next January VE deadline date to Sunday, Jan. 23. Here are the next 3 VE submission deadline dates through February: - Sunday, January 23 - Sunday, February 6 - Sunday, February 20 Stay safe and have a musical new year! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [A Message From Our Co-Founder, Patricia Butler](https://blog.artistworks.com/message-our-co-founder-patricia-butler/) **Published:** January 10, 2022 **Author:** ArtistWorks **Excerpt:**

While 2021 was in many ways similar to 2020, we're thankful to have had a great year with much exciting forward progress. More importantly, we’re thankful we could provide a musical oasis for our students and be an outlet for their exploration and creativity!

**Content:** ![]() While 2021 was in many ways similar to 2020, we’re thankful to have had a great year with much exciting forward progress. More importantly, we’re thankful we could provide a musical oasis for our students and be an outlet for their exploration and creativity! Join our co-founder Patricia Butler as she recounts the news and successes of 2021 and looks forward to ArtistWorks’ plans for 2022. You can watch the video message below. “While 2021 was sort of the same as 2020 on many levels, many things changed for the better at ArtistWorks,” Patricia shares. “The new year brought five new artists to our roster, and we also moved our offices and studios to a new location after having been in the same building and studio for 13 years.” Among the new artists welcomed to the ArtistWorks family in 2021 were bluegrass icon [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) teaching bluegrass mandolin, “Blues Power” titan [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) teaching blues rock guitar, and Punch Brothers co-founder [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) teaching bluegrass guitar. In addition, we expanded our adult-beginner series to include a “[Beginner’s Guide to Piano](https://artistworks.com/beginner-piano-lessons)” course taught by Cal State University Los Angeles lecturer, Zachary Deak, and a “[Beginner’s Guide to Rock Guitar](https://artistworks.com/beginner-rock-guitar-lessons)” course taught by Associate Professor of Guitar Performance at Berklee College of Music, Kevin Barry. “We’ve also had another very important and big change this year,” says Patricia. “In late June, ArtistWorks became part of a family of brands that are all leaders and pioneers in online music education. So, ArtistWorks now stands alongside TrueFire, JamPlay, and FaderPro. What that means for you is many more collaborations between these great companies and exciting opportunities for all of our students.” Watch the full message below to learn more about what we have in store for 2022 and beyond: A Message From Our Co-Founder, Patricia Butler: After you’ve watched the video, take advantage of this special offer from Patricia. Use code FOUNDER50 and save $50 on any 6-month plan here at ArtistWorks. ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) [Two New “Beginner’s Guide” Courses Now Open for Piano & Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar) [ArtistWorks Celebrates 100,000 Video Exchanges!](https://blog.artistworks.com/artistworks-celebrates-100000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dave Stryker Releases New Album, "As We Are"](https://blog.artistworks.com/dave-stryker-releases-new-album-as-we-are/) **Published:** January 7, 2022 **Author:** ArtistWorks **Excerpt:**

This morning, award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, Dave Stryker, released his 34th record as a bandleader entitled As We Are. While there are very few musical feats that Dave hasn’t conquered in his 40-plus year career as a professional jazz musician, Dave broached new territory with As We Are, blending a more traditional small jazz ensemble with the ethereal aesthetics of a classical string quartet.

**Content:** ![]() This morning, award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), released his 34th record as a bandleader entitled As We Are. While there are very few musical feats that Dave hasn’t conquered in his 40-plus year career as a professional jazz musician, Dave broached new territory with As We Are, blending a more traditional small jazz ensemble with the ethereal aesthetics of a classical string quartet. The caliber of musicians featured on As We Are speaks volumes about Dave’s prowess as a composer, arranger, performer, and bandleader. Supporting Dave on the upright bass is iconic jazz legend and fellow ArtistWorks instructor, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci). On the drums is the world-renowned Brian Blade, with Julian Shore filling out the harmony on piano and assisting Dave in arranging. LEARN MORE: [Want to learn how to play guitar from a master musician like Dave Stryker? Try some free online jazz guitar lessons now!](https://go.artistworks.com/free-music-lessons-dave-stryker) “My new album As We Are was a dream project for me,” explains Dave. “As such, I decided to ask two of the greatest musicians in the world, John Patitucci and Brian Blade, to join. I feel we can put some positive energy into the world with music, and I hope everyone enjoys listening as much as we enjoyed putting it together.” What truly sets As We Are apart is the unique infusion of strings alongside the more traditional jazz quartet. Shore played a major role in bringing this element of Dave’s vision to life and assisted in crafting many of the string arrangements. The string section is led by violinist and guest soloist on the album, Sara Caswell, with Monica Davis on second violin, Benni von Gutzeit on viola, and Marika Hughes on cello. “I have always wanted to do a record with strings,” Dave explains. “So in the Fall of 2020, I contacted Julian Shore, a great pianist and former student of mine. I’d heard some of his writing for string quartet and immediately wanted to work with him. 20 years after teaching him at a Jazz Camp, we spent a year collaborating on this music.” The first single released from the record is an original composition by Dave entitled, “Lanes.” Beginning with a medium uptempo groove laid down by Patitucci and Blade, the textures quickly layer in as Dave and Shore enter with supporting harmony and a fluttering of strings glisten over the top. The tune continues to build to an immaculately clean, melodic solo from Dave, followed by spotlights on Blade and Shore. Dave Stryker – “Lanes” (Official Performance Video): The album’s second single, released just after the Christmas holiday on December 26, 2021, is Dave’s take on Nick Drake’s classic folk tune, “River Man,” with a unique arrangement designed to accommodate As We Are’s one-of-a-kind ensemble. Dave and company’s interpretation evokes a similar eerie, melancholy quality to the original, with wailing strings crying in the background behind Patitucci’s smooth bass ostinato and Dave’s melodic phrasing. Dave Stryker – “River Man” (Official Performance Video): To download As We Are, head to Dave’s website [here](http://www.davestryker.com/), or listen on any of your favorite streaming platforms. LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from world-renowned jazz guitarist [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced improvisation techniques, music theory, classic jazz standards, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Dave Stryker Celebrates 1,000 Video Exchanges!](https://blog.artistworks.com/dave-stryker-celebrates-1000-video-exchanges) [ArtistWorks Music Series—Building Your Practice Roadmap: Dave Stryker](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap) [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Embellishing Your Boom Chuck Strumming with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-embellishing-your-boom-chuck-strumming-bryan-sutton/) **Published:** January 6, 2022 **Author:** ArtistWorks **Excerpt:**

One of the most important and common rhythm guitar methods and strumming patterns utilized in the bluegrass genre is known as the Boom Chuck. This Boom Chuck strumming sequence is designed to emulate the rhythmic parts of both the upright bass and mandolin players within a traditional bluegrass ensemble.

**Content:** ![]() One of the most important and common rhythm guitar methods and strumming patterns utilized in the bluegrass genre is known as the Boom Chuck. This Boom Chuck strumming sequence is designed to emulate the rhythmic parts of both the upright bass and mandolin players within a traditional bluegrass ensemble. The guitarist accomplishes this by strumming each chord’s lowest note, or bass note, on beats one and three of each measure with the bass player, and the rest of the chord with the mandolinist on beats two and four. Last month, we published an in-depth bluegrass guitar lesson outlining the basic sound and style of the Boom Chuck approach, which you can view [here](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton). In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), expands on the fundamentals of the Boom Chuck and teaches several techniques to vary your strumming and embellish the traditional pattern. As you continue to progress on the acoustic guitar, this will help keep your playing fresh and interesting as you navigate a growing number of bluegrass tunes. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “Adding strumming embellishments brings a different sort of energy to your playing,” Bryan explains. “The embellishments provide a lift in liveliness. They provide more activity and raise the dynamic level. This is why we use these techniques.” As you begin exploring these embellishments to the Boom Chuck strumming pattern, it’s important to be cognizant of when to employ them and when not to. Just because you may be capable of playing the rhythmic pattern with more complexity doesn’t necessarily mean you always should. “There’s nothing wrong with playing the most basic Boom Chuck pattern,” Bryan explains. “Sometimes leaving that extra space is critical and completely correct. It’s important to either add complexity or simplify our playing in the right contexts. As players, we need to be nimble.” To learn more about the Boom Chuck pattern, methods for embellishing it, and how to expand your rhythm guitar vocabulary, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): Embellishing Your Boom Chuck Strumming with Bryan Sutton: This lesson is part of a series of lessons called the “Rhythm Guitar Toolbox” that Bryan recently added to his comprehensive [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) course here at ArtistWorks. If you enjoyed this lesson, sign up for Bryan’s course, keep your momentum going, and take your flatpicking to the next level. Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today. LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton) [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton%E2%80%99s-bluegrass-acoustic-guitar-course-additions-updates) [ArtistWorks Music Series—Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Podcast: Martin Taylor - Artist Bio Series](https://blog.artistworks.com/new-podcast-martin-taylor-artist-bio-series/) **Published:** January 5, 2022 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary jazz guitar player and ArtistWorks fingerstyle guitar instructor, Martin Taylor, for the latest installment of our Artist Bio Series.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary jazz guitar player and ArtistWorks [fingerstyle guitar](https://artistworks.com/guitar-lessons-martin-taylor) instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), for the latest installment of our Artist Bio Series. In the “Bio Series” episodes of our podcast, Patricia chats with members of our world-renowned faculty about their lives, careers, and experiences that led them to become the master musicians that they are today. This week, Patricia and [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor) discuss Martin’s musical upbringing, how his father inspired him to play the guitar, the elements that drew him to fingerstyle guitar playing and jazz music, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play fingerstyle guitar from a master musician like Martin Taylor? Try a free online guitar lesson now!](https://go.artistworks.com/five-online-lessons-fingerstyle-guitar) Naturally, Patricia and Martin start the conversation at the beginning—discussing Martin’s childhood, his father’s skills as a guitarist and upright bassist, and how Martin’s musical household influenced him to begin learning to play the guitar at the age of five. “I can remember very clearly the day my father’s first guitar arrived,” explains Martin. “It was a Hofner President model. When my dad opened up the case, I remember seeing the guitar for the first time and I remember it smelling so wonderful and new, like fresh wood and glue. From then on, I was hooked.” For many of us, learning and fully understanding the mechanics of music and music theory can be tremendously tedious and challenging, especially as children. For Martin, that wasn’t the case during his early years. “I just picked up music instantly. I just got it,” Martin explains. “There were a lot of things that I was a little bit slow in learning as a child at school, but music just made sense to me. Music helped me understand this world that I’d been born into.” As Martin grew older and continued to progress on the guitar, he became drawn to jazz music, particularly the genre’s improvisational element. As early as age seven, Martin and his family began hosting small performances at their home to showcase the young musician’s talents. “As a child, when I watched jazz musicians improvise, I remember thinking, ‘I can do that,’” Martin explains. “As I got better at it, all these people used to come over to our house to watch me play the guitar and improvise at the age of seven, and I remember not understanding what all the fuss was about.” To learn more about [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), his life, musical career, and approach to teaching, listen to the full podcast here: If you’re interested in studying fingerstyle jazz guitar and learning even more about Martin’s approaches to developing as a guitarist and musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-martin-taylor) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor) [ArtistWorks Music Series—Episode 57: An ArtistWorks Holiday Celebration](https://blog.artistworks.com/new-podcast-artistworks-holiday-celebration) [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [On the Road...Again?](https://blog.artistworks.com/roadagain-0/) **Published:** January 4, 2022 **Author:** ArtistWorks **Excerpt:**

No need to say how the last couple of years have affected everything, not least the live performance universe. The last Blasters tour ended in the fall of 2019; the slate was completely erased for 2020 and we just dipped our toes back in the water with a few dates in 2021.

Our pre-Covid touring schedule is not gonna come back, but we are planning to hit some stages within striking distance again this year. So far this is how things look - if you’re in the neighborhood I’d be happy to meet you, just like old times!

**Content:** No need to say how the last couple of years have affected everything, not least the live performance universe. The last Blasters tour ended in the fall of 2019; the slate was completely erased for 2020 and we just dipped our toes back in the water with a few dates in 2021. Our pre-Covid touring schedule is not gonna come back, but we are planning to hit some stages within striking distance again this year. So far this is how things look – if you’re in the neighborhood I’d be happy to meet you, just like old times! Sat Jan 8 Casbah San Diego CA Sat Jan 15 Coach House San Juan Capistrano CA Sat Jan 22 Alex’s Bar Long Beach CA Fri Jan 28 Bottom of the Hill San Francisco CA Sat Jan 29 Ritz San Jose CA Sun Jan 30 Harlow’s Sacramento CA Fri Feb 4 Club Congress Tucson AZ Sat Feb 5 Rhythm Room Phoenix AZ Fri Feb 18 Longboard Pacifica CA Sat Feb 19 Siren Morro Bay CA Sat Feb 26 The Alibi Palm Springs CA Fri Mar 25 Moe’s Alley Santa Cruz CA Sat Mar 26 Guild Theatre Menlo Park CA Sat Apr 9 Bourbon Room Los Angeles CA Sat Apr 16 Viva Las Vegas Las Vegas NV Wed May 18 Antone’s Austin TX Thu May 19 Trees Dallas TX Fri May 20 Main St. Crossing Tomball TX Sat May 21 St. Andrew’s Presbyterian Church Houston TX ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Rock Guitar Lesson: An Introduction to Power Chords with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-introduction-power-chords-jared-james-nichols/) **Published:** December 30, 2021 **Author:** ArtistWorks **Excerpt:**

One of the most common types of guitar chords that can be heard across musical styles ranging from classic to modern rock, blues, metal, and everything in between is the Power Chord. So, it’s no surprise that the Power Chord is a critical element and a staple within the blues rock guitar style and the genre in general. Therefore, it’s essential to fully understand what defines a Power Chord and master the associated performance techniques when learning to play hard rock and blues guitar.

**Content:** ![]() One of the most common types of guitar chords that can be heard across musical styles ranging from classic to modern rock, blues, metal, and everything in between is the Power Chord. So, it’s no surprise that the Power Chord is a critical element and a staple within the blues rock guitar style and the genre in general. Therefore, it’s essential to fully understand what defines a Power Chord and master the associated performance techniques when learning to play hard rock and blues guitar. In this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), world-renowned guitarist, “Blues Power” titan, and ArtistWorks blues rock guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), dives deep into the topic of Power Chords. He shows you how to construct them anywhere on the neck, and even outlines a few classic riffs that utilize these mighty two-note harmonies. LEARN MORE: [Want to learn how to play blues and rock guitar from a master musician like Jared James Nichols? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) “A Power Chord is the staple of rock ‘n’ roll. It’s the staple of guitar riffs in modern rock and even blues music,” explains Jared. “So many of your favorite songs use Power Chords and you may not even realize it. They’re literally everywhere in rock ‘n’ roll.” Power Chords have a very distinct tonality that makes them easily recognizable and for that reason, they’ve become such a foundational aesthetic of rock music and its sub-genres. And, as an added bonus, they’re relatively easy to grab and wail on anywhere on the guitar neck. “Even though Power Chords are only two notes, they bring such a strong sound and thick tone to whatever you’re playing,” Jared explains. “They’re almost like single notes in disguise, but the two notes work together to sound super full and aggressive in a way that single notes just can’t.” To learn more about Power Chords, how to build them, and a handful of classic riffs that employ them, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols) from [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols): An Introduction to Power Chords with Jared James Nichols: LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) [Jared James Nichols Releases New EP, Shadow Dancer](https://blog.artistworks.com/jared-james-nichols-releases-new-ep-shadow-dancer) [Jared James Nichols Restores One of the First Gibson Les Pauls Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Bluegrass Rhythm Guitar Lesson: Learn to Play “Shady Grove” with Chris Eldridge](https://blog.artistworks.com/bluegrass-rhythm-guitar-lesson-learn-play-shady-grove-chris-eldridge/) **Published:** December 28, 2021 **Author:** ArtistWorks **Excerpt:**

A traditional Appalachian folk song thought to have originated in eastern Kentucky at the beginning of the 20th century, “Shady Grove” was quickly adopted into the bluegrass repertoire early on and has since become a staple of the genre. As such, it’s a piece that pickers, strummers, and fiddlers of all levels should be familiar with, and is a great tune to call at any jam session.

**Content:** ![]() A traditional Appalachian folk song thought to have originated in eastern Kentucky at the beginning of the 20th century, “Shady Grove” was quickly adopted into the bluegrass repertoire early on and has since become a staple of the genre. As such, it’s a piece that pickers, strummers, and fiddlers of all levels should be familiar with, and is a great tune to call at any jam session. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Punch Brothers co-founder, Grammy Award-winning guitarist, and ArtistWorks bluegrass guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), teaches how to play the supporting rhythm guitar part to “Shady Grove” in the key of D minor. He also details some essential introductory music theory concepts that are utilized in this song and can be applied to many others as you continue to progress on the guitar. To explore “Shady Grove” further, learn the melody, and more, dive into Chris’ online bluegrass guitar course [here](https://artistworks.com/guitar-lessons-chris-eldridge). LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) “‘Shady Grove’ is a really interesting tune,” Chris explains. “It’s a modal tune, meaning that all of the notes in the melody come from the parent key or parent scale of C major, despite the fact that the tune has a very dominating D minor sound. There are a lot of tunes like this in bluegrass, and this is a great one to start with.” Chris also uses “Shady Grove” as a platform to teach about passing notes and passing chords in the context of bluegrass rhythm guitar playing. Integrating passing notes or chords is a great way to add complexity and unique sonic colorations to any piece. It’s a technique that beginners should begin exploring early on and that intermediate and advanced players should focus on regularly. “Just for fun, I introduced an A note in that descending bass line below the C major chord,” explains Chris. “Passing notes like this make a nice color and are a great way to spice up your rhythm playing.” To learn how to play “Shady Grove” on the acoustic guitar and better understand the fundamental music theory behind this classic tune, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Learn to Play “Shady Grove” with Chris Eldridge: LEARN MORE: Have you always wanted to learn how to play bluegrass guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge) [ArtistWorks Music Series Podcast—“How to Get Out of a Musical Slump” with Chris Eldridge](https://blog.artistworks.com/new-podcast-chris-eldridge-how-get-out-musical-slump) [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [All 3 Versions of Bonaparte's Retreat are now up!](https://blog.artistworks.com/all-3-versions-bonapartes-retreat-are-now/) **Published:** December 23, 2021 **Author:** ArtistWorks **Excerpt:**

We now have available Darol's lessons on all 3 versions of Bonaparte's Retreat, one of the most mellifluous and rewarding fiddle tunes out there. These are the most popular and most fun-to-play versions, from the easiest to some beautiful Appalachian-style bowing, to the template for Aaron Copland's orchestral work Rodeo. Be sure to check them all out!

**Content:** We now have available Darol’s lessons on all 3 versions of **Bonaparte’s Retreat**, one of the most mellifluous and rewarding fiddle tunes out there. These are the most popular and most fun-to-play versions, from the easiest to some beautiful Appalachian-style bowing, to the template for Aaron Copland’s orchestral work *Rodeo*. Be sure to check them all out! ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner Piano Lesson: Major vs. Minor Pentascales with Zachary Deak](https://blog.artistworks.com/beginner-piano-lesson-major-vs-minor-pentascales-zachary-deak/) **Published:** December 23, 2021 **Author:** ArtistWorks **Excerpt:**

As you begin learning how to play piano, it’s important to develop an understanding of basic music theory while you build your technique and fundamental mechanics. One very critical piece of introductory music theory that beginner piano players all need to know is the difference between the two most common musical tonalities: major and minor.

**Content:** ![]() As you begin learning how to play piano, it’s important to develop an understanding of basic music theory while you build your technique and fundamental mechanics. One very critical piece of introductory music theory that beginner piano players all need to know is the difference between the two most common musical tonalities: major and minor. In this [online piano lesson](https://artistworks.com/beginner-piano-lessons) for beginners, keyboard instructor at CSU Los Angeles and ArtistWorks’ “[Beginner’s Guide to Piano](https://artistworks.com/beginner-piano-lessons)” teacher, Zachary Deak, outlines the fundamental difference between major and minor tonalities in the context of Pentascales. He illustrates each tonality’s unique sonic characteristics using parallel major and minor Pentascales in the key of C as an example. LEARN MORE: [Want to learn how to play piano from a master musician and member of the CSU Los Angeles keyboard faculty? Try some free online piano lessons now!](https://go.artistworks.com/free-adult-piano-lessons) Pentascales are five-note diatonic scales that consist of the first five notes found in the major or minor scale of that key. For example, in the key of C major, the Pentascale is made up of the notes C, D, E, F, and G. “There is only one note difference between the major and minor Pentascales,” Zachary explains. “What’s so amazing is that by just changing that one note, we completely change the character of the scale, which, in turn, changes the emotive quality of the piece, melody, or harmony that we’re performing.” Understanding the difference between the major and minor Pentascale will allow you to translate those differences directly to major and minor chords, specifically triads. This is an essential next step in better internalizing music theory concepts. “Getting really comfortable switching between major and minor key centers and chords is really important,” explains Zachary. “As you progress in your practice, you’ll quickly come to see how many pieces that we all know and love utilize these movements.” To learn more about the difference between major and minor tonalities as they relate to Pentascales and triads, and how to transition between them, dive into this [online piano lesson](https://artistworks.com/beginner-piano-lessons) designed specifically for adult beginners from [Zachary Deak](https://artistworks.com/beginner-piano-lessons): Major vs. Minor Pentascales with Zachary: LEARN MORE: Have you always wanted to learn how to play piano? Through our comprehensive [beginner piano lessons online](https://artistworks.com/beginner-piano-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from CSU Los Angeles piano instructor, [Zachary Deak](https://artistworks.com/beginner-piano-lessons), and get personal feedback on your playing. Zachary’s comprehensive course teaches all the fundamental beginner piano basics and will quickly get you playing your favorite classic piano music. This is the perfect course for adult beginners and first-time players and will lead all students to grow and improve their skills as pianists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Two New “Beginner’s Guide” Courses Now Open for Piano and Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar) [Piano Lesson: Creating an Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung) [Classical Piano Lesson: Practicing with the F.E.R.N. Approach with Christie Peery](https://blog.artistworks.com/classical-piano-lesson-practicing-fern-approach) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [New Podcast: An ArtistWorks Holiday Celebration](https://blog.artistworks.com/new-podcast-artistworks-holiday-celebration/) **Published:** December 22, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s special holiday episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down to chat with seven of our ArtistWorks instructors: mandolin master Mike Marshall, shred guitar virtuoso Paul Gilbert, world-renowned fingerstyle guitarist Martin Taylor, Grammy Award-winning harmonica player Howard Levy, bluegrass banjo icon Tony Trischka, saxophone giant Eric Marienthal, and IBMA Award-winning mandolinist Sierra Hull. Together, these master musicians explore and perform some of the most meaningful music that inspires their holiday season, and share their favorite holiday memories as well. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s special holiday episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down to chat with seven of our ArtistWorks instructors: mandolin master [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), shred guitar virtuoso [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), world-renowned fingerstyle guitarist [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), Grammy Award-winning harmonica player [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), bluegrass banjo icon [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), saxophone giant [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and IBMA Award-winning mandolinist [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull). Together, these master musicians explore and perform some of the most meaningful music that inspires their holiday season, and share their favorite holiday memories as well. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play an instrument or sing from a true master musician? Try some free online music lessons now!](https://artistworks.com/#freelessons) Every year as the holidays approach, many of us have that one experience or ritual, or maybe a special food or beverage, that signifies the start of the season. For some, including many of our ArtistWorks instructors, hearing or playing specific holiday songs accomplishes just that. “I was lucky enough to record an album with my bandmates in Trio Globo and the great Jewish cantor Alberto Mizrahi,” explains [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy). “The album consists of half Hannukah music and half Passover music. I often feel the need to listen to the album around those holidays. They kind of signify those times for me.” For other members of our ArtistWorks family, the holidays not only represent a festive, joyous time of year, they also signify the beginning of their musical careers and harken back to memories of learning their instruments and developing their passion for music. “Back in 1963, for Christmas, my parents bought me my very first banjo,” explains [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). “On Christmas day, I woke up, and under the tree there it was—a Christy long neck 5-string. That was an exciting Christmas for me, to say the least.” To learn more about the music and memories that inspire our artists’ holiday seasons, listen to the full podcast here: If you’re interested in learning to play an instrument or sing, there has never been a better time to sign up for [online music lessons](https://artistworks.com/all-courses) here at ArtistWorks. Now through December 27, 2021, you can SAVE 50% on any 12-month plan, and receive access to our Ear Training Course as an added bonus, absolutely free. Click [here](https://artistworks.com/all-courses) to explore our full assortment of courses, and use code MERRY50 at checkout to save. ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, co-founder Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Annual Holiday Sales Event 2021 ](https://blog.artistworks.com/artistworks-annual-holiday-sales-event-2021) [2021 Holiday Music Special: An ArtistWorks Livestream Event](https://blog.artistworks.com/2021-holiday-music-special-artistworks-livestream-event) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Holiday Tunes Lessons Added!](https://blog.artistworks.com/new-holiday-tunes-lessons-added/) **Published:** December 22, 2021 **Author:** ArtistWorks **Excerpt:**

Mike has just added 2 new holiday tune lessons, you can find them at the links below or in the HOLIDAY TUNES section of the lessons.

Click Here for "Silver Bells"

Click Here for "White Christmas"

Happy Holidays everyone!

**Content:** ![]() Mike has just added 2 new holiday tune lessons, you can find them at the links below or in the HOLIDAY TUNES section of the lessons. [Click Here for “Silver Bells”](https://my.artistworks.com/mike-marshall/learning/190227) [Click Here for “White Christmas”](https://my.artistworks.com/mike-marshall/learning/190228) Happy Holidays everyone! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The Duo with the WDR Big Band Livestream Dec 18](https://blog.artistworks.com/duo-wdr-big-band-livestream-dec-18/) **Published:** December 17, 2021 **Author:** ArtistWorks **Excerpt:**

The weirdest dream: Darol and Mike as The Duo, playing their music with the WDR Big Band in Cologne, Germany, led by legendary saxophonist Bob Mintzer.
Livestream on Youtube here: Dec 18: 11am West coast, 2PM East Coast, 1pm Central, etc.
https://www.youtube.com/watch?v=tI5MKXqrhnU

**Content:** The weirdest dream: Darol and Mike as **The Duo**, playing their music with the **WDR Big Band** in Cologne, Germany, led by legendary saxophonist Bob Mintzer. Livestream on Youtube **[here](https://www.youtube.com/watch?v=tI5MKXqrhnU)**: **Dec 18: 11am West coast, 2PM East Coast, 1pm Central, etc.** ![]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner Rock Guitar Lesson: How to Tune the Guitar with Kevin Barry](https://blog.artistworks.com/beginner-rock-guitar-lesson-how-tune-guitar-kevin-barry/) **Published:** December 17, 2021 **Author:** ArtistWorks **Excerpt:**

Before you pick up the electric guitar and begin performing, practicing, or even leisurely strumming your favorite songs, there is one critical step that always needs to be taken—checking the tuning of your instrument and adjusting as needed. Knowing how to tune the guitar properly is an essential skill that guitarists of all levels need to master, and is crucial for beginners to learn. Hearing the guitar in its proper tuning is especially important for first-time players as they begin to navigate the fretboard and develop their musical ears.

**Content:** ![]() Before you pick up the electric guitar and begin performing, practicing, or even leisurely strumming your favorite songs, there is one critical step that always needs to be taken—checking the tuning of your instrument and adjusting as needed. Knowing how to tune the guitar properly is an essential skill that guitarists of all levels need to master, and is crucial for beginners to learn. Hearing the guitar in its proper tuning is especially important for first-time players as they begin to navigate the fretboard and develop their musical ears. In this [online guitar lesson](https://artistworks.com/beginner-rock-guitar-lessons) for beginners, Associate Professor of Guitar Performance at Berklee College of Music and ArtistWorks “[Beginner’s Guide to Rock Guitar](https://artistworks.com/beginner-rock-guitar-lessons)” instructor, Kevin Barry, demonstrates how to tune the guitar. He supplies detailed, step-by-step instructions outlining the process so that first-time players can easily repeat the process, and provides an in-depth breakdown of standard guitar tuning and the fretboard to help beginning students better understand the mechanics of the instrument. “There are some basic things that you should know to help you tune your guitar more easily,” Kevin explains. “The first and most critical thing is knowing your string names and how the strings are arranged on the instrument. So, that’s where we’re going to start.” LEARN MORE: [Want to learn how to play rock guitar from a master musician and Berklee College of Music Professor? Try some free online guitar lessons from Kevin Barry now!](https://go.artistworks.com/free-adult-rock-guitar-lessons) In addition to outlining how to tune the guitar in this lesson, Kevin also provides information on the guitar’s construction and tips for navigating and understanding the fretboard. “In order to begin to understand how notes are organized on a guitar, it’s important to understand what frets and the guitar’s fretboard are,” explains Kevin. “Basically, everything we’ll be learning from here forward will rely on knowing your string names and your fret numbers. These are critical for every guitar player to know.” To learn how to tune the guitar, how the fretboard is organized, and other fundamental mechanics of the instrument, dive into this [online guitar lesson](https://artistworks.com/beginner-rock-guitar-lessons) designed specifically for adult beginners from [Kevin Barry](https://artistworks.com/beginner-rock-guitar-lessons): How to Tune the Guitar with Kevin Barry: LEARN MORE: Have you always wanted to learn how to play rock guitar? Through our comprehensive [beginner guitar lessons online](https://artistworks.com/beginner-rock-guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from Associate Professor of Guitar Performance at Berklee College of Music, [Kevin Barry](https://artistworks.com/beginner-rock-guitar-lessons), and get personal feedback on your playing. Kevin’s comprehensive course teaches all the fundamental beginner guitar basics to quickly get you playing your favorite classic rock tunes on the electric guitar. This is the perfect course for adult beginners and first-time players and will lead all students to grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Two New “Beginner’s Guide” Courses Now Open for Piano and Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar) [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Annual Holiday Sales Event 2021](https://blog.artistworks.com/artistworks-annual-holiday-sales-event-2021/) **Published:** December 17, 2021 **Author:** ArtistWorks **Excerpt:**

Our annual ArtistWorks Holiday Sale is officially on! This holiday season, save 50% on any 12-month plan at ArtistWorks and start learning directly from a master musician today. Plus, as an added bonus, we’re offering access to our comprehensive Ear Training Course (a $39.99 value) absolutely free with your holiday purchase.

**Content:** ![]() Our annual ArtistWorks Holiday Sale is officially on! This holiday season, save 50% on any 12-month plan at ArtistWorks and start learning directly from a master musician today. Plus, as an added bonus, we’re offering access to our comprehensive Ear Training Course (a $39.99 value) absolutely free with your holiday purchase. We only offer these kinds of savings once a year, so now’s the time to sign up or renew your current membership at an amazing price. Those joining or renewing now will be part of an exciting 2022 with lots of new additions and collaborations coming from many of our artists. Use code JINGLE50 at checkout to save 50% on any 12-month plan at ArtistWorks, and receive access to our Ear Training Course as an added bonus, absolutely free. But, don’t wait—this offer is only available through December 27, 2021. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons, and join today. ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [2021 Holiday Music Special: An ArtistWorks Livestream Event](https://blog.artistworks.com/2021-holiday-music-special-artistworks-livestream-event) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [Bluegrass Mandolin Lesson: Learn to Play “Amazing Grave” with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learn-play-amazing-grace-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [2021 Holiday Music Special: An ArtistWorks Livestream Event](https://blog.artistworks.com/2021-holiday-music-special-artistworks-livestream-event/) **Published:** December 16, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that at 4:30 pm PST on Tuesday, December 21, 2021, ArtistWorks will be hosting our Holiday Music Special—a free livestreamed event celebrating the holiday season and the wonderful music that accompanies it.

**Content:** ![]() We are excited to announce that at 4:30 pm PST on Tuesday, December 21, 2021, ArtistWorks will be hosting our Holiday Music Special—a free livestreamed event celebrating the holiday season and the wonderful music that accompanies it. The event will feature discussion and performances from a handful of our ArtistWorks instructors including[ ](https://www.facebook.com/SierraHullMusic?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull),[ ](https://www.facebook.com/paulgilbertmusic?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger),[ ](https://www.facebook.com/CritterEldridge?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge),[ ](https://www.facebook.com/MichaelDavesMusic/?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=kK-R)[Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves),[ ](https://www.facebook.com/GeorgeWhittyMusic/?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=kK-R)[George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty),[ ](https://www.facebook.com/guthrie.trapp?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp),[ ](https://www.facebook.com/caterina.lichtenberg?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and[ ](https://www.facebook.com/BlockCello?__cft__[0]=AZWolj6zo1x_wCy1eoWigjaVPErphGqeRZ6GLUCwraW9h677Pf-H8vIOdXm_rYyZTyJNl2rTckWFZZc7-pvR8x1XQlk0OiFqpFfqfcGovrRGBexhyWamwKqRMsr8fEq1rd7-p4ucqcklw6Fv7_iCbm56K6yA6Sl1RFvpAz4YpauXi_Ud85m0kS-BH-mM0liqfbuqRRXhs1v_nb2JA740Q8Bk&__tn__=-]K-R)[Mike Block](https://artistworks.com/cello-lessons-mike-block). Together, these master musicians will be sharing, exploring, and performing the most meaningful music that defines and inspires their holiday season. LEARN MORE: [Want to learn how to play an instrument or sing from a true master musician? Try some free online music lessons now! ](https://artistworks.com/#freelessons) “I’ll be performing and discussing the Bill Monroe classic ‘Christmas Time’s A-Coming,’” explains Michael Daves excitedly. “It’s a fantastic tune with a great fiddle feature. I’m looking forward to nerding out with Darol about Tex Logan, the fiddle player who wrote the song, too.” We’re eagerly awaiting to see what pieces the other members of the ArtistWorks faculty select and discover which tunes best represent and usher in their holiday season. The discussion and performances are sure to be lively, festive, and full of holiday cheer. We look forward to seeing you there! Tune in here on Tuesday, December 21 at 4:30 pm PST to join the event: ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to piano, banjo, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. READ MORE: [Bluegrass Mandolin Lesson: Learn to Play “Amazing Grace” with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learn-play-amazing-grace-sierra-hull) [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Let's talk about getting comfortable with the Bass!](https://blog.artistworks.com/lets-talk-about-getting-comfortable-bass/) **Published:** December 14, 2021 **Author:** ArtistWorks **Excerpt:**

Hey hey folks!
I hope you are well! Just wanted to check in and say hi and to talk just a wee bit about how important it is to be comfortable as we stand next to and hold the bass. Go ahead and take a minute or more and evaluate your bass/body relationship and make sure you feel in control and it doesn't feel awkward. Use a mirror to check how it looks and tune in to how you feel. This is a great thing for beginners AND experienced players alike.

Also, wanted to let you know that I'm playing another LiveSteam show with my bluegrass band, Allegheny, this Thursday, Dec 16th 7pm CDT- just tune in to my FB page where I'll be sharing it or to The Nashville Tunestream fb page https://www.facebook.com/nashvilletunestream

Join me, Tristan Scroggins, Ellie Hakanson, Ben Garnett and special guest on banjo, Ned Luberecki!

Cheers, Missy

**Content:** Hey hey folks! I hope you are well! Just wanted to check in and say hi and to talk just a wee bit about how important it is to be comfortable as we stand next to and hold the bass. Go ahead and take a minute or more and evaluate your bass/body relationship and make sure you feel in control and it doesn’t feel awkward. Use a mirror to check how it looks and tune in to how you feel. This is a great thing for beginners AND experienced players alike. Also, wanted to let you know that I’m playing another LiveSteam show with my bluegrass band, Allegheny, this Thursday, Dec 16th 7pm CDT- just tune in to my FB page where I’ll be sharing it or to The Nashville Tunestream fb page https://www.facebook.com/nashvilletunestream Join me, Tristan Scroggins, Ellie Hakanson, Ben Garnett and special guest on banjo, Ned Luberecki! Cheers, Missy ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Two New “Beginner’s Guide” Courses Now Open for Piano and Rock Guitar](https://blog.artistworks.com/two-new-beginners-guide-courses-now-open-piano-and-rock-guitar/) **Published:** December 14, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that two of our newest courses, “Beginner’s Guide to Piano” and “Beginner’s Guide to Rock Guitar,” are officially here! As of 12 pm PT, the courses are both live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that two of our newest courses, “[Beginner’s Guide to Piano](https://artistworks.com/beginner-piano-lessons)” and “[Beginner’s Guide to Rock Guitar](https://artistworks.com/beginner-rock-guitar-lessons),” are officially here! As of 12 pm PT, the courses are both live and open to all students. Alongside “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons),” taught by ArtistWorks co-founder and the creator of Video Exchange Learning®, [David Butler](https://artistworks.com/beginner-guitar-lessons), these two new courses make up our “[Adult Beginner’s Guide to Music](https://artistworks.com/music-for-beginners)” series: a collection of comprehensive courses designed specifically for adult beginners and first-time players. BEGINNER’S GUIDE TO ROCK GUITAR: ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Course-Now-Open_Kevin_Blog2.jpg) Instructed by Associate Professor at the Berklee College of Music in Boston, MA, [Kevin Barry](https://artistworks.com/beginner-rock-guitar-lessons), “[Beginner’s Guide to Rock Guitar](https://artistworks.com/beginner-rock-guitar-lessons)” teaches first-time guitarists how to play their favorite rock ‘n’ roll classics on electric guitar. Through the course, you’ll learn basic guitar chords, picking and strumming techniques, and beginner music theory all in the context of classic rock songs you know and love. Alongside hundreds of lesson videos, you’ll have access to tablature and notation, play-along backing tracks, and the added option to get the feedback you need through Video Exchange®. These adult beginner guitar lessons will teach you everything needed to pick up your guitar, plug in, and jam along to your favorite rock classics. “I’ve created a step-by-step course here to teach you all of the rock guitar fundamentals, and, just as importantly, have fun doing it,” Kevin explains. “With ArtistWorks’ patented Video Exchange technology, I’ll be able to provide you with direct feedback at every step to kickstart your musical journey.” [SIGN UP NOW!](https://artistworks.com/beginner-rock-guitar-lessons) Learn to play the music you love. Kevin can’t wait to see you online. BEGINNER’S GUIDE TO PIANO: ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Course-Now-Open_Zachary_Blog.jpg) Taught by [Zachary Deak](https://artistworks.com/beginner-piano-lessons), lifelong pianist and lecturer at California State University, Los Angeles and Cuesta College in San Luis Obispo, CA, “[Beginner’s Guide to Piano](https://artistworks.com/beginner-piano-lessons)” teaches first-time pianists and adult beginners how to play their favorite popular and classical pieces on the piano. In this course, you’ll learn basic piano scales, performance techniques, and beginner music theory through iconic piano music you know and love. Like “Beginner’s Guide to Rock Guitar,” Zachary’s course offers hundreds of lesson videos, sheet music, and supplemental materials, as well as the added option to get the feedback you need through Video Exchange®. These adult beginner piano lessons will quickly teach you everything needed to play your favorite music on the piano. “I’m so enthusiastic about sharing this incredible knowledge and the joys of music-making,” Zachary explains. “This isn’t just a course. It’s a really supportive community of people just like you, learning to play an instrument at various stages in their lives.” [SIGN UP NOW!](https://artistworks.com/beginner-piano-lessons) Learn to play the music you love. Zachary can’t wait to see you online. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Kevin and Zachary to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to piano, banjo, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar, Piano --- ### [Livestream: Mike Marshall & Darol Anger to Perform With WDR Big Band](https://blog.artistworks.com/livestream-mike-marshall-darol-anger-perform-wdr-big-band/) **Published:** December 14, 2021 **Author:** ArtistWorks **Excerpt:**

This Saturday, December 18, 2021, master musicians and members of the ArtistWorks bluegrass faculty, Mike Marshall and Darol Anger will be performing alongside the WDR Big Band, one of Germany’s preeminent musical ensembles and a jazz orchestra that is highly regarded worldwide.

**Content:** ![]() This Saturday, December 18, 2021, master musicians and members of the ArtistWorks bluegrass faculty, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) will be performing alongside the WDR Big Band, one of Germany’s preeminent musical ensembles and a jazz orchestra that is highly regarded worldwide. As a result of the pandemic, the event will take place without an audience. However, the concert will be streamed live over the internet beginning at 11:00 am PST on December 18 [here](https://www1.wdr.de/orchester-und-chor/bigband/konzerte/termine/big-band-blue-grass-100.html), and will be available completely free for all viewers. The concert’s theme is “Bluegrass Meets Jazz,” and will feature ten original compositions by bluegrass mandolin master [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and fiddle icon [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger). The pieces were selected and arranged for the 30-piece ensemble by Bob Mintzer, WDR’s chief conductor and long-time member of the legendary American jazz-fusion quartet, The Yellowjackets. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try some free online mandolin lessons now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “Bob went through all of our albums and hand-selected ten of his favorite tunes from our catalogs and arranged them for the big band,” Mike explains. “Darol and I are both beyond excited! The musicians in the group are all top players from Germany, and it’s sure to be a wonderful event.” While the bluegrass and jazz genres both have their unique qualities, there are many parallels between the two styles. Both forms of music thrive on their driving energy, concise rhythms, and combination of pre-written and improvised performances. LEARN MORE: [Want to learn fiddle from a master musician like Darol Anger? Try some free online fiddle lessons now!](https://go.artistworks.com/free-online-fiddle-lessons-darol-anger) “The music of Mike Marshall and Darol Anger is rooted in the bluegrass tradition, but goes much further in terms of composition and playing technique,” Mintzer explains. “The music is melodious, lively, and interesting in form and course. I’ve found a lot in common between the two genres, and I think it all goes well together. When you add the big band to the two soloists, the music definitely takes on a different note.” To tune in and learn more about the “Bluegrass Meets Jazz” livestream featuring [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and the WDR Big Band, click [here](https://www1.wdr.de/orchester-und-chor/bigband/konzerte/termine/big-band-blue-grass-100.html). LEARN MORE ABOUT MANDOLIN & FIDDLE LESSONS AT ARTISTWORKS: Have you always wanted to learn how to play bluegrass mandolin or fiddle? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) or [online fiddle lessons](https://artistworks.com/fiddle-lessons-darol-anger) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personal feedback on your playing. Mike and Darol’s courses each start with the basics and teach everything from beginner mandolin and fiddle to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists or fiddlers, and as musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Signature Pick From Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks) [ArtistWorks Music Series—Mike Marshall Celebrates 8,000 Video Exchanges](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) [Fiddle Lesson: Bow Speed, Pressure, & Placement with Darol Anger](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: Learn to Play “Amazing Grace” with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-learn-play-amazing-grace-sierra-hull/) **Published:** December 10, 2021 **Author:** ArtistWorks **Excerpt:**

“Amazing Grace” is a musical work with a fantastically rich history and one that has made an impact across cultures. Originally written in 1772 by English poet and Anglican clergyman, John Newton, the piece has been performed and recorded by hundreds of artists in dozens of different stylistic interpretations throughout the centuries. “Amazing Grace” has had an immense impact on American popular music in particular, and has been performed by various iconic artists including Aretha Franklin, Joan Baez, Elvis Presley, Johnny Cash, Willie Nelson, Sam Cooke, Judy Collins, and many more.

**Content:** ![]() “Amazing Grace” is a musical work with a fantastically rich history and one that has made an impact across cultures. Originally written in 1772 by English poet and Anglican clergyman, John Newton, the piece has been performed and recorded by hundreds of artists in dozens of different stylistic interpretations throughout the centuries. “Amazing Grace” has had an immense impact on American popular music in particular, and has been performed by various iconic artists including Aretha Franklin, Joan Baez, Elvis Presley, Johnny Cash, Willie Nelson, Sam Cooke, Judy Collins, and many more. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull), Grammy Award-winning musician, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), teaches how to play the melody to “Amazing Grace” in the key of G Major. She also details some essential introductory music theory concepts that are utilized in this song and can be applied to many others as you continue to progress on the mandolin. To explore Part 2 of this lesson and more, join Sierra’s online mandolin course [here](https://artistworks.com/mandolin-lessons-sierra-hull). “One of the things that I want to bring to my student’s attention with ‘Amazing Grace’ is its use of waltz time,” Sierra explains. “Rather than the typical 4 beats per measure, in waltz time there are only 3. We’ve all heard songs like this many times throughout our lives and may not have even realized it.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) Taking the time to learn how to play “Amazing Grace” on the mandolin is not only beneficial in that you’re expanding your repertoire to include a timeless classic, it also helps reinforce your knowledge and practice of fundamental music theory concepts and scales. “When you’re learning to play the ‘Amazing Grace’ melody, the best way to start is by reviewing your G Major scale,” Sierra explains. “Scales are so fundamental to everything we play in music and are the foundation of nearly every melody.” To learn how to play “Amazing Grace” on the mandolin and understand the fundamental music theory behind this prolific piece, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Learn to Play “Amazing Grace” (Part 1) with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Mandolin Lesson: Setting Your Tone Goals with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-setting-your-tone-goals-sierra-hull) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [The ArtistWorks 7 Day Giveaway!](https://blog.artistworks.com/artistworks-7-day-giveaway/) **Published:** December 10, 2021 **Author:** ArtistWorks **Excerpt:**

7 Days, 7 Prizes! We’re counting down to our biggest sale of the year and giving out BIG prizes while we wait. Sign up now to win VIP access to ArtistWorks and some great gear from our partners across the industry. The prizes get bigger as the days go on, and one winner will be selected each day.

**Content:** ![]() 7 Days, 7 Prizes! We’re counting down to our biggest sale of the year and giving out BIG prizes while we wait. Sign up now to win VIP access to ArtistWorks and some great gear from our partners across the industry. The prizes get bigger as the days go on, and one winner will be selected each day. Enter [HERE](https://go.artistworks.com/2021-7-day-giveaway) before December 17, 2021 at 12:00am PST for a chance to win one of these amazing prizes: - Day #1: 6-month VIP access to the ArtistWorks course of your choice - **Day #2: Seymour Duncan 805 Overdrive Pedal** - **Day #3: Ultimate Jam Kit: strings, leather strap, tuner, and picks!** - **Day #4: 12-month VIP ArtistWorks access + free “Add-On” course** - **Day #5: Deering Goodtime Banjo + D’Addario strings and banjo stand** - **Day #6: Ibanez M700 Mandolin – OR – Islander MSC-4 Ukulele (winner’s choice!)** - **Day #7, GRAND PRIZE: Ibanez FRM300 Electric Guitar \*SIGNED\* by Paul Gilbert + 10 custom PG picks signed by Paul himself!** Don’t miss out on your chance to win. Hurry, the contest ends on 12/17! Click [HERE](https://go.artistworks.com/2021-7-day-giveaway) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [ArtistWorks Celebrates 100,000 Video Exchanges! ](https://blog.artistworks.com/artistworks-celebrates-100000-video-exchanges) [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [A Treasure of Banjos](https://blog.artistworks.com/treasure-banjos-0/) **Published:** December 9, 2021 **Author:** ArtistWorks **Excerpt:**

Hey Folks. I'm really excited about a streaming show I'm doing ths coming Saturday, December 11th. I'll be playig a variety of different banjos, from my own Golden Clipper model to an 1882 Fairbanks Cole nylon strung banjo. I'll be doing originals spanning tunes from my first 1974 album all the way through current times. It's going to be interactive and I sure hope you can make it. Here's the link:

https://mandolin.com/events/6721118a-8b07-4077-95d9-125e85b765fc

**Content:** Hey Folks*.* I’m really excited about a streaming show I’m doing ths coming Saturday, December 11th. I’ll be playig a variety of different banjos, from my own Golden Clipper model to an 1882 Fairbanks Cole nylon strung banjo. I’ll be doing originals spanning tunes from my first 1974 album all the way through current times. It’s going to be interactive and I sure hope you can make it. Here’s the link: https://mandolin.com/events/6721118a-8b07-4077-95d9-125e85b765fc ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [A Treasure of Banjos](https://blog.artistworks.com/treasure-banjos/) **Published:** December 9, 2021 **Author:** ArtistWorks **Excerpt:**

Hey Folks. I'm really excited about a streaming show I'm doing ths coming Saturday, December 11th. I'll be playig a variety of different banjos, from my own Golden Clipper model to an 1882 Fairbanks Cole nylon strung banjo. I'll be doing originals spanning tunes from my first 1974 album all the way through current times. It's going to be interactive and I sure hope you can make it. Here's the link:

https://mandolin.com/events/6721118a-8b07-4077-95d9-125e85b765fc

**Content:** Hey Folks*.* I’m really excited about a streaming show I’m doing ths coming Saturday, December 11th. I’ll be playig a variety of different banjos, from my own Golden Clipper model to an 1882 Fairbanks Cole nylon strung banjo. I’ll be doing originals spanning tunes from my first 1974 album all the way through current times. It’s going to be interactive and I sure hope you can make it. Here’s the link: https://mandolin.com/events/6721118a-8b07-4077-95d9-125e85b765fc ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [New Podcast: Paul Gilbert - New Holiday Album Release, "‘TWAS"](https://blog.artistworks.com/new-podcast-paul-gilbert-new-holiday-album-release-twas/) **Published:** December 8, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with shred guitar icon and ArtistWorks rock guitar instructor, Paul Gilbert, to discuss his latest holiday album release, ‘TWAS. Together, they explore the album’s writing and recording process, musical selection, wide breadth of featured genres, and more. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with shred guitar icon and ArtistWorks [rock guitar](https://artistworks.com/guitar-lessons-paul-gilbert) instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), to discuss his latest holiday album release, ‘TWAS. Together, they explore the album’s writing and recording process, musical selection, wide breadth of featured genres, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play electric guitar from a rock master like Paul Gilbert? Try a free online guitar lesson now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) For many of us, the holiday season just hasn’t begun until we’ve heard “Frosty the Snowman,” “Rudolph the Red-Nosed Reindeer,” or “Have Yourself a Merry Little Christmas” on the radio or television. Who doesn’t love the classic performances of these tunes by Gene Autry, Frank Sinatra, or Judy Garland? And, let’s certainly not forget Mariah Carey’s timeless rendition of “All I Want for Christmas is You.” Some of us, however, prefer a more modern take on these holiday standards and crave some fresh flair with each new winter season—enter Paul Gilbert and his brand new album release, ‘TWAS. Paul’s new twelve-track record presents ten familiar holiday classics, including “Frosty the Snowman,” “Rudolph the Red-Nosed Reindeer,” and “Have Yourself a Merry Little Christmas,” to name a few, as well as two original holiday songs that were written by Paul specifically for the record—“Three Strings for Christmas” and “Every Christmas Has Love.” “I’ve heard these holiday songs a lot, and I remember thinking a few years back that I’d had enough of them,” Paul explains. “But, somehow when I heard a few of these tunes this past summer, it just brought out something special. These songs just have great melodies!” Unlike Paul’s last album, Werewolves of Portland, for which Paul recorded all of the instruments on the album himself, Paul was able to record the entirety of ‘TWAS live with a group of hand-selected musicians to accompany him. This allowed Paul to stretch his creative limbs and pack ‘TWAS with a smattering of elements from a variety of genres like jazz, blues, funk, soul, and R&B. “Christmas songs are typically arranged with a really strong central melody that repeats a few times, and that’s usually about it,” Paul explains. “So, after listening to how other folks had arranged these songs in the past, I wanted to put my own unique spin on these classics.” To learn more about ‘TWAS, the album’s development process, and more, listen to the full podcast with [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) here: If you’re interested in studying electric guitar and learning more about Paul’s one-of-a-kind shred guitar methods, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-paul-gilbert) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Paul Gilbert Releases New Holiday Album, ‘TWAS](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas) [ArtistWorks Music Series—Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton) [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [3 ArtistWorks Instructors Nominated for 2022 Grammy Awards](https://blog.artistworks.com/3-artistworks-instructors-nominated-2022-grammy-awards/) **Published:** December 6, 2021 **Author:** ArtistWorks **Excerpt:**

On November 23, 2021, the 64th annual Grammy nominations recognizing the best recordings, albums, and musical artists of the last year were announced to the public. We are beyond excited to report that three ArtistWorks instructors have been nominated for Grammy Awards this year, and many others contributed to or collaborated on projects that were nominated as well.

**Content:** ![]() On November 23, 2021, the 64th annual Grammy nominations recognizing the best recordings, albums, and musical artists of the last year were announced to the public. We are beyond excited to report that three ArtistWorks instructors have been nominated for Grammy Awards this year, and many others contributed to or collaborated on projects that were nominated as well. World-renowned saxophone player and ArtistWorks jazz saxophone instructor, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), has been nominated in the category of “Best Contemporary Instrumental Album” for the prolific work on his recent collaboration with trumpet master Randy Brecker entitled Double Dealin’. Released in late 2020, Double Dealin’ highlights the virtuosic playing of these two jazz giants and features a beautiful smattering of genres ranging from traditional jazz to blues, smooth jazz, funk, R&B, and beyond. LEARN MORE: [Want to learn how to play jazz saxophone from a master musician like Eric Marienthal? Try some free online saxophone lessons now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) Supported by drummer Dave Weckl and fellow ArtistWorks instructors [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) on bass and [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) on keyboards, Marienthal and Brecker are able to stretch their limbs and showcase their talents as both songwriters and improvisers. In addition to performing on the record, Whitty also collaborated as a songwriter alongside Marienthal and Brecker on five of the album’s tracks. Dive in and take a listen to the album’s title track below: “Double Dealin’” – Randy Brecker & Eric Marienthal: Resophonic guitar master and ArtistWorks dobro and lap steel guitar instructor, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall), is also nominated for a Grammy Award this year alongside the fellow members of his critically acclaimed bluegrass outfit, The Infamous Stringdusters. The group is up for an award in the category of “Best Bluegrass Album” for their recent record release, A Tribute to Bill Monroe, which debuted this past May. LEARN MORE: [Want to learn dobro or lap steel guitar from a master musician like Andy Hall? Try some free online dobro lessons now!](https://go.artistworks.com/free-online-dobro-lessons-andy-hall) As the name might suggest, A Tribute to Bill Monroe features a collection of some of the most prolific songs written by the mandolin icon and “father of bluegrass.” However, what one might not expect is that there is almost no mandolin on A Tribute to Bill Monroe. Instead, The Stringdusters bring their iconic combination of fiddle, banjo, dobro, and acoustic guitar to Monroe’s classic tunes, ushering in a fresh, unique perspective on this classic bluegrass repertoire. Listen to The Stringdusters’ take on “Sitting Alone in the Moonlight” below: “Sitting Alone in the Moonlight” – The Infamous Stringdusters: Last, but certainly not least, jazz bass legend and ArtistWorks bass instructor, [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci), is nominated for his contributions as a member of Chick Corea’s Akoustic Band on the album Akoustic Band LIVE. The last recording project Corea worked on before his unfortunate passing in 2020, Akoustic Band LIVE is nominated in the category of “Best Jazz Instrumental Album.” LEARN MORE: [Want to learn how to play bass from a master musician like John Patitucci? Try some free online bass lessons now!](https://go.artistworks.com/free-online-bass-lessons-john-patitucci) Akoustic Band LIVE is a triple LP box-set featuring recordings captured from a live performance at SPC Music Hall in St. Petersburg, FL on January 13, 2018. This work marked the long-anticipated reunion of Corea’s beloved acoustic trio with Patitucci and drummer Dave Weckl, and was the first time the group was captured on a formal recording in more than two decades. Akoustic Band LIVE Album Trailer: HONORABLE MENTION: While they were not recognized personally, a handful of ArtistWorks instructors contributed to amazing projects that were also nominated for Grammy Awards this year. Alongside A Tribute to Bill Monroe by The Infamous Stringdusters, Béla Fleck’s recent release My Bluegrass Heart is also nominated for “Best Bluegrass Album” and features guest performances from members of the ArtistWorks bluegrass faculty, including [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). Additionally, Jon Batiste and Trent Reznor’s score for the Pixar animated film, Soul, is nominated for “Best Score Soundtrack for Visual Media,” and features performances from ArtistWorks instructor [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east) on both upright and electric bass. Lastly, Yo-Yo Ma and Angelique Kidjo’s track “Blewu,” from Ma’s recent album release Notes for the Future, is nominated for “Best Global Music Performance,” and was arranged for the duo by none other than ArtistWorks master cello instructor [Mike Block](https://artistworks.com/cello-lessons-mike-block). ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton) [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge) [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Next VE Deadline Dates](https://blog.artistworks.com/next-ve-deadline-dates-0/) **Published:** December 6, 2021 **Author:** ArtistWorks **Excerpt:**

Happy Holidays, Everyone, and a Happy, Healthy, Musical New Year to you and yours!

- Hugh

**Content:** - Sunday, Dec. 12 (last one for 2021!) - Sunday, Jan. 9, 2022 - Sunday, Jan. 16 Happy Holidays, Everyone, and a Happy, Healthy, Musical New Year to you and yours! – Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Next VE Deadline Dates](https://blog.artistworks.com/next-ve-deadline-dates/) **Published:** December 6, 2021 **Author:** ArtistWorks **Excerpt:**

Happy Holidays, Everyone, and a Happy, Healthy, Musical New Year to you and yours!

- Hugh

**Content:** - Sunday, Dec. 12 (last one for 2021!) - Sunday, Jan. 9, 2022 - Sunday, Jan. 16 Happy Holidays, Everyone, and a Happy, Healthy, Musical New Year to you and yours! – Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Paul Gilbert Releases New Holiday Album, “‘TWAS”](https://blog.artistworks.com/paul-gilbert-releases-new-holiday-album-twas/) **Published:** December 3, 2021 **Author:** ArtistWorks **Excerpt:**

Last week, shred guitar legend and ArtistWorks rock guitar instructor, Paul Gilbert, released his second full-length album of 2021, ‘TWAS. Unlike Paul’s previous record, Werewolves of Portland, which debuted this past June, ‘TWAS features a collection of classic holiday tunes each arranged in the guitar-centric, shred-packed, and light-hearted style that is uniquely Paul’s.

**Content:** ![]() Last week, shred guitar legend and ArtistWorks rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), released his second full-length album of 2021, ‘TWAS. Unlike Paul’s previous record, Werewolves of Portland, which debuted this past June, ‘TWAS features a collection of classic holiday tunes each arranged in the guitar-centric, shred-packed, and light-hearted style that is uniquely Paul’s. “Many will agree that in recent times, challenging events have been pouring down upon our heads like an Exploding Waterfall of Molasses. At least it sometimes feels like that to me,” Paul expresses. “But while I was jamming Christmas songs with my friends, playing an assortment of red, green, and white Ibanez electric guitars, I felt like life was THE BEST. I hope that this music can put a smile on your face as well.” LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try some free online rock guitar lessons now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) The twelve-track album presents ten familiar holiday classics, including “Frosty the Snowman,” “Rudolph the Red-Nosed Reindeer,” and “Have Yourself a Merry Little Christmas,” to name a few, as well as two original holiday songs that were written by Paul specifically for the record—“Three Strings for Christmas” and “Every Christmas Has Love.” “‘Three Strings for Christmas’ refers to the 3-string guitar that I used on my double-neck \[guitar\]. I tune the strings in octaves, which allows me to play ridiculously fast arpeggios, and very little else (which is why I string the other neck like a normal guitar),” Paul explains. “‘Every Christmas Has Love’ was written quickly, inspired by my panic-driven mental state of album making. When I know that the recording sessions are coming, my brain shifts into survival mode and melodies start popping out. Then I take all the chords I learned by listening to 70s AM radio and build a song.” Paul Gilbert – “Every Christmas Has Love” (Official Music Video): When recording Werewolves of Portland, Paul had to navigate the constraints of mandatory isolation caused by the pandemic and record all of the instruments on the album himself, tracking each instrument individually layering one on top of the other. In contrast, Paul was able to record the entirety of ‘TWAS live with a group of hand-selected musicians to accompany him. The only instrument that they overdubbed in post-production was the cowbell. “I formed a band of Portland Oregon’s finest jazz and blues musicians to support me while I recorded the songs,” Paul explains. “Dan Balmer (guitar), Clay Giberson (keyboards), Timmer Blakely (bass), and Jimi Bott (drums) all brought supreme musical goodness to these arrangements and performances. They certainly steered me to make wiser musical choices than I would have made on my own.” While Paul’s characteristic metal and rock guitar shred is still dispersed healthily throughout the record, ‘TWAS is also packed with a smattering of elements from other genres and features a hybridization of blues, rock, funk, soul, and R&B styles. “I was inspired by the Christmas recordings of Nat King Cole, Loretta Lynn, Stevie Wonder, Barbra Streisand, Johnny Mathis, Ella Fitzgerald, and The Ventures,” Paul explains. “And of course, inspiration came from my guitar heroes, Eddie Van Halen, Alex Lifeson, Johnny Winter, Robin Trower, Frank Marino, Pat Travers, Jimi Hendrix, and Jimmy Page, to name a few.” Paul Gilbert – “We Wish You a Merry Christmas” (Official Music Video): LEARN MORE: Have you always wanted to learn how to shred on guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from rock guitar icon [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personal feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner rock riffs to advanced shred techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Artist Bio Series: Paul Gilbert](https://blog.artistworks.com/new-podcast-paul-gilbert-artist-bio-series) [Paul Gilbert Releases 16th Solo Album, Werewolves of Portland](https://blog.artistworks.com/paul-gilbert-releases-16th-solo-album-werewolves-portland) [Paul Gilbert’s Power Tools](https://blog.artistworks.com/paul-gilberts-power-tools) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Martin's Covid Update](https://blog.artistworks.com/martins-covid-update/) **Published:** December 2, 2021 **Author:** ArtistWorks **Excerpt:**

Many thanks for your very kind 'Get Well Soon' messages. They gave me a real boost during these difficult couple of weeks.

The good news is I'm now out of the 10 Days Self-Isolation period, and have tested NEGATIVE for Covid.

The not so good news is that it's left me very weak and I'm tired most to the time. It's going to take a while for me to shake this off.

I managed to take a short walk yesterday with Ted (see photo) so feel I'm definitely on the mend.

I was hoping to film a new Home Message today and film a couple of video responses, but I lost my voice and can only make coughing noises!

Once my voice is back I'll be in the studio again.

Thank you for your patience and understanding. -Martin... and Ted xx

**Content:** ![]() Many thanks for your very kind ‘Get Well Soon’ messages. They gave me a real boost during these difficult couple of weeks. The good news is I’m now out of the 10 Days Self-Isolation period, and have tested NEGATIVE for Covid. The not so good news is that it’s left me very weak and I’m tired most to the time. It’s going to take a while for me to shake this off. I managed to take a short walk yesterday with Ted (see photo) so feel I’m definitely on the mend. I was hoping to film a new Home Message today and film a couple of video responses, but I lost my voice and can only make coughing noises! Once my voice is back I’ll be in the studio again. Thank you for your patience and understanding. -Martin… and Ted xx ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol Anger and Mike Marshall encounter something different](https://blog.artistworks.com/darol-anger-and-mike-marshall-encounter-something-different/) **Published:** December 1, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() I’ve been having the weirdest dream lately– but I keep waking up and finding that it’s true! Mike Marshall and I —**The DUO**— are going to Cologne, Germany in December to play a mighty concert with the WDR Big Band– Germany’s finest and largest Jazz ensemble. Our original music… arranged by Saxophone legend Bob Mintzer (Jaco Pastorius, Yellowjackets,etc.) Of course I’m freaked out. I’m representing American Fiddlers, and playing over dominant structures to the max… but what an incredible ride this will be. It’s happening **December 18th**, not sure what time yet. Some of it will undoubtedly go up on the WDR Band’s Youtube channel. click on this headline for more info. [**Livestream for the Duo & WDR Big Band**](https://www1.wdr.de/orchester-und-chor/bigband/konzerte/termine/big-band-blue-grass-100.amp) https://www1.wdr.de/orchester-und-chor/bigband/konzerte/termine/big-band-blue-grass-100.amp https://www.facebook.com/events/1935146256652741?acontext=%7B%22event\_action\_history%22%3A\[%7B%22extra\_data%22%3A%22%22%2C%22mechanism%22%3A%22your\_upcoming\_events\_unit%22%2C%22surface%22%3A%22bookmark%22%7D%2C%7B%22extra\_data%22%3A%22%22%2C%22mechanism%22%3A%22surface%22%2C%22surface%22%3A%22permalink%22%7D%2C%7B%22extra\_data%22%3A%22%22%2C%22mechanism%22%3A%22surface%22%2C%22surface%22%3A%22edit\_dialog%22%7D\]%2C%22ref\_notif\_type%22%3Anull%7D ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: The Boom Chuck Style & Sound with Bryan Sutton](https://blog.artistworks.com/bluegrass-guitar-lesson-boom-chuck-style-sound-bryan-sutton/) **Published:** December 1, 2021 **Author:** ArtistWorks **Excerpt:**

As bluegrass guitar players, it is critical that we not only be able to perform single-note melodies, improvise, and occasionally step into the spotlight as soloists, but that we’re able to provide a harmonic and rhythmic foundation and support the rest of the ensemble through our rhythm guitar playing. In fact, in many cases, having a firm grasp of our rhythm guitar techniques can be more important than our single-note performance skills. As such, players of all skill levels should continuously practice and focus on improving their rhythm guitar playing.

**Content:** ![]() As [bluegrass guitar](https://artistworks.com/guitar-lessons-bryan-sutton) players, it is critical that we not only be able to perform single-note melodies, improvise, and occasionally step into the spotlight as soloists, but that we’re able to provide a harmonic and rhythmic foundation and support the rest of the ensemble through our rhythm guitar playing. In fact, in many cases, having a firm grasp of our rhythm guitar techniques can be more important than our single-note performance skills. As such, players of all skill levels should continuously practice and focus on improving their rhythm guitar playing. In this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton), Grammy Award-winning guitarist, ten-time IBMA “Guitar Player of the Year,” and ArtistWorks bluegrass guitar instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), details one of the most important and common rhythm guitar methods of the bluegrass style—an approach known as the Boom Chuck. This method is the building block on which almost all bluegrass rhythm guitar playing is built, and is an essential technique and quality of the genre. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Bryan Sutton? Try some free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “The Boom Chuck sound is what we’re going to see most commonly used in strumming and what we call rhythm guitar playing in bluegrass,” Bryan explains. “I encourage you all to examine this. If you’re coming to bluegrass for the first time from other styles, this may be a fairly new concept and is important to explore. If you’ve been playing bluegrass for a long time, it never hurts to review this technique.” The Boom Chuck rhythm guitar pattern is designed to mimic the rhythmic parts of both the upright bass and mandolin players within a bluegrass ensemble. The bass player typically plays on the first and third beats of every measure, while the mandolinist typically strums chords on beats two and four. When playing in a Boom Chuck pattern, the guitarist plays both, strumming each chord’s lowest note, or bass note, on beats one and three with the bass player, and the rest of the chord with the mandolinist on beats two and four. “One of the reasons that the Boom Chuck rhythm guitar pattern is important is because, in the early days of bluegrass, there wasn’t a bass player,” explains Bryan. “So, it was the job of the rhythm guitar player to provide that bass note, which is what led to the development of the Boom Chuck style as it exists today.” To learn more about the Boom Chuck pattern and how to welcome it to your rhythm guitar vocabulary, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-bryan-sutton) from [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton): The Boom Chuck Style & Sound with Bryan Sutton: This lesson is part of a series of lessons called the “Rhythm Guitar Toolbox” that Bryan recently added to his comprehensive [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) course here at ArtistWorks. If you enjoyed this lesson, sign up for Bryan’s course, keep your momentum going, and take your flatpicking to the next level. Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today. LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced flatpicking techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as flatpick guitar players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton) [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton%E2%80%99s-bluegrass-acoustic-guitar-course-additions-updates) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Guest Zoom Session with Aaron & Nicole Keim](https://blog.artistworks.com/guest-zoom-session-aaron-nicole-keim/) **Published:** November 30, 2021 **Author:** ArtistWorks **Excerpt:**

Aloha ArtistWorks Students!

It's Sarah, here, and we are excited to have our dear friends, Aaron & Nicole Keim, joining us for a Zoom session JUST FOR YOU! We have the workshop materials and link listed in our Forum Post. You can find it by clicking on the Forum tab, then look for CRAIG & SARAH BULLETIN, and then you should see it listed right on top, December 5, 2021 9:00AM ZOOM Session with Aaron & Nicole Keim. Make sure to have your materials downloaded and ready for class, as we will begin at 9:00AM HAWAII STANDARD TIME.

The Quiet American is husband and wife duo, Aaron and Nicole Keim. In Hood River, OR, they live an artistic life, making music, building musical instruments, writing books, crafting folk art and raising their 7 year old son Henry. Their connection to folk tradition is undeniable, even as they find new ways to sing old songs and unique ways to incorporate music and art into their teaching and performing. Mainly influenced by Depression era string band music and the folk revival, they use ukulele, banjo and accordion to accompany their harmony singing, pick old time tunes and lead the audience through group singing. A modern, home grown folk revival: The Quiet American.

**Content:** Aloha ArtistWorks Students! It’s Sarah, here, and we are excited to have our dear friends, Aaron & Nicole Keim, joining us for a Zoom session JUST FOR YOU! We have the workshop materials and link listed in our Forum Post. You can find it by clicking on the Forum tab, then look for CRAIG & SARAH BULLETIN, and then you should see it listed right on top, December 5, 2021 9:00AM ZOOM Session with Aaron & Nicole Keim. Make sure to have your materials downloaded and ready for class, as we will begin at 9:00AM HAWAII STANDARD TIME. The Quiet American is husband and wife duo, Aaron and Nicole Keim. In Hood River, OR, they live an artistic life, making music, building musical instruments, writing books, crafting folk art and raising their 7 year old son Henry. Their connection to folk tradition is undeniable, even as they find new ways to sing old songs and unique ways to incorporate music and art into their teaching and performing. Mainly influenced by Depression era string band music and the folk revival, they use ukulele, banjo and accordion to accompany their harmony singing, pick old time tunes and lead the audience through group singing. A modern, home grown folk revival: The Quiet American. Aaron also builds musical instruments as [Beansprout Musical Instruments](http://thebeansprout.com/). Nicole’s art is at [Marmalade Creations](https://www.etsy.com/shop/marmaladecreations). ![]() Hope to see you guys on December 5! Sarah & Craig ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bryan Sutton’s Blue Ridge Guitar Camp 2022](https://blog.artistworks.com/bryan-sutton-blue-ridge-guitar-camp-2022/) **Published:** November 29, 2021 **Author:** ArtistWorks **Excerpt:**

After two years of waiting as a result of the pandemic, we are excited to announce that Grammy Award-winning guitarist and ArtistWorks bluegrass guitar instructor, Bryan Sutton, will be hosting the first annual Blue Ridge Guitar Camp from June 1-5, 2022.

**Content:** ![]() After two years of waiting as a result of the pandemic, we are excited to announce that Grammy Award-winning guitarist and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-bryan-sutton) instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), will be hosting the first annual Blue Ridge Guitar Camp from June 1-5, 2022. Located in Brevard, NC on the western end of the state at the entrance of the Pisgah National Forest, Bryan’s guitar summit will be a five-day celebration of bluegrass and all things guitar. During the retreat, attendees will call the beautiful, newly-renovated Brevard Music Center home. Featuring multiple auditoriums, numerous large rehearsal spaces, over 100 practice rooms, on-site housing and dining, and outdoor recreation areas, the Brevard Music Center offers not only world-class performance facilities but a remote, picturesque setting that’s sure to inspire days of creativity and music-making. LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “I was fortunate to grow up in the mountains of Western North Carolina, surrounded by family and friends sharing in rich musical tradition,” Bryan explains. “A big part of this experience was the impactful and lasting instruction I received. I’m thrilled to host the Blue Ridge Guitar Camp in Brevard, NC.” Joining Bryan in instructing at the camp will be esteemed acoustic guitar players David Grier, Courtney Hartman, Grant Gordy, and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), who is also a member of our faculty and teaches [bluegrass vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) here at ArtistWorks. “I’m passionate about all aspects of bluegrass guitar and love sharing what I’ve learned,” explains Bryan. “It’s a real joy to help people realize their potential. We’ve got a great crew of instructors helping to make this an experience like no other.” If you’re interested in attending Bryan’s Blue Ridge Guitar Camp, please visit the retreat website at [blueridgeguitarcamp.com](https://www.blueridgeguitarcamp.com/) and submit your application by December 2, 2021. For those who may not be able to attend, don’t fret! You can work hands-on with Bryan to improve your flatpick guitar playing right here at ArtistWorks through our [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton). And, with our patented Video Exchange Learning® technology, you can receive personal feedback and guidance from Bryan at every step of your musical journey. LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and beyond. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bluegrass guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton) [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton%E2%80%99s-bluegrass-acoustic-guitar-course-additions-updates) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [ArtistWorks Cyber Week Sales Event 2021](https://blog.artistworks.com/artistworks-cyber-week-sales-event-2021/) **Published:** November 29, 2021 **Author:** ArtistWorks **Excerpt:**

It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! Save 40% on any 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today.

**Content:** ![]() It’s officially Cyber Monday, so you know what that means—our annual Cyber Week sale is on, and this year the savings are bigger than ever before! Save 40% on any 12-month plan at ArtistWorks this Cyber Week, and start learning directly from a master musician today. As part of our Cyber Week sales event, many of our courses are being discounted for the very first time, and those joining now will be part of an exciting 2022 with lots of new additions and collaborations coming from many of our artists. So, for those interested in studying [bluegrass mandolin with Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), [blues rock guitar with Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), or [bluegrass guitar with Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), there’s never been a better time to join. Use code CYBER40 at checkout to save 40% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through December 5, 2021. So, take advantage now and start playing at a higher level! Click [here](https://artistworks.com/all-courses) to explore our full assortment of online music lessons. ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. READ MORE: [“Bluegrass Mandolin with Sierra Hull” is Now Open](https://blog.artistworks.com/bluegrass-mandolin-sierra-hull-now-open) [“Blues Rock Guitar with Jared James Nichols” is Now Open](https://blog.artistworks.com/blues-rock-guitar-jared-james-nichols-now-open) [“Bluegrass Guitar with Chris Eldridge” is Now Open](https://blog.artistworks.com/bluegrass-guitar-chris-eldridge-now-open) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton-0/) **Published:** November 24, 2021 **Author:** ArtistWorks **Excerpt:**

Two of the most celebrated joys ushered in by the holiday season are the comforts of music and time spent with family. For many families around the world, the holidays are a time best spent together, playing music and performing. Growing up in a musical household, that was often the case for Grammy Award-winning musician, ten-time IBMA “Guitarist of the Year,” and ArtistWorks bluegrass guitar instructor, Bryan Sutton.

**Content:** ![]() Two of the most celebrated joys ushered in by the holiday season are the comforts of music and time spent with family. For many families around the world, the holidays are a time best spent together, playing music and performing. Growing up in a musical household, that was often the case for Grammy Award-winning musician, ten-time IBMA “Guitarist of the Year,” and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-bryan-sutton) instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton). In this week’s episode of the ArtistWorks Music Series podcast, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) sits down to interview his father and fellow guitar guru, Jerry Sutton, for a special holiday feature. Together, they explore their family’s musical heritage, Jerry’s first musical experiences that drew him to the guitar, and Bryan’s childhood surrounded by stringed instruments and bluegrass music. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). “My father, your grandfather, was a fiddle player. So, we always had all sorts of instruments around the house,” Jerry explains to Bryan. “In high school, I started learning to play the electric guitar and that eventually inspired me to pick up your grandfather’s old Martin 0-17.” One of the many beauties of the holidays, in addition to music and family, is the spirit of gift-giving and sharing with one another. Like many other musical families around the world, the Suttons have a legacy of doing just that—passing down the gift of music from one generation to the next. “The bluegrass scene in our hometown of Ashville, NC is really valuable and is still there today,” Bryan explains when reminiscing about his childhood. “I’m fortunate to have grown up in that and feel a sense of responsibility to reference Asheville when people ask. I always mention the combination of growing up in a musical household and a supportive community full of consistent opportunity.” To learn more about the lives of Jerry and [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and the experiences of their musical family, listen to the full podcast here: If you’re interested in studying bluegrass guitar and learning more about Bryan’s unique approach to flatpicking, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Bryan Sutton Interviews His Father, Jerry Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-interviews-his-father-jerry-sutton/) **Published:** November 24, 2021 **Author:** ArtistWorks **Excerpt:**

Two of the most celebrated joys ushered in by the holiday season are the comforts of music and time spent with family. For many families around the world, the holidays are a time best spent together, playing music and performing. Growing up in a musical household, that was often the case for Grammy Award-winning musician, ten-time IBMA “Guitarist of the Year,” and ArtistWorks bluegrass guitar instructor, Bryan Sutton.

**Content:** ![]() Two of the most celebrated joys ushered in by the holiday season are the comforts of music and time spent with family. For many families around the world, the holidays are a time best spent together, playing music and performing. Growing up in a musical household, that was often the case for Grammy Award-winning musician, ten-time IBMA “Guitarist of the Year,” and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-bryan-sutton) instructor, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton). LEARN MORE: [Want to learn how to play acoustic guitar from a master musician like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) In this week’s episode of the ArtistWorks Music Series podcast, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) sits down to interview his father and fellow guitar guru, Jerry Sutton, for a special holiday feature. Together, they explore their family’s musical heritage, Jerry’s first musical experiences that drew him to the guitar, and Bryan’s childhood surrounded by stringed instruments and bluegrass music. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). “My father, your grandfather, was a fiddle player. So, we always had all sorts of instruments around the house,” Jerry explains to Bryan. “In high school, I started learning to play the electric guitar and that eventually inspired me to pick up your grandfather’s old Martin 0-17.” One of the many beauties of the holidays, in addition to music and family, is the spirit of gift-giving and sharing with one another. Like many other musical families around the world, the Suttons have a legacy of doing just that—passing down the gift of music from one generation to the next. “The bluegrass scene in our hometown of Ashville, NC is really valuable and is still there today,” Bryan explains when reminiscing about his childhood. “I’m fortunate to have grown up in that and feel a sense of responsibility to reference Asheville when people ask. I always mention the combination of growing up in a musical household and a supportive community full of consistent opportunity.” To learn more about the lives of Jerry and [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) and the experiences of their musical family, listen to the full podcast here: If you’re interested in studying bluegrass guitar and learning more about Bryan’s unique approach to flatpicking, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Bryan Sutton’s Bluegrass Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton%E2%80%99s-bluegrass-acoustic-guitar-course-additions-updates) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) [An In-Depth Interview: Bryan Sutton Celebrates 9,000 Video Exchanges](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge-0/) **Published:** November 23, 2021 **Author:** ArtistWorks **Excerpt:**

Playing an instrument is a very physical activity. Despite the fact that, as musicians, we’re often seated or standing in one stationary position when we perform or practice, playing an instrument can take a physical toll on your body. Muscular tension, in particular, can cause problems that can not only cause injuries but also impact your performance, dexterity, and ability to play fluidly on your instrument. Fortunately, issues caused by muscular tension can be avoided through mindful practice and focus to keep your body relaxed while playing.

**Content:** ![]() Playing an instrument is a very physical activity. Despite the fact that, as musicians, we’re often seated or standing in one stationary position when we perform or practice, playing an instrument can take a physical toll on your body. Muscular tension, in particular, can cause problems that can not only cause injuries but also impact your performance, dexterity, and ability to play fluidly on your instrument. Fortunately, issues caused by muscular tension can be avoided through mindful practice and focus to keep your body relaxed while playing. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Grammy Award-winning guitarist, co-founder of Punch Brothers, and ArtistWorks bluegrass guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), addresses many of the problems that can arise as a result of prolonged muscular tension when practicing and performing. Chris details the ways in which tension impacts your ability to play at your highest potential, and provides techniques on mindful practicing that can help eliminate tension from your playing. “It’s really important when we’re playing to stay physically relaxed,” Chris explains. “If we have unwanted or unconscious tension, then we quite literally have muscles that are inhibiting our motion and ability to play.” It’s critical for players of all levels to be mindful of muscular tension when they’re performing and practicing. For beginner and first-time acoustic guitar players—this is the stage during which you will be engraining habits that will carry on through years of playing. It will benefit you greatly to implant relaxed playing techniques into your muscle memory early on at this stage. For more advanced players, focusing on keeping your body loose and relaxed will only increase your ability to execute performance techniques more comfortably and play at a higher level. “The simplest and most effective way to avoid muscle tension is to just get into the habit of noticing it,” explains Chris. “The idea of it being a habit is really important because you want to be checking in with yourself regularly. Taking a second to notice your body will change the way you play.” To learn more about how to minimize muscle tension and maximize your playing potential, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Noticing Tension with Chris Eldridge: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Bluegrass Guitar Lesson: Noticing Tension with Chris Eldridge](https://blog.artistworks.com/bluegrass-guitar-lesson-noticing-tension-chris-eldridge/) **Published:** November 23, 2021 **Author:** ArtistWorks **Excerpt:**

Playing an instrument is a very physical activity. Despite the fact that, as musicians, we’re often seated or standing in one stationary position when we perform or practice, playing an instrument can take a physical toll on your body. Muscular tension, in particular, can cause problems that can not only cause injuries but also impact your performance, dexterity, and ability to play fluidly on your instrument. Fortunately, issues caused by muscular tension can be avoided through mindful practice and focus to keep your body relaxed while playing.

**Content:** ![]() Playing an instrument is a very physical activity. Despite the fact that, as musicians, we’re often seated or standing in one stationary position when we perform or practice, playing an instrument can take a physical toll on your body. Muscular tension, in particular, can cause problems that can not only cause injuries but also impact your performance, dexterity, and ability to play fluidly on your instrument. Fortunately, issues caused by muscular tension can be avoided through mindful practice and focus to keep your body relaxed while playing. In this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge), Grammy Award-winning guitarist, co-founder of Punch Brothers, and ArtistWorks bluegrass guitar instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), addresses many of the problems that can arise as a result of prolonged muscular tension when practicing and performing. Chris details the ways in which tension impacts your ability to play at your highest potential, and provides techniques on mindful practicing that can help eliminate tension from your playing. “It’s really important when we’re playing to stay physically relaxed,” Chris explains. “If we have unwanted or unconscious tension, then we quite literally have muscles that are inhibiting our motion and ability to play.” LEARN MORE: [Want to learn how to play bluegrass guitar from a master musician like Chris Eldridge? Try some free online guitar lessons now! ](https://go.artistworks.com/guitar-lessons-chris-eldridge) It’s critical for players of all levels to be mindful of muscular tension when they’re performing and practicing. For beginner and first-time acoustic guitar players—this is the stage during which you will be engraining habits that will carry on through years of playing. It will benefit you greatly to implant relaxed playing techniques into your muscle memory early on at this stage. For more advanced players, focusing on keeping your body loose and relaxed will only increase your ability to execute performance techniques more comfortably and play at a higher level. “The simplest and most effective way to avoid muscle tension is to just get into the habit of noticing it,” explains Chris. “The idea of it being a habit is really important because you want to be checking in with yourself regularly. Taking a second to notice your body will change the way you play.” To learn more about how to minimize muscle tension and maximize your playing potential, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-chris-eldridge) from [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge): Noticing Tension with Chris Eldridge: LEARN MORE: Have you always wanted to learn how to play acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), and get personal feedback on your playing. Chris’ course starts with the basics and teaches everything from beginner guitar to advanced performance techniques, classic bluegrass tunes, and musical mindfulness. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bluegrass guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—How to Get Out of a Musical Slump: Chris Eldridge](https://blog.artistworks.com/new-podcast-chris-eldridge-how-get-out-musical-slump) [“Bluegrass Guitar with Chris Eldridge” is Now Open!](https://blog.artistworks.com/bluegrass-guitar-chris-eldridge-now-open) [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### ["Tony Trischka: A Treasure of Banjos" Livestream](https://blog.artistworks.com/tony-trischka-treasure-banjos-livestream-0/) **Published:** November 19, 2021 **Author:** ArtistWorks **Excerpt:**

On December 11, 2021, world-renowned banjo player and ArtistWorks bluegrass banjo instructor, Tony Trischka, will be hosting a virtual, livestreamed solo performance through which he’ll be showcasing banjo repertoire and instruments spanning the 19th, 20th, and 21st centuries. Powered by Mandolin and sponsored by Valley Stage Productions, this event is sure to be perfect for banjo, bluegrass, and music lovers alike.

**Content:** ![]() On December 11, 2021, world-renowned banjo player and ArtistWorks bluegrass banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), will be hosting a virtual, livestreamed solo performance through which he’ll be showcasing banjo repertoire and instruments spanning the 19th, 20th, and 21st centuries. Powered by Mandolin and sponsored by Valley Stage Productions, this event is sure to be perfect for banjo, bluegrass, and music lovers alike. “My banjos and I welcome you to a filmed musical journey, Tony Trischka: A Treasure of Banjos,” exclaims Tony in his recent event announcement. “Join us to hear the 5-String in the 19th, 20th, and 21st centuries, from the Parlor to Earl Scruggs to the Beatles and beyond!” Following the performance, Tony has arranged a VIP live Q&A during which attendees can meet the banjo master himself, ask him questions, and enjoy additional exclusive instrumental performances. Alongside the Q&A, Tony will be demonstrating some of the techniques that he teaches in his [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) here at ArtistWorks. “This will be an interactive session,” Tony explains. “I’ll be responding to questions, sharing stories, and demonstrating some of my playing techniques.” Tony is also graciously offering all ArtistWorks students an exclusive $10 discount on a ticket to the livestreamed performance and/or VIP live Q&A. Use code TONY10 when purchasing your ticket to save. Code is limited to one use per order and one use per customer. To learn more about the Tony Trischka: A Treasure of Banjos livestream and purchase your ticket, click [here](https://boxoffice.mandolin.com/products/tony-trischka-a-treasure-of-banjos-at-valley-stage-livestream-post-show-q-a-ticket). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### ["Tony Trischka: A Treasure of Banjos" Livestream](https://blog.artistworks.com/tony-trischka-treasure-banjos-livestream/) **Published:** November 19, 2021 **Author:** ArtistWorks **Excerpt:**

On December 11, 2021, world-renowned banjo player and ArtistWorks bluegrass banjo instructor, Tony Trischka, will be hosting a virtual, livestreamed solo performance through which he’ll be showcasing banjo repertoire and instruments spanning the 19th, 20th, and 21st centuries. Powered by Mandolin and sponsored by Valley Stage Productions, this event is sure to be perfect for banjo, bluegrass, and music lovers alike.

**Content:** ![]() On December 11, 2021, world-renowned banjo player and ArtistWorks bluegrass banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), will be hosting a virtual, livestreamed solo performance through which he’ll be showcasing banjo repertoire and instruments spanning the 19th, 20th, and 21st centuries. Powered by Mandolin and sponsored by Valley Stage Productions, this event is sure to be perfect for banjo, bluegrass, and music lovers alike. “My banjos and I welcome you to a filmed musical journey, Tony Trischka: A Treasure of Banjos,” exclaims Tony in his recent event announcement. “Join us to hear the 5-String in the 19th, 20th, and 21st centuries, from the Parlor to Earl Scruggs to the Beatles and beyond!” LEARN MORE: [Want to learn how to play the banjo from a master musician like Tony Trischka? Try a free online banjo lesson now! ](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Following the performance, Tony has arranged a VIP live Q&A during which attendees can meet the banjo master himself, ask him questions, and enjoy additional exclusive instrumental performances. Alongside the Q&A, Tony will be demonstrating some of the techniques that he teaches in his [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) here at ArtistWorks. “This will be an interactive session,” Tony explains. “I’ll be responding to questions, sharing stories, and demonstrating some of my playing techniques.” To learn more about the Tony Trischka: A Treasure of Banjos livestream and purchase your ticket, click [here](https://boxoffice.mandolin.com/products/tony-trischka-a-treasure-of-banjos-at-valley-stage-livestream-post-show-q-a-ticket). LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques and classic bluegrass tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Artist Bio Series: Tony Trischka](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series) [Banjo Lesson: Right-Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) [Shall We Hope: New Innovative Release by Tony Trischka](https://blog.artistworks.com/shall-we-hope-new-innovative-release-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [ArtistWorks Black Friday Sales Event 2021](https://blog.artistworks.com/artistworks-black-friday-sales-event-2021-0/) **Published:** November 18, 2021 **Author:** ArtistWorks **Excerpt:**

Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No shortages, no delays, it's all right here online.

**Content:** ![]() Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No shortages, no delays, it’s all right here online. ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. As part of our Black Friday sales event, many of our courses are being discounted for the first time ever, and those joining now will be part of an exciting 2022 with lots of new additions and collaborations coming from many of our artists. Use code BIG40 at checkout to save 40% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through November 28, 2021. So, take advantage now and start playing at a higher level! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Black Friday Sales Event 2021](https://blog.artistworks.com/artistworks-black-friday-sales-event-2021/) **Published:** November 18, 2021 **Author:** ArtistWorks **Excerpt:**

Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No shortages, no delays, it's all right here online.

**Content:** ![]() Our annual Black Friday sale is on! Start learning from a master musician this Black Friday and save 40%. No shortages, no delays, it’s all right here online. ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through our comprehensive assortment of courses, students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [piano](https://artistworks.com/piano-lessons), [banjo](https://artistworks.com/banjo-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), [how to sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. As part of our Black Friday sales event, many of our courses are being discounted for the first time ever, and those joining now will be part of an exciting 2022 with lots of new additions and collaborations coming from many of our artists. Use code BIG40 at checkout to save 40% on any 12-month plan at ArtistWorks. But, don’t wait—this offer is only available through November 28, 2021. So, take advantage now and start playing at a higher level! READ MORE: [“Bluegrass Guitar with Chris Eldridge” is Now Open](https://blog.artistworks.com/bluegrass-guitar-chris-eldridge-now-open) [“Blues Rock Guitar with Jared James Nichols” is Now Open](https://blog.artistworks.com/blues-rock-guitar-jared-james-nichols-now-open) [“Bluegrass Mandolin with Sierra Hull” is Now Open](https://blog.artistworks.com/bluegrass-mandolin-sierra-hull-now-open) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols-0/) **Published:** November 17, 2021 **Author:** ArtistWorks **Excerpt:**

As we begin the process of learning how to play a new instrument, most of us strive to emulate the tones, styles, and approaches of our musical heroes and the master musicians we admire. As we progress along the musical journey, most players begin to evolve and develop their own style and voice on their instrument. For guitarists, vibrato and one’s approach to the technique can act as a sonic fingerprint and plays a critical role in every stage of the learning journey. Whether you’re a beginner chasing the tones of your favorite rock guitar god, or you’re a more advanced player focused on developing your own unique sound, vibrato is an essential technique on which to focus your energy and attention.

**Content:** ![]() As we begin the process of learning how to play a new instrument, most of us strive to emulate the tones, styles, and approaches of our musical heroes and the master musicians we admire. As we progress along the musical journey, most players begin to evolve and develop their own style and voice on their instrument. For guitarists, vibrato and one’s approach to the technique can act as a sonic fingerprint and plays a critical role in every stage of the learning journey. Whether you’re a beginner chasing the tones of your favorite rock guitar god, or you’re a more advanced player focused on developing your own unique sound, vibrato is an essential technique on which to focus your energy and attention. In this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), world-renowned guitarist, “Blues Power” titan, and ArtistWorks blues rock guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), details the variety of vibrato methods and the vast array of tones one can achieve through subtle adjustments to their vibrato technique. He also demonstrates the approaches of some of history’s most iconic guitarists, as well as his own unique vibrato technique that defines his “Blues Power” sound. “When you hear your favorite players and you can recognize them, oftentimes it’s the player’s vibrato and the way that they grab the string and shake it that allows you to identify them,” Jared explains. “All of these little, subtle shakes of the strings provide a blueprint for what that player sounds like.” Some of you may be wondering, “what is vibrato?” Vibrato is a technique employed by almost all instrumentalists and vocalists alike in which the pitch of a note is bent slightly either sharp or flat in a repeated pattern to create a subtle, wavering modulation effect. For guitarists, that is achieved by delicately bending one or more strings upward and downward while holding a single note or chord. “To me, vibrato is singlehandedly the most expressive tool when it comes to my approach to playing the guitar,” explains Jared. “Vibrato has many shades, and, as a guitarist, it’s a personal quest to develop your vibrato. For me, vibrato is the technique that I consistently work on the most. I knew early on that I wanted to have a quality to my notes that listeners could identify the minute they heard me play.” To learn more about developing your vibrato technique and unique voice on the guitar, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols) from [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols): Blues Power Vibrato Techniques with Jared James Nichols: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues Rock Guitar Lesson: Blues Power Vibrato Techniques with Jared James Nichols](https://blog.artistworks.com/blues-rock-guitar-lesson-blues-power-vibrato-techniques-jared-james-nichols/) **Published:** November 17, 2021 **Author:** ArtistWorks **Excerpt:**

As we begin the process of learning how to play a new instrument, most of us strive to emulate the tones, styles, and approaches of our musical heroes and the master musicians we admire. As we progress along the musical journey, most players begin to evolve and develop their own style and voice on their instrument. For guitarists, vibrato and one’s approach to the technique can act as a sonic fingerprint and plays a critical role in every stage of the learning journey. Whether you’re a beginner chasing the tones of your favorite rock guitar god, or you’re a more advanced player focused on developing your own unique sound, vibrato is an essential technique on which to focus your energy and attention.

**Content:** ![]() As we begin the process of learning how to play a new instrument, most of us strive to emulate the tones, styles, and approaches of our musical heroes and the master musicians we admire. As we progress along the musical journey, most players begin to evolve and develop their own style and voice on their instrument. For guitarists, vibrato and one’s approach to the technique can act as a sonic fingerprint and plays a critical role in every stage of the learning journey. Whether you’re a beginner chasing the tones of your favorite rock guitar god, or you’re a more advanced player focused on developing your own unique sound, vibrato is an essential technique on which to focus your energy and attention. In this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols), world-renowned guitarist, “Blues Power” titan, and ArtistWorks blues rock guitar instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), details the variety of vibrato methods and the vast array of tones one can achieve through subtle adjustments to their vibrato technique. He also demonstrates the approaches of some of history’s most iconic guitarists, as well as his own unique vibrato technique that defines his “Blues Power” sound. “When you hear your favorite players and you can recognize them, oftentimes it’s the player’s vibrato and the way that they grab the string and shake it that allows you to identify them,” Jared explains. “All of these little, subtle shakes of the strings provide a blueprint for what that player sounds like.” Some of you may be wondering, “what is vibrato?” Vibrato is a technique employed by almost all instrumentalists and vocalists alike in which the pitch of a note is bent slightly either sharp or flat in a repeated pattern to create a subtle, wavering modulation effect. For guitarists, that is achieved by delicately bending one or more strings upward and downward while holding a single note or chord. “To me, vibrato is singlehandedly the most expressive tool when it comes to my approach to playing the guitar,” explains Jared. “Vibrato has many shades, and, as a guitarist, it’s a personal quest to develop your vibrato. For me, vibrato is the technique that I consistently work on the most. I knew early on that I wanted to have a quality to my notes that listeners could identify the minute they heard me play.” To learn more about developing your vibrato technique and unique voice on the guitar, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-jared-james-nichols) from [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols): Blues Power Vibrato Techniques with Jared James Nichols: LEARN MORE: Have you always wanted to learn how to play guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and “Blues Power” shred. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jared James Nichols Releases New EP, Shadow Dancer](https://blog.artistworks.com/jared-james-nichols-releases-new-ep-shadow-dancer) [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) [Jared James Nichols Restores One of the First Gibson Les Pauls Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Over The Moon for Clair De Lune](https://blog.artistworks.com/over-moon-clair-de-lune/) **Published:** November 16, 2021 **Author:** ArtistWorks **Excerpt:**

Folks, this has GOT to be one of the most delightful - if not THE most delightful - Video Exchange Submissions I have ever received! I hope you all find it as inspiring as I do to believe that you too can learn to play your favorite songs on the piano, like Tony did in just 6 months learning "Clair de lune" by Claude Debussy!

**Content:** Folks, this has GOT to be one of the most delightful – if not THE most delightful – Video Exchange Submissions I have ever received! I hope you all find it as inspiring as I do to believe that you too can learn to play your favorite songs on the piano, like Tony did in just 6 months learning “Clair de lune” by Claude Debussy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 100,000 Video Exchanges!](https://blog.artistworks.com/artistworks-celebrates-100000-video-exchanges-0/) **Published:** November 12, 2021 **Author:** ArtistWorks **Excerpt:**

What truly sets the ArtistWorks learning platform apart from all other online music lessons is the added option for students to connect directly with their teacher and receive individual, personal feedback in the form of Video Exchanges. Our courses allow students to learn at their own pace while simultaneously engaging directly with many of the most masterful, accomplished musicians in the world.

**Content:** ![]() What truly sets the ArtistWorks learning platform apart from all other [online music lessons](https://artistworks.com/) is the added option for students to connect directly with their teacher and receive individual, personal feedback in the form of Video Exchanges. Our courses allow students to learn at their own pace while simultaneously engaging directly with many of the most masterful, accomplished musicians in the world. We are excited to announce that, shortly after celebrating our 13th anniversary last month, ArtistWorks surpassed 100,000 collective Video Exchanges across all of our online music courses. “Video Exchange amplifies the impact of the best teachers in the world,” explains ArtistWorks co-founder and the creator of Video Exchange Learning®, [David Butler](https://artistworks.com/beginner-guitar-lessons). “Before the ArtistWorks’ Video Exchange approach, only a small handful of elite students had access to master musicians.” Since our inception in 2008, ArtistWorks has grown substantially. We opened our virtual doors with just a small handful of courses and, by 2009, offered comprehensive, interactive online music lessons teaching [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), [fingerstyle guitar](https://artistworks.com/guitar-lessons-martin-taylor), [bluegrass banjo](https://artistworks.com/banjo-lessons), [classical piano](https://artistworks.com/piano-lessons-christie-peery), [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), and even [DJ scratching](https://artistworks.com/skratch-lessons-dj-qbert). Since then, ArtistWorks has expanded to offer courses taught by 42 world-renowned, award-winning master musicians, who provide their musical guidance and expertise to thousands of students in over 80 countries around the world. “It is amazing. Every day, master musicians actually take the time to provide individualized instruction to regular people—and they do it using ArtistWorks’ Video Exchange technology,” explains David. “For the first time in history, anyone who chooses can learn from and receive expert feedback from a master. And for the first time, master musicians can elegantly and efficiently touch the lives of hundreds of individual students anywhere in the world.” Through our Video Exchange Learning® platform, our master faculty is able to work directly with their students and provide personal guidance and feedback at every step of the musical journey. However, the benefits of Video Exchange extend even further, as all students in a course can learn from one another by tapping into our expansive Video Exchange library of over 100,000 lesson videos. “Because every Video Exchange is available for all students in the course to view, the teacher constantly impacts their whole subscriber community with each response,” David explains. “Liberated from repetition by the recorded lesson blocks, teachers are able to impact a large volume of students and do so with less fatigue and frustration.” To celebrate this wonderful milestone, we are awarding the student who submitted the 100,000 Video Exchange a lifetime VIP membership to their current ArtistWorks course. The student who submitted the 100,000th Video Exchange was Ben B. of [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)’s online bluegrass banjo course. Congratulations Ben, and enjoy your lifetime membership to Tony’s course! “It’s exciting to know that the 100,000th Video Exchange to be sent in, ArtistWorks wide, came from one of my students, Ben B.,” said Tony. “Ben started with us two years ago playing a basic version of “Boil Them Cabbage Down.” In his most recent video, which is fantastic by the way, he’s playing Earl Scruggs’s version of “Salty Dog”, plus a tune of his own composition using 6ths. That’s an awful lot of progress in a relatively short period of time!” To commemorate this achievement, we’re also offering the opportunity to get 12 months of learning for the price of 6 on most ArtistWorks courses using the code: CONNECT12 at checkout. Don’t wait—the offer is valid until November 18, 2021. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 100,000 Video Exchanges!](https://blog.artistworks.com/artistworks-celebrates-100000-video-exchanges/) **Published:** November 12, 2021 **Author:** ArtistWorks **Excerpt:**

What truly sets the ArtistWorks learning platform apart from all other online music lessons is the added option for students to connect directly with their teacher and receive individual, personal feedback in the form of Video Exchanges. Our courses allow students to learn at their own pace while simultaneously engaging directly with many of the most masterful, accomplished musicians in the world.

**Content:** ![]() What truly sets the ArtistWorks learning platform apart from all other [online music lessons](https://artistworks.com/) is the added option for students to connect directly with their teacher and receive individual, personal feedback in the form of Video Exchanges. Our courses allow students to learn at their own pace while simultaneously engaging directly with many of the most masterful, accomplished musicians in the world. We are excited to announce that, shortly after celebrating our 13th anniversary last month, ArtistWorks surpassed 100,000 collective Video Exchanges across all of our online music courses. “Video Exchange amplifies the impact of the best teachers in the world,” explains ArtistWorks co-founder and the creator of Video Exchange Learning®, [David Butler](https://artistworks.com/beginner-guitar-lessons). “Before the ArtistWorks’ Video Exchange approach, only a small handful of elite students had access to master musicians.” Since our inception in 2008, ArtistWorks has grown substantially. We opened our virtual doors with just a small handful of courses and, by 2009, offered comprehensive, interactive online music lessons teaching [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), [fingerstyle guitar](https://artistworks.com/guitar-lessons-martin-taylor), [bluegrass banjo](https://artistworks.com/banjo-lessons), [classical piano](https://artistworks.com/piano-lessons-christie-peery), [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), and even [DJ scratching](https://artistworks.com/skratch-lessons-dj-qbert). Since then, ArtistWorks has expanded to offer courses taught by 42 world-renowned, award-winning master musicians, who provide their musical guidance and expertise to thousands of students in over 80 countries around the world. “It is amazing. Every day, master musicians actually take the time to provide individualized instruction to regular people—and they do it using ArtistWorks’ Video Exchange technology,” explains David. “For the first time in history, anyone who chooses can learn from and receive expert feedback from a master. And for the first time, master musicians can elegantly and efficiently touch the lives of hundreds of individual students anywhere in the world.” Through our Video Exchange Learning® platform, our master faculty is able to work directly with their students and provide personal guidance and feedback at every step of the musical journey. However, the benefits of Video Exchange extend even further, as all students in a course can learn from one another by tapping into our expansive Video Exchange library of over 100,000 lesson videos. “Because every Video Exchange is available for all students in the course to view, the teacher constantly impacts their whole subscriber community with each response,” David explains. “Liberated from repetition by the recorded lesson blocks, teachers are able to impact a large volume of students and do so with less fatigue and frustration.” To celebrate this wonderful milestone, we are awarding the student who submitted the 100,000 Video Exchange a lifetime VIP membership to their current ArtistWorks course. The student who submitted the 100,000th Video Exchange was Ben B. of [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka)’s online bluegrass banjo course. Congratulations Ben, and enjoy your lifetime membership to Tony’s course! “It’s exciting to know that the 100,000th Video Exchange to be sent in, ArtistWorks wide, came from one of my students, Ben B.,” said Tony. “Ben started with us two years ago playing a basic version of “Boil Them Cabbage Down.” In his most recent video, which is fantastic by the way, he’s playing Earl Scruggs’s version of “Salty Dog”, plus a tune of his own composition using 6ths. That’s an awful lot of progress in a relatively short period of time!” To commemorate this achievement, we’re also offering the opportunity to get 12 months of learning for the price of 6 on most ArtistWorks courses using the code: CONNECT12 at checkout. Don’t wait—the offer is valid until November 18, 2021. WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! ABOUT ARTISTWORKS: ArtistWorks[ online music lessons](https://artistworks.com/) are recorded and taught by 42 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to piano, banjo, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Guthrie Trapp - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-get-out-musical-slump-0/) **Published:** November 10, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, Guthrie Trapp, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying motivated, the importance of cutting yourself slack when you are in a musical slump, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with ArtistWorks [electric country guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying motivated, the importance of cutting yourself slack when you are in a musical slump, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). One of the most difficult things that we face as musicians, regardless of our skill or experience level, is navigating a path to avoid stagnations in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next hurdle and overcome it? “One of the main things to pay attention to if you feel like you’re in a slump is taking it a little bit easy on yourself,” Guthrie explains. “With music, no one’s going to get hurt. If you find yourself falling into a slump, being too hard on yourself may only prolong the problems… Music deserves the utmost respect, but it also shouldn’t be overthought or taken too seriously.” Monotony can be very demotivating and can act as a catalyst that steers you into a setback. Learning new music, a new style, or even an entirely new instrument can keep you motivated and inspired to push your playing to new heights. Players of all levels can always benefit from exploring a new musical element. “I’m at my happiest and most creative musically when I’ve got about five or six different musical irons in the fire,” explains Guthrie. “If I’m doing some live gigs, some teaching, some session work, some festival gigs, some songwriting, that’s when I’m at my happiest. I find myself getting into a musical slump when I’ve been playing the same material too often, and I’m not being pushed to grow.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) here: If you’re interested in studying electric guitar and learning even more about Guthrie’s methods for staying motivated, his psychology with regard to music, and improving as a musician, check out his [online guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Guthrie Trapp - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-get-out-musical-slump/) **Published:** November 10, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, Guthrie Trapp, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying motivated, the importance of cutting yourself slack when you are in a musical slump, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with ArtistWorks [electric country guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying motivated, the importance of cutting yourself slack when you are in a musical slump, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play electric country guitar from a master musician like Guthrie Trapp? Try a free online guitar lesson now!](https://go.artistworks.com/free-country-guitar-lessons) One of the most difficult things that we face as musicians, regardless of our skill or experience level, is navigating a path to avoid stagnations in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next hurdle and overcome it? “One of the main things to pay attention to if you feel like you’re in a slump is taking it a little bit easy on yourself,” Guthrie explains. “With music, no one’s going to get hurt. If you find yourself falling into a slump, being too hard on yourself may only prolong the problems… Music deserves the utmost respect, but it also shouldn’t be overthought or taken too seriously.” Monotony can be very demotivating and can act as a catalyst that steers you into a setback. Learning new music, a new style, or even an entirely new instrument can keep you motivated and inspired to push your playing to new heights. Players of all levels can always benefit from exploring a new musical element. “I’m at my happiest and most creative musically when I’ve got about five or six different musical irons in the fire,” explains Guthrie. “If I’m doing some live gigs, some teaching, some session work, some festival gigs, some songwriting, that’s when I’m at my happiest. I find myself getting into a musical slump when I’ve been playing the same material too often, and I’m not being pushed to grow.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) here: If you’re interested in studying electric guitar and learning even more about Guthrie’s methods for staying motivated, his psychology with regard to music, and improving as a musician, check out his [online guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Series—How to Find Your Own Sound: Guthrie Trapp](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-find-your-own-sound) [Live with Guthrie Trapp & Audley Freed!](https://blog.artistworks.com/live-guthrie-trapp-audley-freed) [ArtistWorks Music Series—How to Get Out of a Musical Slump: Chris Eldridge](https://blog.artistworks.com/new-podcast-chris-eldridge-how-get-out-musical-slump) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Piano Lesson: Creating an Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung-0/) **Published:** November 8, 2021 **Author:** ArtistWorks **Excerpt:**

Developing an effective practice regimen can be one of the most difficult facets of learning an instrument. Making decisions about what to focus on, how to maximize growth, and how to stay motivated can become incredibly difficult to navigate as your playing progresses. To make matters even more complicated, many of us often have only a small window of available time to dedicate to practice daily or even weekly, so successfully maximizing this time is paramount.

**Content:** ![]() Developing an effective practice regimen can be one of the most difficult facets of learning an instrument. Making decisions about what to focus on, how to maximize growth, and how to stay motivated can become incredibly difficult to navigate as your playing progresses. To make matters even more complicated, many of us often have only a small window of available time to dedicate to practice daily or even weekly, so successfully maximizing this time is paramount. In this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung), world-renowned pianist and ArtistWorks popular piano instructor, [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung) details his strategic approaches to practice to help you maximize your efforts and effectiveness when practicing. In addition to providing tips on how to narrow your focus and make consistent, incremental improvements in your playing, Hugh also delivers insights on both what to do and what not to do while practicing. Some of his methods just might surprise you. “I’m probably the only piano teacher you’ll ever hear tell students to practice less,” Hugh explains. “ What do I mean by that? The problem with overextended practicing is that more than likely you’re going to be engraining bad habits into your playing. Your practice needs to be of high quality, not quantity.” Focusing your attention on one unique element of your playing with each dedicated practice session is an excellent way to improve, ensure success, and minimize the perpetuation of bad habits. When practicing, it’s critical that you take things slow, and provide opportunities for self-reflection and analysis. Regardless of your instrument, it’s important for players of all skill levels to keep this in mind when sitting down to practice. “Make your mistakes your best teachers,” Hugh explains. “Try to focus your attention on what you’re doing incorrectly and learn from your mistakes. This is where the ArtistWorks Video Exchange platform becomes so helpful.” To learn more about how to maximize your practice time and craft an effective practice regimen, dive into this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung) from [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung): Creating an Effective Practice Regimen with Hugh Sung: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Piano Lesson: Creating an Effective Practice Regimen with Hugh Sung](https://blog.artistworks.com/piano-lesson-creating-effective-practice-regimen-hugh-sung/) **Published:** November 8, 2021 **Author:** ArtistWorks **Excerpt:**

Developing an effective practice regimen can be one of the most difficult facets of learning an instrument. Making decisions about what to focus on, how to maximize growth, and how to stay motivated can become incredibly difficult to navigate as your playing progresses. To make matters even more complicated, many of us often have only a small window of available time to dedicate to practice daily or even weekly, so successfully maximizing this time is paramount.

**Content:** ![]() Developing an effective practice regimen can be one of the most difficult facets of learning an instrument. Making decisions about what to focus on, how to maximize growth, and how to stay motivated can become incredibly difficult to navigate as your playing progresses. To make matters even more complicated, many of us often have only a small window of available time to dedicate to practice daily or even weekly, so successfully maximizing this time is paramount. In this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung), world-renowned pianist and ArtistWorks popular piano instructor, [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung) details his strategic approaches to practice to help you maximize your efforts and effectiveness when practicing. In addition to providing tips on how to narrow your focus and make consistent, incremental improvements in your playing, Hugh also delivers insights on both what to do and what not to do while practicing. Some of his methods just might surprise you. “I’m probably the only piano teacher you’ll ever hear tell students to practice less,” Hugh explains. “ What do I mean by that? The problem with overextended practicing is that more than likely you’re going to be engraining bad habits into your playing. Your practice needs to be of high quality, not quantity.” LEARN MORE: [Want to learn how to play the piano from a master musician like Hugh Sung? Try some free online piano lessons now! ](https://go.artistworks.com/free-online-piano-lessons-hugh-sung) Focusing your attention on one unique element of your playing with each dedicated practice session is an excellent way to improve, ensure success, and minimize the perpetuation of bad habits. When practicing, it’s critical that you take things slow, and provide opportunities for self-reflection and analysis. Regardless of your instrument, it’s important for players of all skill levels to keep this in mind when sitting down to practice. “Make your mistakes your best teachers,” Hugh explains. “Try to focus your attention on what you’re doing incorrectly and learn from your mistakes. This is where the ArtistWorks Video Exchange platform becomes so helpful.” To learn more about how to maximize your practice time and craft an effective practice regimen, dive into this [online piano lesson](https://artistworks.com/piano-lessons-hugh-sung) from [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung): Creating an Effective Practice Regimen with Hugh Sung: LEARN MORE: Have you always wanted to learn how to play the piano? Through our comprehensive [piano lessons online](https://artistworks.com/piano-lessons-hugh-sung) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Hugh Sung](https://artistworks.com/piano-lessons-hugh-sung), and get personal feedback on your playing. Hugh’s course starts with the basics and teaches everything from beginner piano to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fireside Festival 2021 Performance feat. Hugh Sung](https://www.youtube.com/watch?v=9zB6QcUdWY8&t=165s) [Classical Piano Lesson: Practicing with Christie Peery’s F.E.R.N. Approach](https://blog.artistworks.com/classical-piano-lesson-practicing-fern-approach) [Jazz Piano Lesson: Approach Patterns with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Live Stream: The Greenwich Village Folk Festival](https://blog.artistworks.com/live-stream-greenwich-village-folk-festival-0/) **Published:** November 7, 2021 **Author:** ArtistWorks **Excerpt:**

Tonight (Nov. 7) at 9:45pm EST, I will perform a short online set at this very cool virtual festival, which features many wonderful artists. Tune in if you can!

https://greenwichvillagefolkfestival.orglisten-liveb.php?81/

**Content:** Tonight (Nov. 7) at 9:45pm EST, I will perform a short online set at this very cool virtual festival, which features many wonderful artists. Tune in if you can! [https://greenwichvillagefolkfestival.orglisten-liveb.php?81/](https://greenwichvillagefolkfestival.org/listen-liveb.php?81) ![GVFF117.png]() ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Mandolin Lesson: Setting Your Tone Goals with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-setting-your-tone-goals-sierra-hull-0/) **Published:** November 3, 2021 **Author:** ArtistWorks **Excerpt:**

As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sounds of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike.

**Content:** ![]() As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sounds of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull), Grammy Award-winning mandolinist, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), details the myriad of tonal options available to players on the mandolin and how to achieve them. She also outlines methods for identifying mandolin tones you like and strategies for developing your own unique voice on the instrument. “There’s a lot of different sounds that we can get out of a mandolin, and the type of tone we desire will inform how we go about playing,” Sierra explains. “Trying to decide what you want to sound like early on is pretty important.” Proper technique, particularly in one’s picking-hand approach, can drastically impact the tone that you produce with your mandolin. A deep understanding of how pick angle, attack, and placement between the bridge and the fretboard impact your tone can greatly inform your performance choices and are techniques that players of all levels should consistently focus on and revisit. “Our ultimate goal is to be able to combine all the things we love about our favorite players and the artists that influenced us, and to eventually find our own sound,” Sierra explains. “To take that further, we want to be able to tap into and access a variety of different sounds on the instrument.” To learn more about how to access different tones on the mandolin and discover your own sound, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Setting Your Tone Goals with Sierra Hull: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Bluegrass Mandolin Lesson: Setting Your Tone Goals with Sierra Hull](https://blog.artistworks.com/bluegrass-mandolin-lesson-setting-your-tone-goals-sierra-hull/) **Published:** November 3, 2021 **Author:** ArtistWorks **Excerpt:**

As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sounds of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike.

**Content:** ![]() As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sounds of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull), Grammy Award-winning mandolinist, 4-time IBMA “Mandolin Player of the Year,” and ArtistWorks master instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), details the myriad of tonal options available to players on the mandolin and how to achieve them. She also outlines methods for identifying mandolin tones you like and strategies for developing your own unique voice on the instrument. “There’s a lot of different sounds that we can get out of a mandolin, and the type of tone we desire will inform how we go about playing,” Sierra explains. “Trying to decide what you want to sound like early on is pretty important.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try some free online mandolin lessons now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) Proper technique, particularly in one’s picking-hand approach, can drastically impact the tone that you produce with your mandolin. A deep understanding of how pick angle, attack, and placement between the bridge and the fretboard impact your tone can greatly inform your performance choices and are techniques that players of all levels should consistently focus on and revisit. “Our ultimate goal is to be able to combine all the things we love about our favorite players and the artists that influenced us, and to eventually find our own sound,” Sierra explains. “To take that further, we want to be able to tap into and access a variety of different sounds on the instrument.” To learn more about how to access different tones on the mandolin and discover your own sound, dive into this [online mandolin lesson](https://artistworks.com/mandolin-lessons-sierra-hull) from [Sierra Hul](https://artistworks.com/mandolin-lessons-sierra-hull)l: Setting Your Tone Goals with Sierra Hull: LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), and get personal feedback on your playing. Sierra’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Legendary Jazz Guitarist, Pat Martino, Passes Away at 77](https://blog.artistworks.com/legendary-jazz-guitarist-pat-martino-passes-away-77-0/) **Published:** November 2, 2021 **Author:** ArtistWorks **Excerpt:**

Yesterday, the guitar and jazz communities lost one of the great icons of the instrument and genre: Pat Martino, who passed away on Monday at the age of 77.

**Content:** ![]() Yesterday, the guitar and jazz communities lost one of the great icons of the instrument and genre: Pat Martino, who passed away on Monday at the age of 77. Born August 25, 1944, Pat Martino began his illustrious musical career at the age of 15, shortly after leaving his hometown of Philadelphia, PA to relocate to New York City. Upon his arrival in the jazz mecca that is New York, Martino quickly picked up a regular gig at Small’s Paradise, a jazz club in Harlem known for developing amazing young players. There, he performed six months out of the year and spent the remaining six performing at Club Harlem in Atlantic City, NJ. Martino began rapidly gaining notoriety for his prowess as a player, and it wasn’t long before he began performing and recording with some of the biggest names in the New York jazz scene, including Willis Jackson, Red Holloway, and a series of organists such as Don Patterson, Jimmy Smith, Jack McDuff, Richard “Groove” Holmes, and Jimmy McGriff. In 1967, however, Martino took the stage as a bandleader and shortly after released his first album, El Hombre, which launched him into the spotlight as not only a virtuosic jazz guitarist but a brilliant composer and arranger as well. “It’s difficult to overstate the influence of Pat Martino’s uniquely identifiable voice in the jazz guitar community. For legions of players over decades (including me in the mid-’70s) Pat was the generational bridge into post-bebop modern jazz, and the sound of Philadelphia. His passion, spirituality, intellect, unique musicality, and technique kept his name in the very top tier of jazz guitar gods throughout the decades,” said Howard Paul, President of [Benedetto Guitars](https://benedettoguitars.com/). In 1980, Martino suffered from a horrific, near-fatal seizure caused by a hemorrhaged arteriovenous malformation. The vascular anomaly caused Martino to experience severe amnesia, leaving him with no recollection or knowledge of his career or how to play the very instrument that made him successful. Martino was forced to relearn the guitar from ground zero. He didn’t let that stop him, however, and by 1987, Martino was not only performing again but released his twelfth studio album, The Return. “Pat Martino was one of my biggest inspirations when I first started getting into jazz guitar. His burning eighth-note lines and the fire in his playing really got to me. His warm and beautiful touch on ballads was also incredible,” said master guitarist and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker). “Later when I became friendly with Pat I was able to tell him what he meant to me in person, and he was always a very warm and encouraging person and a deep thinker.” Dave pays tribute to Martino here in this solo rendition of Pat’s piece “Portrait of Diana” from his 1970 album, Desperado: In addition to his mastery as a performer, composer, and recording artist, Pat Martino was also a passionate educator and was known for his kind, caring, and open approach to teaching guitar. In fact, he taught online guitar courses through our partners at [TrueFire](https://truefire.com/) in addition to publishing numerous instructional books throughout the decades. To get a glimpse of Martino’s genius, check out his TrueFire course, “[The Nature of Guitar](https://truefire.com/educators/pat-martino/e4313),” and take a look at this free sample lesson here: Pat Martino will be deeply missed, but his legacy will forever live on through his music and the countless musicians and guitar players who were influenced by his art and talent. “In his relationship with us at Benedetto, he was kind, compassionate, open to his gushing guitar fans, and unwaveringly loyal,” said Paul. “We will miss him terribly, and consider his friendship a great blessing. Our deepest condolences to Aya, and to his friend and champion Joe Donofrio, both of whom helped him remain at home and comfortable to the end.” ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Legendary Jazz Guitarist, Pat Martino, Passes Away at 77](https://blog.artistworks.com/legendary-jazz-guitarist-pat-martino-passes-away-77/) **Published:** November 2, 2021 **Author:** ArtistWorks **Excerpt:**

Yesterday, the guitar and jazz communities lost one of the great icons of the instrument and genre: Pat Martino, who passed away on Monday at the age of 77.

**Content:** ![]() Yesterday, the guitar and jazz communities lost one of the great icons of the instrument and genre: Pat Martino, who passed away on Monday at the age of 77. Born August 25, 1944, Pat Martino began his illustrious musical career at the age of 15, shortly after leaving his hometown of Philadelphia, PA to relocate to New York City. Upon his arrival in the jazz mecca that is New York, Martino quickly picked up a regular gig at Small’s Paradise, a jazz club in Harlem known for developing amazing young players. There, he performed six months out of the year and spent the remaining six performing at Club Harlem in Atlantic City, NJ. Martino began rapidly gaining notoriety for his prowess as a player, and it wasn’t long before he began performing and recording with some of the biggest names in the New York jazz scene, including Willis Jackson, Red Holloway, and a series of organists such as Don Patterson, Jimmy Smith, Jack McDuff, Richard “Groove” Holmes, and Jimmy McGriff. In 1967, however, Martino took the stage as a bandleader and shortly after released his first album, El Hombre, which launched him into the spotlight as not only a virtuosic jazz guitarist but a brilliant composer and arranger as well. “It’s difficult to overstate the influence of Pat Martino’s uniquely identifiable voice in the jazz guitar community. For legions of players over decades (including me in the mid-’70s) Pat was the generational bridge into post-bebop modern jazz, and the sound of Philadelphia. His passion, spirituality, intellect, unique musicality, and technique kept his name in the very top tier of jazz guitar gods throughout the decades,” said Howard Paul, President of [Benedetto Guitars](https://benedettoguitars.com/). In 1980, Martino suffered from a horrific, near-fatal seizure caused by a hemorrhaged arteriovenous malformation. The vascular anomaly caused Martino to experience severe amnesia, leaving him with no recollection or knowledge of his career or how to play the very instrument that made him successful. Martino was forced to relearn the guitar from ground zero. He didn’t let that stop him, however, and by 1987, Martino was not only performing again but released his twelfth studio album, The Return. “Pat Martino was one of my biggest inspirations when I first started getting into jazz guitar. His burning eighth-note lines and the fire in his playing really got to me. His warm and beautiful touch on ballads was also incredible,” said master guitarist and ArtistWorks jazz guitar instructor, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker). “Later when I became friendly with Pat I was able to tell him what he meant to me in person, and he was always a very warm and encouraging person and a deep thinker.” Dave pays tribute to Martino here in this solo rendition of Pat’s piece “Portrait of Diana” from his 1970 album, Desperado: In addition to his mastery as a performer, composer, and recording artist, Pat Martino was also a passionate educator and was known for his kind, caring, and open approach to teaching guitar. In fact, he taught online guitar courses through our partners at [TrueFire](https://truefire.com/) in addition to publishing numerous instructional books throughout the decades. To get a glimpse of Martino’s genius, check out his TrueFire course, “[The Nature of Guitar](https://truefire.com/educators/pat-martino/e4313),” and take a look at this free sample lesson here: Pat Martino will be deeply missed, but his legacy will forever live on through his music and the countless musicians and guitar players who were influenced by his art and talent. “In his relationship with us at Benedetto, he was kind, compassionate, open to his gushing guitar fans, and unwaveringly loyal,” said Paul. “We will miss him terribly, and consider his friendship a great blessing. Our deepest condolences to Aya, and to his friend and champion Joe Donofrio, both of whom helped him remain at home and comfortable to the end.” LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive[ online guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personal feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—Building Your Practice Roadmap: Dave Stryker](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap) [Dave Stryker Celebrates 1000 Video Exchanges](https://blog.artistworks.com/dave-stryker-celebrates-1000-video-exchanges) [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor ](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Just Announced: 4 New "Add-On" Courses to Take You Further!](https://blog.artistworks.com/just-announced-4-new-add-courses-take-you-further/) **Published:** October 27, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce four new “add-on” workshop courses designed to supplement your learning and deepen your musical knowledge: Tablature Workshop, Ear Training Workshop, Improvisation Workshop, How To Read Sheet Music.

**Content:** ![]() We’re excited to announce four new “add-on” workshop courses designed to supplement your learning and deepen your musical knowledge: [Tablature Workshop](https://artistworks.com/how-to-read-tablature), [Ear Training Workshop](https://artistworks.com/ear-training), [Improvisation Workshop](https://artistworks.com/music-improvisation), [How To Read Sheet Music](https://artistworks.com/how-to-read-music). Regardless of your instrument or style, each of these workshops will teach you invaluable skills that will make you a more complete, well-rounded musician. Add them to your lessons list with just a few simple clicks… Plus, current ArtistWorks students have access to special VIP pricing! Add any “add-on” workshop course (normally $39.00) for a one-time payment of $24.99 using code MORE24 at checkout! Learn more about each of these amazing workshop courses below: [Tablature Workshop:](https://artistworks.com/how-to-read-tablature) Taught by Grammy and IBMA Award-winning guitarist and ArtistWorks Flatpick Guitar instructor Bryan Sutton, this workshop will teach you all the skills needed to read and create tablature for any fretted stringed instrument. In the first section of lessons, you’ll learn how to read tablature. Bryan details the tablature format, common markings and symbols, and how to read the notes. In the second section, Bryan shows you his actual process for creating tablature using the industry-leading tablature software program, Guitar Pro. Learn the basics of setting up a file based on your instrument and tuning, how to input notes, rhythmic values, pick-up phrases, and even how to add embellishments like hammer-ons, pull-offs, slides, and bends. [Ear Training Workshop:](https://artistworks.com/ear-training) Taught by Berklee College of Music alumnus David Olivas, this five-section series of lessons covers everything from basic ear training concepts to terminology and how to hear and read musical relationships. David details multiple approaches to ear training and leads comprehensive lessons designed to exercise your ears on the following topics: Intervals (hearing relationships between notes), Chords (hearing and identifying the voices that combine to make different chord types), Tonal Relationships (building familiarity with the different major and minor tonalities), and Rhythms (getting familiar with note values and time signatures). [Improvisation Workshop:](https://artistworks.com/music-improvisation) Taught by ArtistWorks jazz instructors Eric Marienthal and George Whitty, this expansive workshop takes you through the many different concepts, approaches, and methods used by these masters of improvisation. They’ll teach you dozens of different techniques ranging from simple ideas to help you first get started to advanced concepts and beyond. These in-depth lessons include improv performances, demonstrations, analysis, and discussions that will elevate your understanding of and approach to improvising. [How to Read Sheet Music:](https://artistworks.com/how-to-read-music) Taught by master pianist and ArtistWorks Popular Piano instructor Hugh Sung, this workshop guides students who’ve never seen or worked with a musical score to perform and sight-read music. Learn basic note values and rhythmic markings, how to read the staff lines, accidentals, key signatures, time signatures, ledger lines, chords, progressions, scales, and more. This 10 level course advances progressively through well over 100 video lessons to provide you with all the necessary skills you need to start sight-reading music. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Chris Eldridge - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-chris-eldridge-how-get-out-musical-slump-0/) **Published:** October 27, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning guitarist, co-founder of world-renowned bluegrass outfit Punch Brothers, and ArtistWorks bluegrass guitar instructor, Chris Eldridge, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying connected to and curious about your instrument, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning guitarist, co-founder of world-renowned bluegrass outfit Punch Brothers, and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-chris-eldridge) instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying connected to and curious about your instrument, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). One of the most difficult things that we face as musicians, regardless of our skill or experience level, is navigating a path to avoid plateaus in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next challenge and overcome it? “One of the most important things for me, in terms of getting through periods where I’m having a hard time and not loving what I’m hearing, is just remembering my relationship with music,” Chris explains. “I have to just remember that music is this thing that I love and that it occupies a special place in my life.” Musical performance is as much a mental challenge as it is a physical and technical one. Motivation, state of mind, and mindfulness play a huge role in musical progression, how you approach challenges, and how you perceive your improvements. “When I find myself in a rut and don’t feel inspired to play, pushing myself to play regardless doesn’t really help much,” Chris explains. “What works for me is trying to take a step back to rediscover what I love about music, reconnect with my sense of curiosity about it.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) here: If you’re interested in studying bluegrass guitar and learning even more about Chris’ methods for staying motivated, practicing mindfulness in music, and improving as a musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Chris Eldridge - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-chris-eldridge-how-get-out-musical-slump/) **Published:** October 27, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning guitarist, co-founder of world-renowned bluegrass outfit Punch Brothers, and ArtistWorks bluegrass guitar instructor, Chris Eldridge, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying connected to and curious about your instrument, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy Award-winning guitarist, co-founder of world-renowned bluegrass outfit Punch Brothers, and ArtistWorks [bluegrass guitar](https://artistworks.com/guitar-lessons-chris-eldridge) instructor, [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for staying connected to and curious about your instrument, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass acoustic guitar from a master musician like Chris Eldridge? Try a free guitar lesson now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) One of the most difficult things that we face as musicians, regardless of our skill or experience level, is navigating a path to avoid plateaus in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next challenge and overcome it? “One of the most important things for me, in terms of getting through periods where I’m having a hard time and not loving what I’m hearing, is just remembering my relationship with music,” Chris explains. “I have to just remember that music is this thing that I love and that it occupies a special place in my life.” Musical performance is as much a mental challenge as it is a physical and technical one. Motivation, state of mind, and mindfulness play a huge role in musical progression, how you approach challenges, and how you perceive your improvements. “When I find myself in a rut and don’t feel inspired to play, pushing myself to play regardless doesn’t really help much,” Chris explains. “What works for me is trying to take a step back to rediscover what I love about music, reconnect with my sense of curiosity about it.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge) here: If you’re interested in studying bluegrass guitar and learning even more about Chris’ methods for staying motivated, practicing mindfulness in music, and improving as a musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [“Bluegrass Guitar with Chris Eldridge” is Now Open!](https://blog.artistworks.com/bluegrass-guitar-chris-eldridge-now-open) [ArtistWorks Music Series—How to Get Out of a Musical Slump: Michael Daves](https://blog.artistworks.com/new-podcast-michael-daves-how-get-out-musical-slump) [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Bluegrass Guitar with Chris Eldridge” is Now Open!](https://blog.artistworks.com/“bluegrass-guitar-chris-eldridge”-now-open/) **Published:** October 26, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Bluegrass Guitar with Chris Eldridge,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Bluegrass Guitar with Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Widely considered one of the premier acoustic guitarists of the modern era, Chris “Critter” Eldridge has cofounded and performed around the globe with some of the most prolific groups in the modern bluegrass scene. Most commonly known as the guitarist and co-founding member of the Grammy award-winning bluegrass outfit, Punch Brothers, Chris has brought his unique acoustic guitar stylings to a handful of bluegrass’ most successful and influential groups, including acclaimed jamgrass quintet, The Infamous Stringdusters, seminal bluegrass group, The Seldom Scene, and Chris Thile’s Live from Here radio show house band, to name a few. Through Chris’ [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) here at ArtistWorks, you’ll learn the ins and outs of Chris’ unique approach to bluegrass guitar playing, and the intricate techniques and methods that shape Chris’ distinct sound and style. “I’m really excited to share, in a really comprehensive way, what I’ve learned about the guitar over the years,” Chris explains. “With this curriculum, I tried really hard to demystify a lot of things about how music works.” In addition to eight Grammy nominations to date and one Grammy win in 2018, Chris was named “Instrumentalist of the Year” by the Americana Music Association in 2019. Throughout his illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. He also performs in an acoustic duo alongside jazz guitar virtuoso Julian Lage. Chris has drawn from decades of performance experience to create a comprehensive course of [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) designed to teach players of all levels how to play bluegrass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Chris and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Chris at every step of your musical journey. “The course was really built for everybody,” Chris explains. “I mined all of my experience and tried to share everything that felt important to me about music. So, I’m thinking of myself as a real open book here.” [Sign up now](https://artistworks.com/guitar-lessons-chris-eldridge) to gain access to Chris’ library of bluegrass guitar lessons, as well as our patented Video Exchange Learning® platform. Chris reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [“Bluegrass Guitar with Chris Eldridge” is Now Open!](https://blog.artistworks.com/bluegrass-guitar-chris-eldridge-now-open/) **Published:** October 26, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Bluegrass Guitar with Chris Eldridge,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Bluegrass Guitar with Chris Eldridge](https://artistworks.com/guitar-lessons-chris-eldridge),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Widely considered one of the premier acoustic guitarists of the modern era, Chris “Critter” Eldridge has cofounded and performed around the globe with some of the most prolific groups in the modern bluegrass scene. Most commonly known as the guitarist and co-founding member of the Grammy award-winning bluegrass outfit, Punch Brothers, Chris has brought his unique acoustic guitar stylings to a handful of bluegrass’ most successful and influential groups, including acclaimed jamgrass quintet, The Infamous Stringdusters, seminal bluegrass group, The Seldom Scene, and Chris Thile’s Live from Here radio show house band, to name a few. Through Chris’ [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) here at ArtistWorks, you’ll learn the ins and outs of Chris’ unique approach to bluegrass guitar playing, and the intricate techniques and methods that shape Chris’ distinct sound and style. “I’m really excited to share, in a really comprehensive way, what I’ve learned about the guitar over the years,” Chris explains. “With this curriculum, I tried really hard to demystify a lot of things about how music works.” In addition to eight Grammy nominations to date and one Grammy win in 2018, Chris was named “Instrumentalist of the Year” by the Americana Music Association in 2019. Throughout his illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. He also performs in an acoustic duo alongside jazz guitar virtuoso Julian Lage. Chris has drawn from decades of performance experience to create a comprehensive course of [guitar lessons online](https://artistworks.com/guitar-lessons-chris-eldridge) designed to teach players of all levels how to play bluegrass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Chris and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Chris at every step of your musical journey. “The course was really built for everybody,” Chris explains. “I mined all of my experience and tried to share everything that felt important to me about music. So, I’m thinking of myself as a real open book here.” [Sign up now](https://artistworks.com/guitar-lessons-chris-eldridge) to gain access to Chris’ library of bluegrass guitar lessons, as well as our patented Video Exchange Learning® platform. Chris reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Chris to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [November/December 2021 VE Deadline Dates](https://blog.artistworks.com/novemberdecember-2021-ve-deadline-dates-0/) **Published:** October 26, 2021 **Author:** ArtistWorks **Excerpt:**

Hello ArtistWorks Popular Piano Family! Here are the remaining VE submission deadline dates for 2021!

Have a happy, healthy, safe, and musical holiday season!!

**Content:** Hello ArtistWorks Popular Piano Family! Here are the remaining VE submission deadline dates for 2021! - Sunday, Nov. 14 - Sunday, Nov. 21 - Sunday, Dec. 5 - Sunday, Dec. 12 Have a happy, healthy, safe, and musical holiday season!! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [November/December 2021 VE Deadline Dates](https://blog.artistworks.com/novemberdecember-2021-ve-deadline-dates/) **Published:** October 26, 2021 **Author:** ArtistWorks **Excerpt:**

Hello ArtistWorks Popular Piano Family! Here are the remaining VE submission deadline dates for 2021!

Have a happy, healthy, safe, and musical holiday season!!

**Content:** Hello ArtistWorks Popular Piano Family! Here are the remaining VE submission deadline dates for 2021! - Sunday, Nov. 14 - Sunday, Nov. 21 - Sunday, Dec. 5 - Sunday, Dec. 12 Have a happy, healthy, safe, and musical holiday season!! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Bluegrass Banjo Legend, Sonny Osborne, Passes Away at 83](https://blog.artistworks.com/bluegrass-banjo-legend-sonny-osborne-passes-away-83-0/) **Published:** October 25, 2021 **Author:** ArtistWorks **Excerpt:**

Yesterday, the banjo and bluegrass communities lost one of the great icons of the instrument and genre: Sonny Osborne, who passed away on Sunday at the age of 83.

**Content:** ![]() Yesterday, the banjo and bluegrass communities lost one of the great icons of the instrument and genre: Sonny Osborne, who passed away on Sunday at the age of 83. Alongside his brother and mandolin virtuoso Bobby Osborne, Sonny made up one-half of the world-renowned bluegrass group, the Osborne Brothers. Born on October 29, 1937, Sonny Osborne began pursuing music professionally at the young age of 14. He and his brother Bobby grew up playing together; however, when Bobby was drafted into the United States Marine Corps in 1952, Sonny continued his musical pursuits, sharing the stage with bluegrass legends such as the great Bill Monroe and others. Following Bobby’s discharge from the military, the Osborne Brothers partnered with Red Allen on guitar, Ernie Newton on bass, and Tommy Jackson and Art Stamper on fiddles for their debut release on MGM Records in July 1956. The success of their first single, “Ruby Are You Mad,” led them to sign as regular members of the WWVA Jamboree in October 1956. The re-recorded Jamboree version of “Ruby Are You Mad” marked the first time in history that twin banjos were featured on a bluegrass record, the first of many progressive musical choices made by the Osborne Brothers. “The Osborne Brothers were a major part of my bluegrass life in my younger days, and are still a pivotal band for me,” explains legendary banjoist and ArtistWorks instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). “They were always taking chances and being forward-thinking, while still having a strong foothold in traditional bluegrass.” In addition to premiering the first double banjo ensemble on a recording, the Osborne Brothers were also the first bluegrass artists to feature dobro and drums on a recording, the first to incorporate electric bass and percussion into their studio and live work, and the first bluegrass group in history to perform on a college campus—Antioch College in Yellow Springs, OH in 1960. “They were one of the first, if not the first, bluegrass bands to plug in \[and amplify their instruments\] in the later 60s,” Tony explains. “Sonny even went as far as to put a padlock on his banjo’s flange so that no one could figure what pickup he was using.” Tony and Sonny worked together many times over the years, both on stage and in the studio. Sonny even co-wrote a tune on Tony’s 1985 album, Hill Country, called “Sunny Days.” “‘Sunny Days’ is a tune I co-wrote with Sonny Osborne,” Tony explains. “When you hear the double banjo parts, Sonny is playing the melody and I’m on harmony. The banjo solo in the middle is Béla Fleck, who produced the album. Sam Bush is on mandolin, Tony Rice is on guitar, Blaine Sprouse is on fiddle, and Mark Hembree is on bass.” Fellow ArtistWorks instructor, banjo master, and co-founder of Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) also expressed the great influence that Sonny had on his musical pursuits and appreciation for the instrument. “Hearing Sonny’s approach to playing slow music on the banjo was incredibly liberating for me, and his assimilation of pedal steel guitar-isms into his playing has served as a real model for me over the years,” Noam explains. “Sonny’s music and spirit were inextricably linked to the very best-of-the-best first generation Bluegrass musicians who came before him, but his music was inarguably forward-looking, progressive, and uniquely his own.” Sonny Osborne will be deeply missed, but his legacy will forever live on through his music and the countless musicians and banjo players who were influenced by his art and talent. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Bluegrass Banjo Legend, Sonny Osborne, Passes Away at 83](https://blog.artistworks.com/bluegrass-banjo-legend-sonny-osborne-passes-away-83/) **Published:** October 25, 2021 **Author:** ArtistWorks **Excerpt:**

Yesterday, the banjo and bluegrass communities lost one of the great icons of the instrument and genre: Sonny Osborne, who passed away on Sunday at the age of 83.

**Content:** ![]() Yesterday, the banjo and bluegrass communities lost one of the great icons of the instrument and genre: Sonny Osborne, who passed away on Sunday at the age of 83. Alongside his brother and mandolin virtuoso Bobby Osborne, Sonny made up one-half of the world-renowned bluegrass group, the Osborne Brothers. Born on October 29, 1937, Sonny Osborne began pursuing music professionally at the young age of 14. He and his brother Bobby grew up playing together; however, when Bobby was drafted into the United States Marine Corps in 1952, Sonny continued his musical pursuits, sharing the stage with bluegrass legends such as the great Bill Monroe and others. Following Bobby’s discharge from the military, the Osborne Brothers partnered with Red Allen on guitar, Ernie Newton on bass, and Tommy Jackson and Art Stamper on fiddles for their debut release on MGM Records in July 1956. The success of their first single, “Ruby Are You Mad,” led them to sign as regular members of the WWVA Jamboree in October 1956. The re-recorded Jamboree version of “Ruby Are You Mad” marked the first time in history that twin banjos were featured on a bluegrass record, the first of many progressive musical choices made by the Osborne Brothers. “The Osborne Brothers were a major part of my bluegrass life in my younger days, and are still a pivotal band for me,” explains legendary banjoist and ArtistWorks instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). “They were always taking chances and being forward-thinking, while still having a strong foothold in traditional bluegrass.” In addition to premiering the first double banjo ensemble on a recording, the Osborne Brothers were also the first bluegrass artists to feature dobro and drums on a recording, the first to incorporate electric bass and percussion into their studio and live work, and the first bluegrass group in history to perform on a college campus—Antioch College in Yellow Springs, OH in 1960. “They were one of the first, if not the first, bluegrass bands to plug in \[and amplify their instruments\] in the later 60s,” Tony explains. “Sonny even went as far as to put a padlock on his banjo’s flange so that no one could figure what pickup he was using.” Tony and Sonny worked together many times over the years, both on stage and in the studio. Sonny even co-wrote a tune on Tony’s 1985 album, Hill Country, called “Sunny Days.” “‘Sunny Days’ is a tune I co-wrote with Sonny Osborne,” Tony explains. “When you hear the double banjo parts, Sonny is playing the melody and I’m on harmony. The banjo solo in the middle is Béla Fleck, who produced the album. Sam Bush is on mandolin, Tony Rice is on guitar, Blaine Sprouse is on fiddle, and Mark Hembree is on bass.” Fellow ArtistWorks instructor, banjo master, and co-founder of Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) also expressed the great influence that Sonny had on his musical pursuits and appreciation for the instrument. “Hearing Sonny’s approach to playing slow music on the banjo was incredibly liberating for me, and his assimilation of pedal steel guitar-isms into his playing has served as a real model for me over the years,” Noam explains. “Sonny’s music and spirit were inextricably linked to the very best-of-the-best first generation Bluegrass musicians who came before him, but his music was inarguably forward-looking, progressive, and uniquely his own.” Sonny Osborne will be deeply missed, but his legacy will forever live on through his music and the countless musicians and banjo players who were influenced by his art and talent. LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [online banjo lessons](https://artistworks.com/banjo-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personal feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—Artist Bio Series: Tony Trischka](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series) [Try Our Free Bluegrass Banjo Technique Builder Lesson Bundles!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons) [Banjo Lesson: Righthand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Announcing Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2022](https://blog.artistworks.com/announcing-mike-marshall-caterina-lichtenberg’s-mandolin-world-retreat-2022-0/) **Published:** October 22, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will once again be hosting their annual “[Mandolin World Retreat](https://mailchi.mp/mikemarshall/were-back-mandolin-world-retreat-2022-in-benicia-ca)” in Benicia, CA over the extended weekend of March 18-20, 2022. “We started the Mandolin World Retreats as a way to create an intimate, relaxed environment where each mandolinist (no matter their level or style of player) could find inspiration, be propelled forward on their musical journey, and leave with some new music under their fingers,” Mike and Caterina explain. “We love to find that magic spot where you are being challenged but not in over your head.” As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their Mandolin World Retreat will provide a small number of students with the opportunity to work hands-on with Mike and Caterina in person. Don’t wait—registration begins on Thursday, October 28, 2021, at 9:00 am PST. “Because registration is limited, there will be more opportunity for questions, for working with you up close, and for discussing some of our favorite tips and tricks,” Mike and Caterina explain. “All the while, we’ll be having fun, making new musical buddies, and sharing some good food and wine!” Caterina and Mike will be covering a vast array of musical styles and topics at the retreat including classic bluegrass tunes, swing and jazz improvisation, classical compositions and techniques, Brazilian choro music, chord theory, and more. “On the last day, if you want, you’ll be able to join both of us on stage for a final Concert,” Mike and Caterina explain. For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented Video Exchange Learning®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2022, click [here](https://mailchi.mp/mikemarshall/were-back-mandolin-world-retreat-2022-in-benicia-ca). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Announcing Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2022](https://blog.artistworks.com/announcing-mike-marshall-caterina-lichtenberg’s-mandolin-world-retreat-2022/) **Published:** October 22, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, Mike Marshall and Caterina Lichtenberg, will once again be hosting their annual “Mandolin World Retreat” in Benicia, CA over the extended weekend of March 18-20, 2022.

**Content:** ![]() We’re excited to announce that world-renowned mandolinists and ArtistWorks master mandolin instructors, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), will once again be hosting their annual “[Mandolin World Retreat](https://mailchi.mp/mikemarshall/were-back-mandolin-world-retreat-2022-in-benicia-ca)” in Benicia, CA over the extended weekend of March 18-20, 2022. “We started the Mandolin World Retreats as a way to create an intimate, relaxed environment where each mandolinist (no matter their level or style of player) could find inspiration, be propelled forward on their musical journey, and leave with some new music under their fingers,” Mike and Caterina explain. “We love to find that magic spot where you are being challenged but not in over your head.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a few free mandolin lessons online now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) As master mandolin instructors here at ArtistWorks, teaching [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [classical mandolin](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) respectively, Mike and Caterina have an amazing ability to target specific areas where students are struggling and provide step-by-step guidance to help them overcome their musical challenges. Their Mandolin World Retreat will provide a small number of students with the opportunity to work hands-on with Mike and Caterina in person. Don’t wait—registration begins on Thursday, October 28, 2021, at 9:00 am PST. “Because registration is limited, there will be more opportunity for questions, for working with you up close, and for discussing some of our favorite tips and tricks,” Mike and Caterina explain. “All the while, we’ll be having fun, making new musical buddies, and sharing some good food and wine!” LEARN MORE: [Want to learn from a classical mandolin master like Caterina Lichtenberg? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-caterina-lichtenberg) Caterina and Mike will be covering a vast array of musical styles and topics at the retreat including classic bluegrass tunes, swing and jazz improvisation, classical compositions and techniques, Brazilian choro music, chord theory, and more. “On the last day, if you want, you’ll be able to join both of us on stage for a final Concert,” Mike and Caterina explain. For those students who may not be able to attend, don’t fret! You can work hands-on with Mike and Caterina to improve your mandolin playing in both the classical and bluegrass genres right here at ArtistWorks. And, with our patented Video Exchange Learning®, you can receive personal feedback and guidance from Mike and Caterina at every step of your musical journey. To register for Mike Marshall & Caterina Lichtenberg’s Mandolin World Retreat 2022, click [here](https://mailchi.mp/mikemarshall/were-back-mandolin-world-retreat-2022-in-benicia-ca). LEARN MORE: Have you always wanted to learn how to play the mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) and [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina and Mike’s courses each start with the basics and teach everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and as musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks) [“Caterina Lichtenberg Solo” Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award) [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton’s-bluegrass-acoustic-guitar-course-additions-updates-0/) **Published:** October 21, 2021 **Author:** ArtistWorks **Excerpt:**

In 2011, we were ecstatic to welcome Grammy and IBMA Award-winning flatpick guitar virtuoso, Bryan Sutton, to our esteemed faculty of bluegrass instructors here at ArtistWorks. Since his bluegrass acoustic guitar course launched in 2011, Bryan has helped thousands of guitarists from around the globe improve their skills, grow as musicians, and deepen their love for the instrument and playing. We are honored and proud that Bryan is a member of our faculty and continues to embody what it means to be a music educator and a pillar of the ArtistWorks community.

**Content:** ![]() In 2011, we were ecstatic to welcome Grammy and IBMA Award-winning flatpick guitar virtuoso, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), to our esteemed faculty of bluegrass instructors here at ArtistWorks. Since his [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) course launched in 2011, Bryan has helped thousands of guitarists from around the globe improve their skills, grow as musicians, and deepen their love for the instrument and playing. We are honored and proud that Bryan is a member of our faculty and continues to embody what it means to be a music educator and a pillar of the ArtistWorks community. Throughout the years, Bryan has continuously made small updates, additions, and refinements to his course content and curriculum. Today, however, we are excited to announce that we’ve partnered with Bryan to completely revamp and update all of the technique lesson videos in his entire course, expand his curriculum to include brand new material, and more. “Over the last ten years, I’ve evolved and gotten better as a guitar player and gotten better as a teacher,” Bryan explains. “With the experience of teaching on the ArtistWorks platform as long as I have and conducting thousands of Video Exchanges, I thought it would be good to restructure some of the lessons and address some of the topics in more detail that I get asked about frequently.” In his ten years as an ArtistWorks master instructor, Bryan has worked directly with thousands of players from around the world and conducted more than 9,000 Video Exchanges to provide personal feedback to his students at every step of their musical journey. “My goal with these updates wasn’t to just re-do my ArtistWorks curriculum,” Bryan explains. “With this refresh, I was able to better align the curriculum with the common Video Exchange topics I’ve addressed over the years and the conversations that I’m currently having with my students. It also allowed me to expand greatly on topics like improvisation, rhythm guitar playing, and understanding the fretboard.” With the updates and additions to Bryan’s course, students will now be able to dive into brand new lessons covering an array of topics like rhythm guitar playing, improvisation, musical mindfulness and listening, fretboard mapping, and more. For instance, Bryan has added an entirely new section of lessons called the “Rhythm Guitar Toolbox” that details his philosophy on rhythm guitar playing and provides critical rhythm guitar concepts designed for players of all levels: beginner, intermediate, and advanced. He also expanded many of his sub-sets of lessons to cover topics such as Building Fretboard Fluency, Adding Attitude to Your Playing, Critical Listening, and Melody Awareness When Improvising. Bryan even added an entire series of lessons on mindfulness and his philosophies on music, complete with practice exercises and tools to improve your ear and holistic musicianship. As an ArtistWorks instructor, Bryan has had the opportunity to meet, mentor, and guide a vast array of acoustic guitar players worldwide, and help guitarists of all levels grow as musicians and flatpickers. With the new updates and additions to his course, he’s guaranteed to take his teaching to an entirely new level. “I’m really excited about this,” Bryan explains. “As an artist, I always want to improve and share more new music with the world. As an instructor, I want to do the same. I’m coming into this with a lot of energy.” Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today, and become a member of Bryan’s online community. He looks forward to seeing you there! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Bryan Sutton’s Bluegrass Acoustic Guitar Course: Additions & Updates](https://blog.artistworks.com/bryan-sutton’s-bluegrass-acoustic-guitar-course-additions-updates/) **Published:** October 21, 2021 **Author:** ArtistWorks **Excerpt:**

In 2011, we were ecstatic to welcome Grammy and IBMA Award-winning flatpick guitar virtuoso, Bryan Sutton, to our esteemed faculty of bluegrass instructors here at ArtistWorks. Since his bluegrass acoustic guitar course launched in 2011, Bryan has helped thousands of guitarists from around the globe improve their skills, grow as musicians, and deepen their love for the instrument and playing. We are honored and proud that Bryan is a member of our faculty and continues to embody what it means to be a music educator and a pillar of the ArtistWorks community.

**Content:** ![]() In 2011, we were ecstatic to welcome Grammy and IBMA Award-winning flatpick guitar virtuoso, [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), to our esteemed faculty of bluegrass instructors here at ArtistWorks. Since his [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) course launched in 2011, Bryan has helped thousands of guitarists from around the globe improve their skills, grow as musicians, and deepen their love for the instrument and playing. We are honored and proud that Bryan is a member of our faculty and continues to embody what it means to be a music educator and a pillar of the ArtistWorks community. Throughout the years, Bryan has continuously made small updates, additions, and refinements to his course content and curriculum. Today, however, we are excited to announce that we’ve partnered with Bryan to completely revamp and update all of the technique lesson videos in his entire course, expand his curriculum to include brand new material, and more. LEARN MORE: [Want to learn how to play flatpick guitar from a master musician like Bryan Sutton? Try a few free online guitar lessons now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “Over the last ten years, I’ve evolved and gotten better as a guitar player and gotten better as a teacher,” Bryan explains. “With the experience of teaching on the ArtistWorks platform as long as I have and conducting thousands of Video Exchanges, I thought it would be good to restructure some of the lessons and address some of the topics in more detail that I get asked about frequently.” In his ten years as an ArtistWorks master instructor, Bryan has worked directly with thousands of players from around the world and conducted more than 9,000 Video Exchanges to provide personal feedback to his students at every step of their musical journey. “My goal with these updates wasn’t to just re-do my ArtistWorks curriculum,” Bryan explains. “With this refresh, I was able to better align the curriculum with the common Video Exchange topics I’ve addressed over the years and the conversations that I’m currently having with my students. It also allowed me to expand greatly on topics like improvisation, rhythm guitar playing, and understanding the fretboard.” With the updates and additions to Bryan’s course, students will now be able to dive into brand new lessons covering an array of topics like rhythm guitar playing, improvisation, musical mindfulness and listening, fretboard mapping, and more. For instance, Bryan has added an entirely new section of lessons called the “Rhythm Guitar Toolbox” that details his philosophy on rhythm guitar playing and provides critical rhythm guitar concepts designed for players of all levels: beginner, intermediate, and advanced. He also expanded many of his sub-sets of lessons to cover topics such as Building Fretboard Fluency, Adding Attitude to Your Playing, Critical Listening, and Melody Awareness When Improvising. Bryan even added an entire series of lessons on mindfulness and his philosophies on music, complete with practice exercises and tools to improve your ear and holistic musicianship. As an ArtistWorks instructor, Bryan has had the opportunity to meet, mentor, and guide a vast array of acoustic guitar players worldwide, and help guitarists of all levels grow as musicians and flatpickers. With the new updates and additions to his course, he’s guaranteed to take his teaching to an entirely new level. “I’m really excited about this,” Bryan explains. “As an artist, I always want to improve and share more new music with the world. As an instructor, I want to do the same. I’m coming into this with a lot of energy.” Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today, and become a member of Bryan’s online community. He looks forward to seeing you there! LEARN MORE: Have you always wanted to learn how to play bluegrass acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [An In-Depth Interview: Bryan Sutton Celebrates 9,000 Video Exchanges](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges) [ArtistWorks Music Series—Becoming a Confident Player: Bryan Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-becoming-confident-player) [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-b%C3%A9la-fleck-bryan-sutton-sierra-hull) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Beginner Acoustic Guitar Lesson: Playing Without a Pick with David Butler](https://blog.artistworks.com/beginner-acoustic-guitar-lesson-playing-without-pick-david-butler/) **Published:** October 18, 2021 **Author:** ArtistWorks **Excerpt:**

In this online acoustic guitar lesson, life-long acoustic guitarist, ArtistWorks co-founder, and the creator of Video Exchange Learning, David Butler, walks through the various basic fingerstyle guitar techniques and showcases the different types of sounds that become available to players when employing these methods.

**Content:** ![]() In this [online acoustic guitar lesson](https://artistworks.com/beginner-guitar-lessons), life-long acoustic guitarist, ArtistWorks co-founder, and the creator of Video Exchange Learning, David Butler, walks through the various basic [fingerstyle guitar](https://artistworks.com/beginner-guitar-lessons) techniques and showcases the different types of sounds that become available to players when employing these methods. When picking up an acoustic guitar for the first time, the instinct of most new players is to grab a flatpick and begin strumming. While playing with a flatpick is a great place to start, and is an important skill for guitarists of any level to practice and master, it isn’t the only playing method available, especially to acoustic guitarists. Playing with your fingers, also known as [fingerstyle guitar](https://artistworks.com/beginner-guitar-lessons) playing, is a tremendously expressive playing method that allows guitarists to tap into a vast array of sounds, tones, and styles. “One technique is to play with the fleshy part of your thumb,” David explains. “This is great for creating a warm soft tone that can really serve you well if you’re accompanying a singer with a softer or lighter voice.” As you begin exercising this new thumb technique with your strumming hand, sometimes you might feel a slight pain on the surface of the finger. This is caused by the friction created between your skin and the string. So, don’t feel discouraged if you need to take breaks. In the meantime, there are plenty of other fingerstyle methods that you can practice while you slowly build your thumb callus. “A lot of fingerstyle guitarists grow out their fingernails a bit and use them to pluck the strings,” David explains. “This allows you to achieve a similar bright sound to that of a pick, but gives you a little bit more versatility because you have more fingers available for playing.” To learn more about different [fingerstyle guitar](https://artistworks.com/beginner-guitar-lessons) techniques and how to start integrating them into your playing, dive into this acoustic guitar lesson for beginners: Playing Without a Pick with David Butler: MORE ON OUR BEGINNER’S GUIDE TO ACOUSTIC GUITAR COURSE: [David Butler](https://artistworks.com/beginner-guitar-lessons) is the co-founder of ArtistWorks, a lifelong acoustic guitarist, and the creator of Video Exchange Learning®. He grew up listening to and playing the guitar-centric music of the ’60s, surrounded by the many musical influences of his hometown Memphis, Tennessee. Especially drawn to the sound of the acoustic guitar, he strived to master and teach its many styles and techniques including flat pick and fingerstyle (“Travis”) picking. In his [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons), David shares his lifetime of acoustic guitar knowledge. His goal is to provide comprehensive, step-by-step, deep instruction that fills in gaps that often cause first-time players to get frustrated. Normally behind the camera at ArtistWorks, he now steps to the other side to teach all the adult beginners who wish to play and enjoy the acoustic guitar. Interested in learning how to play the acoustic guitar? Experience our acoustic guitar lessons online for yourself and try out some [free sample music lessons](https://artistworks.com/#freelessons) here. You’ll quickly see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Join the 5 Day Beginner Acoustic Guitar Challenge](https://blog.artistworks.com/join-5-day-beginner-acoustic-guitar-challenge) [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) [Celebrating One Year of “Beginner’s Guide to Acoustic Guitar”](https://blog.artistworks.com/celebrating-one-year-%E2%80%9Cbeginner%E2%80%99s-guide-acoustic-guitar%E2%80%9D) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [We’re Hiring a Remote, Part-Time Customer Service Representative](https://blog.artistworks.com/hiring-remote-part-time-customer-service-representative/) **Published:** October 15, 2021 **Author:** ArtistWorks **Excerpt:**

We are currently hiring someone for a remote customer service position, 16-20 hours per week. Come join our passionate, creative, fun, and musical team!

ABOUT THE ROLE:

**Content:** ![]() We are currently hiring someone for a remote customer service position, 16-20 hours per week. Come join our passionate, creative, fun, and musical team! ABOUT THE ROLE: We are a small company doing very big things in the world of music and online education. Combining best-in-class expertise in video production, technology, and digital marketing, ArtistWorks partners with world-renowned, highly accomplished musicians who teach online using our patented Video Exchange Learning® platform. As an Online Customer Support Representative, you are at the heart of the ArtistWorks experience. You will work in an online environment providing support for a passionate group of current and potential students. You will handle a high volume of emailed requests/queries and communicate closely with our Customer Service Manager to help improve the customer experience. We’re looking for a self-starting individual who is looking for a remote, part-time position at a company doing very exciting things. If you are interested in learning more, please apply here through [Indeed.com](https://www.indeed.com/job/customer-service-rep-d6327ac97d0453e2). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The ArtistWorks Big Gear Giveaway](https://blog.artistworks.com/artistworks-big-gear-giveaway-0/) **Published:** October 14, 2021 **Author:** ArtistWorks **Excerpt:**

The ultimate gear giveaway is here! We’re giving away thousands of dollars worth of musical instruments and equipment from some of the biggest names in the industry. Enter before November 18, 2021 at 12:00 pm PST for a chance to win one of these amazing prizes!

**Content:** ![]() The ultimate gear giveaway is here! We’re giving away thousands of dollars worth of musical instruments and equipment from some of the biggest names in the industry. Enter before November 18, 2021 at 12:00 pm PST for a chance to win one of these amazing prizes! We’ve partnered with seven leading gear manufacturers and “friends of ArtistWorks” to make these eight prizes available to those we value the most: our players! Enter now for your chance to win: - Epiphone [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) “Gold Glory” Les Paul Custom - Deering “Goodtime” 5-String Banjo - Kanile’a “Willie K” Super Tenor Ukulele - Taylor 214ce Acoustic Electric Rosewood Guitar - Roland RP-102 Digital Piano - JHS “Milkman” Slap/Echo Delay Pedal - JHS “Moonshine” Overdrive Pedal - Seymour Duncan 805 Overdrive Pedal Don’t miss out on your chance to win. Hurry, the contest ends on 11/18! Click [HERE](https://go.artistworks.com/2021-big-gear-giveaway) to sign up and enter today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The ArtistWorks Big Gear Giveaway](https://blog.artistworks.com/artistworks-big-gear-giveaway/) **Published:** October 14, 2021 **Author:** ArtistWorks **Excerpt:**

The ultimate gear giveaway is here! We’re giving away thousands of dollars worth of musical instruments and equipment from some of the biggest names in the industry. Enter before November 18, 2021 at 12:00 pm PST for a chance to win one of these amazing prizes!

**Content:** ![]() The ultimate gear giveaway is here! We’re giving away thousands of dollars worth of musical instruments and equipment from some of the biggest names in the industry. Enter before November 18, 2021 at 12:00 pm PST for a chance to win one of these amazing prizes! We’ve partnered with seven leading gear manufacturers and “friends of ArtistWorks” to make these eight prizes available to those we value the most: our players! Enter now for your chance to win: - **Epiphone [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) “Gold Glory” Les Paul Custom** - **Deering “Goodtime” 5-String Banjo** - **Kanile’a “Willie K” Super Tenor Ukulele** - **Taylor 214ce Acoustic Electric Rosewood Guitar** - **Roland RP-102 Digital Piano** - **JHS “Milkman” Slap/Echo Delay Pedal** - **JHS “Moonshine” Overdrive Pedal** - **Seymour Duncan 805 Overdrive Pedal** Don’t miss out on your chance to win. Hurry, the contest ends on 11/18! Click [HERE](https://go.artistworks.com/2021-big-gear-giveaway) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 13 Years of Teaching the World Music](https://blog.artistworks.com/artistworks-celebrates-13-years-teaching-world-music-0/) **Published:** October 13, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that this month marks ArtistWorks’ 13th anniversary providing world-class online music lessons to players of all instruments, genres, and skill levels with an unwavering goal to “Teach the World Music.”

**Content:** ![]() We’re excited to announce that this month marks ArtistWorks’ 13th anniversary providing world-class [online music lessons](https://artistworks.com/all-courses) to players of all instruments, genres, and skill levels with an unwavering goal to “Teach the World Music.” ArtistWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we’ve made a difference for musicians across the globe. Since our inception in 2008, ArtistWorks has grown substantially. We opened our virtual doors with just a small handful of courses and, by 2009, offered comprehensive, interactive online music lessons teaching [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), [fingerstyle guitar](https://artistworks.com/guitar-lessons-martin-taylor), [bluegrass banjo](https://artistworks.com/banjo-lessons), [classical piano](https://artistworks.com/piano-lessons-christie-peery), [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), and even [DJ scratching](https://artistworks.com/skratch-lessons-dj-qbert). Since then, ArtistWorks has expanded to offer courses taught by 40 world-renowned, award-winning master musicians, who provide their musical guidance and expertise to thousands of students in over 80 countries around the world. Through our Video Exchange Learning® platform, our master faculty is able to work directly with their students and provide personal guidance and feedback at every step of the musical journey. Students can also learn from each other by tapping into our expansive Video Exchange library of over 80,000 lesson videos. Dive into the graphic below to learn more about some of our proudest milestones over the last 13 years: ![](https://blog.artistworks.com/wp-content/uploads/2021/01/13_Anniversary_Timeline-LARGE.jpg) To celebrate our 13th anniversary, we’re offering a $100 savings on most of our 12-month plans. Just use code HAPPY13 at checkout and start playing today! But, don’t wait, the code is only active for one week, until October 20, 2021. Check out our full assortment of courses [here](https://artistworks.com/all-courses)! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 13 Years of Teaching the World Music](https://blog.artistworks.com/artistworks-celebrates-13-years-teaching-world-music/) **Published:** October 13, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that this month marks ArtistWorks’ 13th anniversary providing world-class online music lessons to players of all instruments, genres, and skill levels with an unwavering goal to “Teach the World Music.”

**Content:** ![]() We’re excited to announce that this month marks ArtistWorks’ 13th anniversary providing world-class [online music lessons](https://artistworks.com/all-courses) to players of all instruments, genres, and skill levels with an unwavering goal to “Teach the World Music.” ArtistWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we’ve made a difference for musicians across the globe. Since our inception in 2008, ArtistWorks has grown substantially. We opened our virtual doors with just a small handful of courses and, by 2009, offered comprehensive, interactive online music lessons teaching [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), [fingerstyle guitar](https://artistworks.com/guitar-lessons-martin-taylor), [bluegrass banjo](https://artistworks.com/banjo-lessons), [classical piano](https://artistworks.com/piano-lessons-christie-peery), [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), and even [DJ scratching](https://artistworks.com/skratch-lessons-dj-qbert). Since then, ArtistWorks has expanded to offer courses taught by 40 world-renowned, award-winning master musicians, who provide their musical guidance and expertise to thousands of students in over 80 countries around the world. Through our Video Exchange Learning® platform, our master faculty is able to work directly with their students and provide personal guidance and feedback at every step of the musical journey. Students can also learn from each other by tapping into our expansive Video Exchange library of over 80,000 lesson videos. Dive into the graphic below to learn more about some of our proudest milestones over the last 13 years: ![](https://blog.artistworks.com/wp-content/uploads/2021/01/13_Anniversary_Timeline-LARGE.jpg) To celebrate our 13th anniversary, we’re offering a $100 savings on most of our 12-month plans. Just use code HAPPY13 at checkout and start playing today! But, don’t wait, the code is only active for one week, until October 20, 2021. Check out our full assortment of courses [here](https://artistworks.com/all-courses)! ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from [acoustic and electric guitar](https://artistworks.com/guitar-lessons) to [banjo](https://artistworks.com/banjo-lessons), [piano](https://artistworks.com/piano-lessons), [mandolin](https://artistworks.com/mandolin-lessons), [fiddle](https://artistworks.com/fiddle-lessons-darol-anger), [saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah), how to [sing](https://artistworks.com/bluegrass-vocal-lessons-michael-daves)—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what%E2%80%99s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge) [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [The 7 Pitfalls of Private Music Lessons and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Michael Daves - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-michael-daves-how-get-out-musical-slump-0/) **Published:** October 13, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy-nominated singer and ArtistWorks’ instructor of bluegrass vocals, Michael Daves, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for tackling difficult musical passages, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy-nominated singer and ArtistWorks’ instructor of [bluegrass vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for tackling difficult musical passages, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). One of the most difficult things that we face as musicians and vocalists, regardless of our skill or experience level, is navigating a path to avoid plateaus in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next challenge and overcome it? “Sometimes a slump is a practice mentality,” Michael explains. “Practicing singing can sometimes feel like tedious work, or a lot of vocalists may simply not have a sense of how to go about it. The latter is common among folk singers.” Whether you’re a vocalist, instrumentalist, or both, forming a consistent habit of setting aside time for structured practice, even if it’s only for a brief period daily, can be an immensely effective way to tackle challenges, make steady incremental progress, and stay motivated and inspired. “Come up with a ten-minute practice regimen,” Michael explains. “This will give you confidence. You’ll know that if you do this most days, your efforts will compound and you’ll really build something. Even if you don’t see results every single day, I’ve never seen this method fail.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) here: If you’re interested in studying bluegrass vocals and learning even more about Michaels’ approaches to developing an effective practice regimen and growing as a singer, check out his [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Michael Daves - How to Get Out of a Musical Slump](https://blog.artistworks.com/new-podcast-michael-daves-how-get-out-musical-slump/) **Published:** October 13, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy-nominated singer and ArtistWorks’ instructor of bluegrass vocals, Michael Daves, to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for tackling difficult musical passages, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with Grammy-nominated singer and ArtistWorks’ instructor of [bluegrass vocals](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves), to discuss the concept of “How to Get Out of a Musical Slump.” Together, they explore different techniques for tackling difficult musical passages, methods for staying motivated, and how to avoid plateaus in your musical progress. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to sing from a master bluegrass vocalist like Michael Daves? Try a free vocal lesson now!](https://go.artistworks.com/free-bluegrass-vocals-lessons-michael-daves) One of the most difficult things that we face as musicians and vocalists, regardless of our skill or experience level, is navigating a path to avoid plateaus in our musical growth. Consistent improvement is an enormously powerful motivator and keeps us inspired to take on the next big musical challenge. So, what do we do when we find ourselves stuck in a musical slump? How do we regain our motivation, confidence, and inspiration to take on that next challenge and overcome it? “Sometimes a slump is a practice mentality,” Michael explains. “Practicing singing can sometimes feel like tedious work, or a lot of vocalists may simply not have a sense of how to go about it. The latter is common among folk singers.” Whether you’re a vocalist, instrumentalist, or both, forming a consistent habit of setting aside time for structured practice, even if it’s only for a brief period daily, can be an immensely effective way to tackle challenges, make steady incremental progress, and stay motivated and inspired. “Come up with a ten-minute practice regimen,” Michael explains. “This will give you confidence. You’ll know that if you do this most days, your efforts will compound and you’ll really build something. Even if you don’t see results every single day, I’ve never seen this method fail.” To learn more about how you can get out of a musical slump, find inspiration, gain confidence, and grow as a musician, regardless of your instrument of choice, listen to the full podcast with [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) here: If you’re interested in studying bluegrass vocals and learning even more about Michaels’ approaches to developing an effective practice regimen and growing as a singer, check out his [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Series—Artist Bio Series: Tony Trischka](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series) [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons) [Sign Up for the 5 Day Bluegrass Vocals Challenge](https://blog.artistworks.com/sign-5-day-bluegrass-vocals-challenge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Harmonica UK Virtual Festival](https://blog.artistworks.com/harmonica-uk-virtual-festival/) **Published:** October 12, 2021 **Author:** ArtistWorks **Excerpt:**

On Saturday Oct. 16 at 1:30PM CDT, I will give a performance/workshop at the Harmonica UK Festival, where I'll cover many of the styles I play in and talk about my career, the way I learn, practice, and more. Looking forward greatly to this. https://www.harmonicauk.net/festival-21/

**Content:** On Saturday Oct. 16 at 1:30PM CDT, I will give a performance/workshop at the Harmonica UK Festival, where I’ll cover many of the styles I play in and talk about my career, the way I learn, practice, and more. Looking forward greatly to this. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what’s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge-0/) **Published:** October 8, 2021 **Author:** ArtistWorks **Excerpt:**

Since July, we’ve had the exciting opportunity to welcome three new master musicians to our amazing faculty of world-renowned instructors here at ArtistWorks. Together, these three champions of their craft provide their unique, expert perspectives and methods to students interested in learning how to play the bluegrass mandolin, flatpick acoustic guitar, and blues and hard rock guitar.

BLUEGRASS MANDOLIN WITH SIERRA HULL:

**Content:** ![]() Since July, we’ve had the exciting opportunity to welcome three new master musicians to our amazing faculty of world-renowned instructors here at ArtistWorks. Together, these three champions of their craft provide their unique, expert perspectives and methods to students interested in learning how to play the bluegrass mandolin, flatpick acoustic guitar, and blues and hard rock guitar. BLUEGRASS MANDOLIN WITH SIERRA HULL: On August 18, 2021, we launched our latest [bluegrass mandolin](https://artistworks.com/mandolin-lessons-sierra-hull) course taught by preeminent mandolin virtuoso [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull). At only thirty years of age, Sierra is already a Grammy Award-winning artist and has been named “Mandolin Player of the Year” four times by the International Bluegrass Music Association (IBMA). Since her early childhood, Sierra has collaborated with iconic artists like Alison Krauss, Garth Brooks, Sturgill Simpson, and more, and was recently featured on multiple tracks of Béla Fleck’s latest critically acclaimed album, My Bluegrass Heart. Sierra has drawn from her decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass. Her course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians! As you progress through her course, you’ll not only build a solid foundation as a player but also learn classic bluegrass standards, songwriting techniques, and dive into some of Sierra’s original music as well. Through her hundreds of video lessons, Sierra teaches mandolin chords, scales, and techniques, and provides dozens of play-along backing trackings and mandolin tabs so you can immediately put what you’re learning into practice. What truly sets this course apart is the ability to receive personal feedback on your playing and progress directly from Sierra in the form of Video Exchanges. Now you can receive direct guidance from a true master mandolinist. BLUES ROCK GUITAR WITH JARED JAMES NICHOLS: On September 21, 2021, we launched our latest electric guitar course taught by blues and hard rock powerhouse [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols). Jared has traveled the world, spreading his unique flavor of vintage-inspired modern blues rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Throughout his career, Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared has pulled from a lifetime of experience as a professional musician to bring a series of [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) that provide players of all levels with every tool needed to master the electric guitar. His course starts with fundamental guitar chords and scales and teaches everything from beginner guitar to advanced riffs and improvisation techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will quickly grow into “Blues Power” shredders! Jared’s guided path of lessons includes custom riffs and exercises paired with downloadable play-along tracks and guitar tabs created exclusively for this course. From string basics and guitar tuning to slides, bends, and speed & accuracy exercises, these guitar lessons give everything needed to solo, improvise, and jam with serious “Blues Power.” With the added option of submitting Video Exchanges for personal feedback from Jared, you’re sure to take your blues rock shredding to new heights. BLUEGRASS GUITAR WITH CHRIS ELDRIDGE: On September 10, 2021, we announced our latest acoustic guitar course that will be launching in mid-October taught by master guitarist, [Chris Eldrige](https://artistworks.com/guitar-lessons-chris-eldridge). As a co-founder of the Grammy Award-winning bluegrass outfit, Punch Brothers, Chris “Critter” Eldridge is widely considered one of the premier acoustic guitarists of the modern era and has performed around the globe with some of the most prolific groups in the modern bluegrass scene. Throughout his already illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Julian Lage, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. In addition to receiving eight Grammy nominations to date and one Grammy win in 2018, Chris was also named “Instrumentalist of the Year” by the Americana Music Association in 2019. Like Sierra and Jared, Chris has brought decades of expertise and experience to his guided path of [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) and has designed his curriculum for acoustic guitarists of all levels. Chris’ course starts with the acoustic guitar basics and teaches everything from introductory methods to advanced performance techniques and mindful musicianship and practice. Whether you’re a beginner, intermediate, or advanced player, you’re sure to improve your skills not only as a guitarist but as a well-rounded musician. Join the guitarist and founding member of Punch Brothers as he explores the building blocks of how music works. Learn classic bluegrass standards and some of Chris’ original music, plus exercises, technique builders, and a mindfulness for developing productive playing habits. Just like Sierra and Jared’s courses, you have the added benefit of working one-on-one with Chris to get direct feedback on your playing and progress in the form of Video Exchanges. Chris’ course will be opening to the public in mid-October, but, in the meantime, sign up for your [Pre-Sale VIP Membership](https://artistworks.com/guitar-lessons-chris-eldridge) and become one of Chris’ first ever online students. Joining early grants you access to a handful of amazing perks and exclusives leading up to the launch, including: - Early access to the entire course one week before it becomes available to the public? - A series of lessons, greetings, and exclusive performance videos from Chris delivered straight to your email inbox? - First 100 students get an “Original 100” badge attached to their student profile? - Invitations to live, virtual events? - Automatic entry to upcoming giveaways? - Much more!? ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [What’s New at ArtistWorks: Courses from Sierra Hull, Jared James Nichols, & Chris Eldridge](https://blog.artistworks.com/what’s-new-artistworks-courses-sierra-hull-jared-james-nichols-chris-eldridge/) **Published:** October 8, 2021 **Author:** ArtistWorks **Excerpt:**

Since July, we’ve had the exciting opportunity to welcome three new master musicians to our amazing faculty of world-renowned instructors here at ArtistWorks. Together, these three champions of their craft provide their unique, expert perspectives and methods to students interested in learning how to play the bluegrass mandolin, flatpick acoustic guitar, and blues and hard rock guitar.

**Content:** ![]() Since July, we’ve had the exciting opportunity to welcome three new master musicians to our amazing faculty of world-renowned instructors here at ArtistWorks. Together, these three champions of their craft provide their unique, expert perspectives and methods to students interested in learning how to play the bluegrass mandolin, flatpick acoustic guitar, and blues and hard rock guitar. BLUEGRASS MANDOLIN WITH SIERRA HULL: On August 18, 2021, we launched our latest [bluegrass mandolin](https://artistworks.com/mandolin-lessons-sierra-hull) course taught by preeminent mandolin virtuoso [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull). At only thirty years of age, Sierra is already a Grammy Award-winning artist and has been named “Mandolin Player of the Year” four times by the International Bluegrass Music Association (IBMA). Since her early childhood, Sierra has collaborated with iconic artists like Alison Krauss, Garth Brooks, Sturgill Simpson, and more, and was recently featured on multiple tracks of Béla Fleck’s latest critically acclaimed album, My Bluegrass Heart. Sierra has drawn from her decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass. Her course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians! As you progress through her course, you’ll not only build a solid foundation as a player but also learn classic bluegrass standards, songwriting techniques, and dive into some of Sierra’s original music as well. Through her hundreds of video lessons, Sierra teaches mandolin chords, scales, and techniques, and provides dozens of play-along backing trackings and mandolin tabs so you can immediately put what you’re learning into practice. What truly sets this course apart is the ability to receive personal feedback on your playing and progress directly from Sierra in the form of Video Exchanges. Now you can receive direct guidance from a true master mandolinist. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try a free mandolin lesson now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) BLUES ROCK GUITAR WITH JARED JAMES NICHOLS: On September 21, 2021, we launched our latest electric guitar course taught by blues and hard rock powerhouse [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols). Jared has traveled the world, spreading his unique flavor of vintage-inspired modern blues rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Throughout his career, Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared has pulled from a lifetime of experience as a professional musician to bring a series of [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) that provide players of all levels with every tool needed to master the electric guitar. His course starts with fundamental guitar chords and scales and teaches everything from beginner guitar to advanced riffs and improvisation techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will quickly grow into “Blues Power” shredders! Jared’s guided path of lessons includes custom riffs and exercises paired with downloadable play-along tracks and guitar tabs created exclusively for this course. From string basics and guitar tuning to slides, bends, and speed & accuracy exercises, these guitar lessons give everything needed to solo, improvise, and jam with serious “Blues Power.” With the added option of submitting Video Exchanges for personal feedback from Jared, you’re sure to take your blues rock shredding to new heights. LEARN MORE: [Want to learn from an electric guitar master like Jared James Nichols? Try a free online guitar lesson now!](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) BLUEGRASS GUITAR WITH CHRIS ELDRIDGE: On September 10, 2021, we announced our latest acoustic guitar course that will be launching in mid-October taught by master guitarist, [Chris Eldrige](https://artistworks.com/guitar-lessons-chris-eldridge). As a co-founder of the Grammy Award-winning bluegrass outfit, Punch Brothers, Chris “Critter” Eldridge is widely considered one of the premier acoustic guitarists of the modern era and has performed around the globe with some of the most prolific groups in the modern bluegrass scene. Throughout his already illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Julian Lage, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. In addition to receiving eight Grammy nominations to date and one Grammy win in 2018, Chris was also named “Instrumentalist of the Year” by the Americana Music Association in 2019. Like Sierra and Jared, Chris has brought decades of expertise and experience to his guided path of [online guitar lessons](https://artistworks.com/guitar-lessons-chris-eldridge) and has designed his curriculum for acoustic guitarists of all levels. Chris’ course starts with the acoustic guitar basics and teaches everything from introductory methods to advanced performance techniques and mindful musicianship and practice. Whether you’re a beginner, intermediate, or advanced player, you’re sure to improve your skills not only as a guitarist but as a well-rounded musician. Join the guitarist and founding member of Punch Brothers as he explores the building blocks of how music works. Learn classic bluegrass standards and some of Chris’ original music, plus exercises, technique builders, and a mindfulness for developing productive playing habits. Just like Sierra and Jared’s courses, you have the added benefit of working one-on-one with Chris to get direct feedback on your playing and progress in the form of Video Exchanges. Chris’ course will be opening to the public in mid-October, but, in the meantime, sign up for your [Pre-Sale VIP Membership](https://artistworks.com/guitar-lessons-chris-eldridge) and become one of Chris’ first ever online students. Joining early grants you access to a handful of amazing perks and exclusives leading up to the launch, including: - Early access to the entire course one week before it becomes available to the public? - A series of lessons, greetings, and exclusive performance videos from Chris delivered straight to your email inbox? - First 100 students get an “Original 100” badge attached to their student profile? - Invitations to live, virtual events? - Automatic entry to upcoming giveaways? - Much more!? LEARN MORE: [Want to learn how to play bluegrass guitar from a true master like Chris Eldridge? Try a free acoustic guitar lesson now!](https://go.artistworks.com/guitar-lessons-chris-eldridge) WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! READ MORE: [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards) [Jared James Nichols Releases New EP, “Shadow Dancer”](https://blog.artistworks.com/jared-james-nichols-releases-new-ep-shadow-dancer) [Pre-Sale VIP Memberships for “Bluegrass Guitar with Chris Eldridge” Now Available!](https://blog.artistworks.com/pre-sale-vip-memberships-bluegrass-guitar-chris-eldridge-now-available) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-béla-fleck-bryan-sutton-sierra-hull-0/) **Published:** October 6, 2021 **Author:** ArtistWorks **Excerpt:**

Last month, world-renowned banjo icon and fourteen-time Grammy Award-winner, Béla Fleck, released his highly anticipated fourteenth studio album as a solo artist, My Bluegrass Heart. The already critically acclaimed album is the third in a trilogy of recordings from Béla featuring a more traditional bluegrass lineup, and is Béla’s first work structured in this style since his seminal 1999 album, The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2.

**Content:** ![]() Last month, world-renowned banjo icon and fourteen-time Grammy Award-winner, Béla Fleck, released his highly anticipated fourteenth studio album as a solo artist, My Bluegrass Heart. The already critically acclaimed album is the third in a trilogy of recordings from Béla featuring a more traditional bluegrass lineup, and is Béla’s first work structured in this style since his seminal 1999 album, The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2. Much like The Bluegrass Sessions and its 1988 predecessor Drive, Béla’s latest nineteen-track album features an all-star lineup of some of bluegrass’ most revered artists, including ArtistWorks master instructors [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) on the acoustic guitar, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) on mandolin, and both [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) joining Béla on banjo. The album also features legendary bluegrass musicians like Sam Bush, Jerry Douglas, David Grisman, Stuart Duncan, Edgar Meyer, and Chris Thile, as well as a handful of younger artists who are quickly making their mark in the genre, such as Billy Strings and Molly Tuttle. To commemorate the album’s release, ArtistWorks co-founder Patricia Butler gathered Béla, Bryan, and Sierra virtually for an in-depth interview to discuss the record, its writing and recording process, and the subsequent tours that have since followed and will continue through the coming winter months. They begin, however, by discussing the origins of the album, and the inspiration behind the record and its songs. “There are some tunes on My Bluegrass Heart that were considered for Drive, my first real bluegrass lineup album,” Béla explains. “But, as the years went by and I’d be working with the Flecktones or someone else, a bluegrass tune would fall out of my fingers and just sort of stick. They’d just keep coming back around. So, this album is really a culmination of all that.” The group goes on to discuss the unique qualities that define My Bluegrass Heart, and what makes it such a distinctive and modern take on bluegrass in 2021. Bryan and Sierra, in particular, share their perspectives on the writing and recording processes, and on being featured guests within this profound collection of songs. “Bluegrass in 2021 is much more than three-chord cabin songs,” Bryan explains. “That remains a part of it, but I think that one of the great things about this current era is that bluegrass has become a pretty big tent musically. The cool thing about learning Béla’s songs is that there’s usually a big picture musical or melodic thread that weaves through each tune in a very rich, unique way.” In addition to being featured musicians on the record, both Bryan and Sierra have gone on to perform My Bluegrass Heart on tour with Béla following its release in early September. “From the live point of view, there’s so much room to improvise,” Sierra explains. “That’s one of the things that I love about this band. Of course, there are key melodies and arrangements where we all play together in a very structured way, but there’s also loads of room for soloing. Hearing how each song comes together every night is so inspiring to me.” To learn more about My Bluegrass Heart, dive into the full, in-depth interview with Béla, Bryan, and Sierra here: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [My Bluegrass Heart: An Interview with Béla Fleck, Bryan Sutton, & Sierra Hull](https://blog.artistworks.com/my-bluegrass-heart-interview-béla-fleck-bryan-sutton-sierra-hull/) **Published:** October 6, 2021 **Author:** ArtistWorks **Excerpt:**

Last month, world-renowned banjo icon and fourteen-time Grammy Award-winner, Béla Fleck, released his highly anticipated fourteenth studio album as a solo artist, My Bluegrass Heart. The already critically acclaimed album is the third in a trilogy of recordings from Béla featuring a more traditional bluegrass lineup, and is Béla’s first work structured in this style since his seminal 1999 album, The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2.

**Content:** ![]() Last month, world-renowned banjo icon and fourteen-time Grammy Award-winner, Béla Fleck, released his highly anticipated fourteenth studio album as a solo artist, My Bluegrass Heart. The already critically acclaimed album is the third in a trilogy of recordings from Béla featuring a more traditional bluegrass lineup, and is Béla’s first work structured in this style since his seminal 1999 album, The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2. Much like The Bluegrass Sessions and its 1988 predecessor Drive, Béla’s latest nineteen-track album features an all-star lineup of some of bluegrass’ most revered artists, including ArtistWorks master instructors [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) on the acoustic guitar, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) on mandolin, and both [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) joining Béla on banjo. The album also features legendary bluegrass musicians like Sam Bush, Jerry Douglas, David Grisman, Stuart Duncan, Edgar Meyer, and Chris Thile, as well as a handful of younger artists who are quickly making their mark in the genre, such as Billy Strings and Molly Tuttle. To commemorate the album’s release, ArtistWorks co-founder Patricia Butler gathered Béla, Bryan, and Sierra virtually for an in-depth interview to discuss the record, its writing and recording process, and the subsequent tours that have since followed and will continue through the coming winter months. They begin, however, by discussing the origins of the album, and the inspiration behind the record and its songs. “There are some tunes on My Bluegrass Heart that were considered for Drive, my first real bluegrass lineup album,” Béla explains. “But, as the years went by and I’d be working with the Flecktones or someone else, a bluegrass tune would fall out of my fingers and just sort of stick. They’d just keep coming back around. So, this album is really a culmination of all that.” The group goes on to discuss the unique qualities that define My Bluegrass Heart, and what makes it such a distinctive and modern take on bluegrass in 2021. Bryan and Sierra, in particular, share their perspectives on the writing and recording processes, and on being featured guests within this profound collection of songs. “Bluegrass in 2021 is much more than three-chord cabin songs,” Bryan explains. “That remains a part of it, but I think that one of the great things about this current era is that bluegrass has become a pretty big tent musically. The cool thing about learning Béla’s songs is that there’s usually a big picture musical or melodic thread that weaves through each tune in a very rich, unique way.” LEARN MORE: [Want to learn from a bluegrass guitar master like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) In addition to being featured musicians on the record, both Bryan and Sierra have gone on to perform My Bluegrass Heart on tour with Béla following its release in early September. “From the live point of view, there’s so much room to improvise,” Sierra explains. “That’s one of the things that I love about this band. Of course, there are key melodies and arrangements where we all play together in a very structured way, but there’s also loads of room for soloing. Hearing how each song comes together every night is so inspiring to me.” LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try a free mandolin lesson now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) To learn more about My Bluegrass Heart, dive into the full, in-depth interview with Béla, Bryan, and Sierra here: LEARN MORE: Have you always wanted to learn how to play the mandolin? Or maybe you’ve wanted to pick up an acoustic guitar or play the banjo? Through our comprehensive [mandolin](https://artistworks.com/mandolin-lessons-sierra-hull), [banjo](https://artistworks.com/banjo-lessons), and [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and unique Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) or [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Sierra and Bryan’s courses start with the basics and teach everything from the introductory fundamentals to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as musicians. Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Live Dispatch from Home with Béla Fleck, Bryan Sutton, & Howard Levy](https://www.youtube.com/watch?v=X7ppUhVLQMg&t=7s) [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards) [ArtistWorks Music Series Podcast—Bryan Sutton Celebrates 9,000 Video Exchanges](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards-0/) **Published:** October 4, 2021 **Author:** ArtistWorks **Excerpt:**

Last Thursday, September 30, 2021, the International Bluegrass Music Association hosted the 2021 IBMA Bluegrass Music Awards, celebrating the bluegrass genre, its premiere artists, and their achievements and contributions to music in the last year. We are beyond excited and proud to announce that two of our master instructors here at ArtistWorks—Sierra Hull and Missy Raines—were recognized and took home awards.

**Content:** ![]() Last Thursday, September 30, 2021, the International Bluegrass Music Association hosted the 2021 IBMA Bluegrass Music Awards, celebrating the bluegrass genre, its premiere artists, and their achievements and contributions to music in the last year. We are beyond excited and proud to announce that two of our master instructors here at ArtistWorks—[Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Missy Raines](https://artistworks.com/bass-lessons-missy-raines)—were recognized and took home awards. Virtuoso mandolinist and ArtistWorks bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), was recognized as the 2021 “Mandolin Player of the Year,” making this her fourth victory in the category after winning three consecutive years in a row between 2016 and 2018. Sierra was also a member of the band lineup that won the award for 2021 “Collaborative Recording of the Year.” Led by bluegrass legend Bobby Osborne, the group was recognized for their outstanding bluegrass rendition of Merle Haggard’s 1969 classic “White Line Fever,” and featured an all-star band consisting of Sierra Hull on mandolin, Stuart Duncan on fiddle, Trey Hensley on acoustic guitar, Todd Philips on upright bass, and Alison Brown on banjo. Acoustic upright bass master and ArtistWorks bluegrass instructor of ten years, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), took home her ninth “Bass Players of the Year” award at the ceremony, reaffirming her status once again as the most decorated bass player in the history of the International Bluegrass Music Association. Congratulations to Sierra, Missy, and all of this year’s IBMA Bluegrass Music Award winners! We deeply appreciate all of your wonderful contributions to the world of music, art, and the bluegrass genre. The musical landscape would not look the same without you. Below is a comprehensive list of all of the 2021 IBMA Bluegrass Music Award winners: - Entertainer of the Year: Billy Strings - **Vocal Group of the Year:** Sister Sadie - Instrumental Group of the Year: Appalachian Road Show - **Song of the Year:** “Richest Man,” Balsam Range (artist), Jim Beavers/Jimmy Yeary/Connie Harrington (songwriters), Balsam Range (producer), Mountain Home Records (label) - **Album of the Year:** Industrial Strength Bluegrass: Southwestern Ohio’s Musical Legacy, Various Artists, Joe Mullins (producer), Smithsonian Folkways Recordings - **Gospel Recording of the Year** (tie): “After While,” Dale Ann Bradley; “In the Resurrection Morning,” Sacred Reunion featuring Doyle Lawson, Vince Gill, Barry Abernathy, Tim Stafford, Mark Wheeler, Jim VanCleve, Phil Leadbetter, Jason Moore - **Instrumental Recording of the Year:** “Ground Speed,” Kristin Scott Benson, Skip Cherryholmes, Jeremy Garrett, Kevin Kehrberg, Darren Nicholson - **New Artist of the Year:** Appalachian Road Show - **Collaborative Recording of the Year:** “White Line Fever,” Bobby Osborne with Tim O’Brien, Trey Hensley, Sierra Hull, Stuart Duncan, Todd Phillips, Alison Brown - **Female Vocalist of the Year:** Dale Ann Bradley - **Male Vocalist of the Year** (tie): Danny Paisley, Del McCoury - **Banjo Player of the Year:** Scott Vestal - **Bass Player of the Year:** Missy Raines - **Resophonic Guitar Player of the Year:** Justin Moses - **Fiddle Player of the Year:** Bronwyn Keith-Hynes - **Guitar Player of the Year:** Billy Strings - **Mandolin Player of the Year:** Sierra Hull ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Instructors Sierra Hull & Missy Raines Win 2021 IBMA Awards](https://blog.artistworks.com/artistworks-instructors-sierra-hull-missy-raines-win-2021-ibma-awards/) **Published:** October 4, 2021 **Author:** ArtistWorks **Excerpt:**

Last Thursday, September 30, 2021, the International Bluegrass Music Association hosted the 2021 IBMA Bluegrass Music Awards, celebrating the bluegrass genre, its premiere artists, and their achievements and contributions to music in the last year. We are beyond excited and proud to announce that two of our master instructors here at ArtistWorks—Sierra Hull and Missy Raines—were recognized and took home awards.

**Content:** ![]() Last Thursday, September 30, 2021, the International Bluegrass Music Association hosted the 2021 IBMA Bluegrass Music Awards, celebrating the bluegrass genre, its premiere artists, and their achievements and contributions to music in the last year. We are beyond excited and proud to announce that two of our master instructors here at ArtistWorks—[Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Missy Raines](https://artistworks.com/bass-lessons-missy-raines)—were recognized and took home awards. Virtuoso mandolinist and ArtistWorks bluegrass mandolin instructor, [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), was recognized as the 2021 “Mandolin Player of the Year,” making this her fourth victory in the category after winning three consecutive years in a row between 2016 and 2018. Sierra was also a member of the band lineup that won the award for 2021 “Collaborative Recording of the Year.” Led by bluegrass legend Bobby Osborne, the group was recognized for their outstanding bluegrass rendition of Merle Haggard’s 1969 classic “White Line Fever,” and featured an all-star band consisting of Sierra Hull on mandolin, Stuart Duncan on fiddle, Trey Hensley on acoustic guitar, Todd Philips on upright bass, and Alison Brown on banjo. LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Sierra Hull? Try a free mandolin lesson now!](https://go.artistworks.com/free-bluegrass-mandolin-lessons-sierra-hull) Acoustic upright bass master and ArtistWorks bluegrass instructor of ten years, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), took home her ninth “Bass Players of the Year” award at the ceremony, reaffirming her status once again as the most decorated bass player in the history of the International Bluegrass Music Association. LEARN MORE: [Want to learn upright bass from a master musician like Missy Raines? Try a free online bass lesson now!](https://go.artistworks.com/free-music-lessons-missy-raines) Congratulations to Sierra, Missy, and all of this year’s IBMA Bluegrass Music Award winners! We deeply appreciate all of your wonderful contributions to the world of music, art, and the bluegrass genre. The musical landscape would not look the same without you. Below is a comprehensive list of all of the 2021 IBMA Bluegrass Music Award winners: - Entertainer of the Year: Billy Strings - **Vocal Group of the Year:** Sister Sadie - Instrumental Group of the Year: Appalachian Road Show - **Song of the Year:** “Richest Man,” Balsam Range (artist), Jim Beavers/Jimmy Yeary/Connie Harrington (songwriters), Balsam Range (producer), Mountain Home Records (label) - **Album of the Year:** Industrial Strength Bluegrass: Southwestern Ohio’s Musical Legacy, Various Artists, Joe Mullins (producer), Smithsonian Folkways Recordings - **Gospel Recording of the Year** (tie): “After While,” Dale Ann Bradley; “In the Resurrection Morning,” Sacred Reunion featuring Doyle Lawson, Vince Gill, Barry Abernathy, Tim Stafford, Mark Wheeler, Jim VanCleve, Phil Leadbetter, Jason Moore - **Instrumental Recording of the Year:** “Ground Speed,” Kristin Scott Benson, Skip Cherryholmes, Jeremy Garrett, Kevin Kehrberg, Darren Nicholson - **New Artist of the Year:** Appalachian Road Show - **Collaborative Recording of the Year:** “White Line Fever,” Bobby Osborne with Tim O’Brien, Trey Hensley, Sierra Hull, Stuart Duncan, Todd Phillips, Alison Brown - **Female Vocalist of the Year:** Dale Ann Bradley - **Male Vocalist of the Year** (tie): Danny Paisley, Del McCoury - **Banjo Player of the Year:** Scott Vestal - **Bass Player of the Year:** Missy Raines - **Resophonic Guitar Player of the Year:** Justin Moses - **Fiddle Player of the Year:** Bronwyn Keith-Hynes - **Guitar Player of the Year:** Billy Strings - **Mandolin Player of the Year:** Sierra Hull LEARN MORE ABOUT MANDOLIN & UPRIGHT BASS LESSONS AT ARTISTWORKS: Have you always wanted to learn how to play bluegrass mandolin or upright bass? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) or [online bass lessons](https://artistworks.com/bass-lessons-missy-raines), and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) and [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and get personal feedback on your playing. Sierra and Missy’s courses each start with the basics and teach everything from beginner mandolin and upright bass to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists or bassists, and as musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [“Bluegrass Mandolin with Sierra Hull” is Now Open!](https://blog.artistworks.com/bluegrass-mandolin-sierra-hull-now-open) [Try Our Free Bluegrass Technique Builder Lessons](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [Acoustic Bluegrass Bass Lesson: Finding Your Playing Position with Missy Raines](https://blog.artistworks.com/acoustic-bluegrass-bass-lesson-finding-your-playing-position-missy-raines) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Changes at the Dobro & Lap Steel Course with Andy Hall](https://blog.artistworks.com/changes-dobro-lap-steel-course-andy-hall/) **Published:** October 4, 2021 **Author:** ArtistWorks **Excerpt:**

Dear Dobro & Lap Steel Guitar Players,

**Content:** ![]() Dear Dobro & Lap Steel Guitar Players, As some of you may know, Andy Hall will no longer be offering Video Exchange Learning as part of his course here at ArtistWorks. We have been working closely with Andy these last few weeks regarding the best possible options for you, his students, and we both hope you will continue to apply the instruction he’s given through his exhaustive dobro and lap steel lessons here, as well as all 1,846 Video Exchanges he’s completed in the last 9 years. This change is disappointing to many of you, we understand. We know you are interested in the options available to you, so please check your inbox in the next few hours so you can make your selection. If you do nothing, which is one of the three options, you will automatically have your membership extended by 30% of its length, free of charge. Also, please know that our conversations with Andy have centered around ArtistWorks continuing to be stewards of his online teaching legacy for as long as we can. These lessons and Video Exchanges will continue to be offered and, as his students, you have multiple options to continue your access to this seminal work or study with another master musician here at ArtistWorks. We will also be sure Andy sees ALL of the Shout messages you’ve addressed to him. Feel free to share more if you would like. He’s not going anywhere, we remain in contact! In the meantime, please be sure to submit any final Video Exchanges to Andy before November 1, 2021. If you didn’t receive an email from ArtistWorks addressing this change late last week, you can reach out to Student Support at . We’ll do our best to care for your needs and address your concerns regarding the transition. We’re here to help you. Musically Yours, The ArtistWorks Team and Andy Hall ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor-0/) **Published:** October 1, 2021 **Author:** ArtistWorks **Excerpt:**

Harmonizing a song’s melody is a great way to add richness to a performance and make a piece more expressive. Using parallel harmonies when outlining a melody, in particular, is a common technique utilized in a variety of different musical styles. For example, in pop, blues, and R&B styles, it is very common to hear melodies outlined using parallel thirds. In rock music, parallel fifths are employed frequently in the form of “power chords.” Country musicians routinely play parallel sixth harmonies in the form of double-stops when improvising. And, the list goes on...

**Content:** ![]() Harmonizing a song’s melody is a great way to add richness to a performance and make a piece more expressive. Using parallel harmonies when outlining a melody, in particular, is a common technique utilized in a variety of different musical styles. For example, in pop, blues, and R&B styles, it is very common to hear melodies outlined using parallel thirds. In rock music, parallel fifths are employed frequently in the form of “power chords.” Country musicians routinely play parallel sixth harmonies in the form of double-stops when improvising. And, the list goes on… In this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor), Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), illustrates how to tastefully use parallel fourths to add tension and an edgy quality to chord-melody performance on the jazz guitar, emulating masterful playing techniques utilized by the likes of jazz pianist McCoy Tyner, composer and trumpet virtuoso Miles Davis, and others. “I’m a melodic improviser,” Martin explains. “But, we can’t always make everything we play melodic and pretty. We need to incorporate other elements to bring in more of an edge. One of the great ways to do that is by using parallel fourths.” While the sonic character of parallel fourths may sound slightly foreign at first, getting these parallel fourths techniques under your fingers is a great way to add maturity and complexity to your sound and improvisations rather easily, and are methods that guitarists of all levels should practice. “One thing that’s difficult about playing jazz on the guitar is that most things don’t fall easily under the fingers,” Martin explains. “When you look at blues and rock guitar playing, the guitar is central to those genres and that music was written with guitar in mind. In most cases, that isn’t true for jazz music, so lines and phrases have to be translated onto the guitar in ways that can be difficult to play. With parallel fourths, that’s not the case. Executing them on the guitar is simple.” To learn more about how to employ parallel fourths in your improvisation and fingerstyle jazz guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor) from [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor): Using Parallel Fourths with Martin Taylor: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Fingerstyle Jazz Guitar Lesson: Using Parallel Fourths with Martin Taylor](https://blog.artistworks.com/fingerstyle-jazz-guitar-lesson-using-parallel-fourths-martin-taylor/) **Published:** October 1, 2021 **Author:** ArtistWorks **Excerpt:**

Harmonizing a song’s melody is a great way to add richness to a performance and make a piece more expressive. Using parallel harmonies when outlining a melody, in particular, is a common technique utilized in a variety of different musical styles. For example, in pop, blues, and R&B styles, it is very common to hear melodies outlined using parallel thirds. In rock music, parallel fifths are employed frequently in the form of “power chords.” Country musicians routinely play parallel sixth harmonies in the form of double-stops when improvising. And, the list goes on...

**Content:** ![]() Harmonizing a song’s melody is a great way to add richness to a performance and make a piece more expressive. Using parallel harmonies when outlining a melody, in particular, is a common technique utilized in a variety of different musical styles. For example, in pop, blues, and R&B styles, it is very common to hear melodies outlined using parallel thirds. In rock music, parallel fifths are employed frequently in the form of “power chords.” Country musicians routinely play parallel sixth harmonies in the form of double-stops when improvising. And, the list goes on… In this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor), Grammy-nominated guitarist, Member of the Order of the British Empire, and ArtistWorks fingerstyle guitar instructor, [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), illustrates how to tastefully use parallel fourths to add tension and an edgy quality to chord-melody performance on the jazz guitar, emulating masterful playing techniques utilized by the likes of jazz pianist McCoy Tyner, composer and trumpet virtuoso Miles Davis, and others. “I’m a melodic improviser,” Martin explains. “But, we can’t always make everything we play melodic and pretty. We need to incorporate other elements to bring in more of an edge. One of the great ways to do that is by using parallel fourths.” While the sonic character of parallel fourths may sound slightly foreign at first, getting these parallel fourths techniques under your fingers is a great way to add maturity and complexity to your sound and improvisations rather easily, and are methods that guitarists of all levels should practice. “One thing that’s difficult about playing jazz on the guitar is that most things don’t fall easily under the fingers,” Martin explains. “When you look at blues and rock guitar playing, the guitar is central to those genres and that music was written with guitar in mind. In most cases, that isn’t true for jazz music, so lines and phrases have to be translated onto the guitar in ways that can be difficult to play. With parallel fourths, that’s not the case. Executing them on the guitar is simple.” To learn more about how to employ parallel fourths in your improvisation and fingerstyle jazz guitar playing, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-martin-taylor) from [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor): Using Parallel Fourths with Martin Taylor: LEARN MORE: Have you always wanted to learn how to play fingerstyle jazz guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-martin-taylor) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Martin Taylor](https://artistworks.com/guitar-lessons-martin-taylor), and get personal feedback on your playing. Martin’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and pieces. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fingerstyle guitar players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Fingerstyle Jazz Guitar Lesson: “If I Only Had You” with Martin Taylor](https://blog.artistworks.com/martin-taylor-how-play-if-i-only-had-you) [Sign Up for the 5 Day Fingerstyle Guitar Challenge](https://blog.artistworks.com/sign-5-day-fingerstyle-guitar-challenge-0) [Fingerstyle Jazz Guitar Lesson: Introduction to Tenths with Martin Taylor](https://blog.artistworks.com/martin-taylor-introduction-10ths-scaffolding) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Podcast: Tony Trischka - Artist Bio Series](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series-0/) **Published:** September 29, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary banjoist and ArtistWorks bluegrass banjo instructor, Tony Trischka, for the latest installment of our new Artist Bio Series.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary banjoist and ArtistWorks bluegrass banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), for the latest installment of our new Artist Bio Series. In the “Bio Series” episodes of our podcast, Patricia will be chatting with members of our world-renowned faculty about their lives, careers, and experiences that led them to become the master musicians that they are today. This week, Patricia and Tony Trischka discuss Tony’s musical family and upbringing, his love of folk music, and what drew him to learn the Earl Scruggs style of banjo playing. They also detail Tony’s experiences sharing the stage with musical icons like Steve Martin, Stevie Nicks, and Lindsey Buckingham, his legacy as a teacher instructing some of the modern banjo greats like Béla Fleck and Noam Pikelny, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). Naturally, Patricia and Tony kick off the conversation by beginning with Tony’s childhood, discussing his musical upbringing, his father’s skills as a jazz pianist, and how Tony’s musical household influenced him to begin learning his first instrument at the age of nine—the classical flute. “When I was nine, I started playing the flute because I could blow across the top of a Coke bottle and make a sound,” Tony explains with a chuckle. “But, when I was about twelve, I started to become much more drawn to folk music and started playing the guitar. That’s when I got hooked. I would play so much that my fingers would bleed. It was before I had my calluses.” Eventually, Tony migrated from the guitar to the banjo, which only deepened his love for folk music and bluegrass. As a young man, this inspired him to attend bluegrass festivals, perform regionally, record, and fully immerse himself in music. It wasn’t too long before that led Tony to the world of teaching. “I started teaching as early as 1970,” Tony explains. “My first student was the banjo player from an all-female bluegrass group called the ‘Buffalo Gals,’ and it just spiraled from there. My father was a physics professor. So, I think my love for teaching is probably in my genes.” To learn more about [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), his life, musical career, and approach to teaching, listen to the full podcast here: If you’re interested in studying bluegrass banjo and learning even more about Tony’s approaches to developing as a banjo player and musician, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Tony Trischka - Artist Bio Series](https://blog.artistworks.com/new-podcast-tony-trischka-artist-bio-series/) **Published:** September 29, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary banjoist and ArtistWorks bluegrass banjo instructor, Tony Trischka, for the latest installment of our new Artist Bio Series.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our co-founder Patricia Butler sits down with legendary banjoist and ArtistWorks bluegrass banjo instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), for the latest installment of our new Artist Bio Series. In the “Bio Series” episodes of our podcast, Patricia will be chatting with members of our world-renowned faculty about their lives, careers, and experiences that led them to become the master musicians that they are today. This week, Patricia and Tony Trischka discuss Tony’s musical family and upbringing, his love of folk music, and what drew him to learn the Earl Scruggs style of banjo playing. They also detail Tony’s experiences sharing the stage with musical icons like Steve Martin, Stevie Nicks, and Lindsey Buckingham, his legacy as a teacher instructing some of the modern banjo greats like Béla Fleck and Noam Pikelny, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass banjo from a master musician like Tony Trischka? Try a free banjo lesson now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Naturally, Patricia and Tony kick off the conversation by beginning with Tony’s childhood, discussing his musical upbringing, his father’s skills as a jazz pianist, and how Tony’s musical household influenced him to begin learning his first instrument at the age of nine—the classical flute. “When I was nine, I started playing the flute because I could blow across the top of a Coke bottle and make a sound,” Tony explains with a chuckle. “But, when I was about twelve, I started to become much more drawn to folk music and started playing the guitar. That’s when I got hooked. I would play so much that my fingers would bleed. It was before I had my calluses.” Eventually, Tony migrated from the guitar to the banjo, which only deepened his love for folk music and bluegrass. As a young man, this inspired him to attend bluegrass festivals, perform regionally, record, and fully immerse himself in music. It wasn’t too long before that led Tony to the world of teaching. “I started teaching as early as 1970,” Tony explains. “My first student was the banjo player from an all-female bluegrass group called the ‘Buffalo Gals,’ and it just spiraled from there. My father was a physics professor. So, I think my love for teaching is probably in my genes.” To learn more about [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), his life, musical career, and approach to teaching, listen to the full podcast here: If you’re interested in studying bluegrass banjo and learning even more about Tony’s approaches to developing as a banjo player and musician, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges ](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons) [Banjo Lesson: Right Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks-0/) **Published:** September 24, 2021 **Author:** ArtistWorks **Excerpt:**

Earlier this week, world-renowned mandolin player and ArtistWorks instructor, Mike Marshall announced a brand new collaboration with boutique plectrum manufacturer Apollo Picks out of Delaware, OH. Together, Mike and Apollo Picks’ founder Nik Monnin crafted what Mike describes as his “dream pick”—the Apollo Mike Marshall Signature Pick. The Mike Marshall Signature Pick is now available to order online directly from the Apollo Picks website, shipping to mandolin players worldwide, here.

**Content:** ![]() Earlier this week, world-renowned mandolin player and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) announced a brand new collaboration with boutique plectrum manufacturer Apollo Picks out of Delaware, OH. Together, Mike and Apollo Picks’ founder Nik Monnin crafted what Mike describes as his “dream pick”—the [Apollo Mike Marshall Signature Pick](https://www.apollopicks.com/store/p/the-mike-marshall-pick). The Mike Marshall Signature Pick is now available to order online directly from the Apollo Picks website, shipping to mandolin players worldwide, [here](https://www.apollopicks.com/store/p/the-mike-marshall-pick). ArtistWorks students receive $5 off Mike’s signature pick by using code “GATORMM” at checkout on the Apollo Picks website. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/613A9743.jpeg) “I didn’t just make this pick for Mike. I’d have to say that “we” created it,” Monnin explains. “Over the course of about 8 months, I’d send picks over to his home in Wuppertal, Germany. He’d use them for a few weeks then provide feedback on how they were working out.” Due to the naturally bright tone of most mandolins, Mike wanted his pick to bring a warmth to his sound. Therefore, Mike and Nik decided it best to use a black plastic material called glass-filled polyetherimide for Mike’s signature design. “We tested different materials, slight variations in size, subtleties to the rounded edge, etc.,” Monnin explains. “I learned a lot from Mike about how much small details matter.” The Mike Marshall Signature Pick is 1.5mm thick and features the standard Apollo “H” shape (pictured below) and Mike’s initials, “MM,” on the front hand-drawn by calligraphy artist John Stevens. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Apollo_Pick_Sizes.png) If you’re interested in ordering a Mike Marshall Signature Pick, they can be purchased directly from the Apollo Picks website [here](https://www.apollopicks.com/store/p/the-mike-marshall-pick). If you’re interested in learning how to play the mandolin or improve your skills as a player, check out Mike’s comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) here at ArtistWorks. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall Releases Signature Pick from Apollo Picks](https://blog.artistworks.com/mike-marshall-releases-signature-pick-apollo-picks/) **Published:** September 24, 2021 **Author:** ArtistWorks **Excerpt:**

Earlier this week, world-renowned mandolin player and ArtistWorks instructor, Mike Marshall announced a brand new collaboration with boutique plectrum manufacturer Apollo Picks out of Delaware, OH. Together, Mike and Apollo Picks’ founder Nik Monnin crafted what Mike describes as his “dream pick”—the Apollo Mike Marshall Signature Pick. The Mike Marshall Signature Pick is now available to order online directly from the Apollo Picks website, shipping to mandolin players worldwide, here.

**Content:** ![]() Earlier this week, world-renowned mandolin player and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) announced a brand new collaboration with boutique plectrum manufacturer Apollo Picks out of Delaware, OH. Together, Mike and Apollo Picks’ founder Nik Monnin crafted what Mike describes as his “dream pick”—the [Apollo Mike Marshall Signature Pick](https://www.apollopicks.com/store/p/the-mike-marshall-pick). The Mike Marshall Signature Pick is now available to order online directly from the Apollo Picks website, shipping to mandolin players worldwide, [here](https://www.apollopicks.com/store/p/the-mike-marshall-pick). ![](https://blog.artistworks.com/wp-content/uploads/2021/01/613A9743.jpeg) “I didn’t just make this pick for Mike. I’d have to say that “we” created it,” Monnin explains. “Over the course of about 8 months, I’d send picks over to his home in Wuppertal, Germany. He’d use them for a few weeks then provide feedback on how they were working out.” Due to the naturally bright tone of most mandolins, Mike wanted his pick to bring a warmth to his sound. Therefore, Mike and Nik decided it best to use a black plastic material called glass-filled polyetherimide for Mike’s signature design. “We tested different materials, slight variations in size, subtleties to the rounded edge, etc.,” Monnin explains. “I learned a lot from Mike about how much small details matter.” The Mike Marshall Signature Pick is 1.5mm thick and features the standard Apollo “H” shape (pictured below) and Mike’s initials, “MM,” on the front hand-drawn by calligraphy artist John Stevens. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Apollo_Pick_Sizes.png) If you’re interested in ordering a Mike Marshall Signature Pick, they can be purchased directly from the Apollo Picks website [here](https://www.apollopicks.com/store/p/the-mike-marshall-pick). If you’re interested in learning how to play the mandolin or improve your skills as a player, check out Mike’s comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) here at ArtistWorks (scroll down for more information). ABOUT MIKE MARSHALL: For more than 35 years, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) has set a new standard for American acoustic music, with a breadth of talent that spans mandolin, guitar, violin, and mandocello. At age 19, he left his native Florida to pursue music, eventually joining the David Grisman Quintet in the Bay Area. Since those early days, Mike’s historic career has spanned hundreds of recordings and taken him on tour around the globe. He has also received numerous credits as a composer, producer, and featured musician. You can hear his iconic mandolin playing on the theme for NPR’s ‘Car Talk’, as well as the San Francisco-based radio show ‘Forum’ on KQED Radio. Mike has been a member of our since 2011, and, today, he and his wife Caterina Lichtenberg both teach [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks. LEARN MORE ABOUT MIKE’S BLUEGRASS MANDOLIN COURSE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges!](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges) [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [Mike Marshall Releases Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://blog.artistworks.com/mike-marshall-releases-mandocello-js-bach-cello-suite-no-1-bwv-1007) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [VE submission deadline dates for October](https://blog.artistworks.com/ve-submission-deadline-dates-october/) **Published:** September 24, 2021 **Author:** ArtistWorks **Excerpt:**

Hello Everyone! Hope you get a chance to check out the extra musical performance at the end of this month's welcome message video!

Here are the VE deadline dates for October:

Looking forward to seeing everyone's amazing piano progress!

- Hugh

**Content:** Hello Everyone! Hope you get a chance to check out the extra musical performance at the end of this month’s welcome message video! Here are the VE deadline dates for October: - Sunday October 3 - Sunday October 10 - Sunday October 24 Looking forward to seeing everyone’s amazing piano progress! – Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east-0/) **Published:** September 23, 2021 **Author:** ArtistWorks **Excerpt:**

When learning to play a new instrument for the first time, it’s often easy to focus solely on performing the notes of a piece or tune correctly. However, there is more to great musical performance than just note accuracy and execution. Dynamics, variation in tone, and note length are critical, particularly on the electric bass guitar, and can drastically alter the feel and emotive quality of a song.

**Content:** ![]() When learning to play a new instrument for the first time, it’s often easy to focus solely on performing the notes of a piece or tune correctly. However, there is more to great musical performance than just note accuracy and execution. Dynamics, variation in tone, and note length are critical, particularly on the electric bass guitar, and can drastically alter the feel and emotive quality of a song. In this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east), Grammy Award-winning bassist and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east) outlines a few essential techniques to help you employ dynamics and note-length variety when crafting a bass line. Nathan personally utilizes these techniques when supporting legendary artists like Eric Clapton, Michael Jackson, Stevie Wonder, Herbie Hancock, Daft Punk, and more, and illustrates how subtle adjustments to these crucial elements can completely transform the feel of a song. “Most of the time when I’m playing popular music and supporting a singer, it always comes down to dynamics,” Nathan explains. “The chorus of the song is usually very strong, but, when you get to the verse, you have to make sure to bring it down so that people can hear the singer.” It is crucial for beginner and advanced bass players alike to practice playing with dynamic contrast and varying note length. It never hurts to revisit these fundamental concepts that professionals like Nathan execute in every facet of their playing. “All the time, every song I play, I’m trying to figure out ‘is this going to be a short note or a long note? Is this going to be loud or soft,’” Nathan explains. “That’s what music is all about—listening and determining how we’re going to approach it from the bottom end.” To learn more about how to properly employ dynamics and vary your note length when shaping a bass line, dive into this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east) from [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east): Note Length with Nathan East: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Electric Bass Lesson: Note Length with Nathan East](https://blog.artistworks.com/electric-bass-lesson-note-length-nathan-east/) **Published:** September 23, 2021 **Author:** ArtistWorks **Excerpt:**

When learning to play a new instrument for the first time, it’s often easy to focus solely on performing the notes of a piece or tune correctly. However, there is more to great musical performance than just note accuracy and execution. Dynamics, variation in tone, and note length are critical, particularly on the electric bass guitar, and can drastically alter the feel and emotive quality of a song.

**Content:** ![]() When learning to play a new instrument for the first time, it’s often easy to focus solely on performing the notes of a piece or tune correctly. However, there is more to great musical performance than just note accuracy and execution. Dynamics, variation in tone, and note length are critical, particularly on the electric bass guitar, and can drastically alter the feel and emotive quality of a song. In this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east), Grammy Award-winning bassist and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east) outlines a few essential techniques to help you employ dynamics and note-length variety when crafting a bass line. Nathan personally utilizes these techniques when supporting legendary artists like Eric Clapton, Michael Jackson, Stevie Wonder, Herbie Hancock, Daft Punk, and more, and illustrates how subtle adjustments to these crucial elements can completely transform the feel of a song. “Most of the time when I’m playing popular music and supporting a singer, it always comes down to dynamics,” Nathan explains. “The chorus of the song is usually very strong, but, when you get to the verse, you have to make sure to bring it down so that people can hear the singer.” It is crucial for beginner and advanced bass players alike to practice playing with dynamic contrast and varying note length. It never hurts to revisit these fundamental concepts that professionals like Nathan execute in every facet of their playing. “All the time, every song I play, I’m trying to figure out ‘is this going to be a short note or a long note? Is this going to be loud or soft,’” Nathan explains. “That’s what music is all about—listening and determining how we’re going to approach it from the bottom end.” To learn more about how to properly employ dynamics and vary your note length when shaping a bass line, dive into this [online bass lesson](https://artistworks.com/rock-bass-lessons-nathan-east) from [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east): Note Length with Nathan East: LEARN MORE: Have you always wanted to learn how to play the electric bass guitar? Through our comprehensive [bass lessons online](https://artistworks.com/rock-bass-lessons-nathan-east) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), and get personal feedback on your playing. Nathan’s course starts with the basics and teaches everything from beginner bass guitar to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bassists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—The Art of Recording for Film: Nathan East](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film) [Electric Bass Lesson: Creating a Bass Solo with Nathan East](https://blog.artistworks.com/nathan-east-creating-bass-solo-0) [Nathan East’s Tips for Playing in the Pocket](https://blog.artistworks.com/nathan-easts-tips-playing-pocket) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [“Blues Rock Guitar with Jared James Nichols” is Now Open!](https://blog.artistworks.com/“blues-rock-guitar-jared-james-nichols”-now-open/) **Published:** September 21, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Blues Rock Guitar with Jared James Nichols,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Blues Rock Guitar with Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Jared James Nichols has traveled the world, spreading his unique flavor of vintage-inspired modern blues rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Through Jared’s [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) here at ArtistWorks, you’ll learn Jared’s special combination of blues and hard rock guitar stylings with direct feedback from the riff titan himself. “With this course, I’m giving you all access to everything I have ever learned,” Jared explains. “Players are going to get a behind-the-scenes look at everything I do.” Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared was also recently named one of Gibson’s official Guitar Brand Ambassadors alongside the likes of Slash, Jerry Cantrell, Dave Mustaine, and Lzzy Hale. Jared has drawn from decades of performance experience to create a comprehensive course of [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) designed to teach players of all levels how to play blues and hard rock guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Jared and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Jared at every step of your musical journey. “This is like nothing else online. This is so intimate and I get to have a one-on-one relationship with you,” Jared explains. “What do you want to work on? How can we fix this? How can we make you a better guitar player right now?” [Sign up now](https://artistworks.com/guitar-lessons-jared-james-nichols) to gain access to Jared’s library of blues rock guitar lessons, as well as our patented Video Exchange Learning® platform. Jared reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### ["Blues Rock Guitar with Jared James Nichols" is Now Open!](https://blog.artistworks.com/blues-rock-guitar-jared-james-nichols-now-open/) **Published:** September 21, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Blues Rock Guitar with Jared James Nichols,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Blues Rock Guitar with Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Jared James Nichols has traveled the world, spreading his unique flavor of vintage-inspired modern blues rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Through Jared’s [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) here at ArtistWorks, you’ll learn Jared’s special combination of blues and hard rock guitar stylings with direct feedback from the riff titan himself. “With this course, I’m giving you all access to everything I have ever learned,” Jared explains. “Players are going to get a behind-the-scenes look at everything I do.” Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared was also recently named one of Gibson’s official Guitar Brand Ambassadors alongside the likes of Slash, Jerry Cantrell, Dave Mustaine, and Lzzy Hale. Jared has drawn from decades of performance experience to create a comprehensive course of [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) designed to teach players of all levels how to play blues and hard rock guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Jared and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Jared at every step of your musical journey. “This is like nothing else online. This is so intimate and I get to have a one-on-one relationship with you,” Jared explains. “What do you want to work on? How can we fix this? How can we make you a better guitar player right now?” [Sign up now](https://artistworks.com/guitar-lessons-jared-james-nichols) to gain access to Jared’s library of blues rock guitar lessons, as well as our patented Video Exchange Learning® platform. Jared reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Jared to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Jared James Nichols Releases New EP, Shadow Dancer](https://blog.artistworks.com/jared-james-nichols-releases-new-ep-shadow-dancer-0/) **Published:** September 17, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, blues rock powerhouse and ArtistWorks instructor, Jared James Nichols released his brand new four-track EP, Shadow Dancer, on Black Hill Records.

**Content:** ![]() This morning, blues rock powerhouse and ArtistWorks instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) released his brand new four-track EP, Shadow Dancer, on Black Hill Records. Featuring Jared’s signature blend of blues and hard rock guitar stylings, Shadow Dancer not only showcases the “Blues Power” titan’s virtuosity as a guitar player, but his prowess as a songwriter, lyricist, and vocalist as well. Jared prefaced the four-track release with two singles, providing his audience and fan base with a small taste of the EP that left us all craving more. The first single, and coincidentally the first track on the EP, “Skin ‘n Bone” kicks off with a series of screaming guitar bends over a descending minor chord progression that immediately sets the tone of the records, deluging the listener with the raw strength and emotion that defines Jared’s “Blues Power” style. “I may not be great at sitting down and having a conversation with you about my feelings,” Jared explains. “But, I can play a song like ‘Skin ‘n Bone’ that shows you how I’m feeling and support it with sound and with guitar and with all the bombastic craziness that I put on it.” The EP’s second single, “Bad Roots,” retains the characteristic sound of Jared’s guitar-driven power trio, but, unlike “Skin ‘n Bone,” incorporates a pulsing 1/8th note bassline, forceful double kick drum pattern, huge fuzzed-out guitar tones, and vocal melody that is nothing short of hypnotizing. The EPs title track, “Shadow Dancer,” showcases a different side of the guitar master. Falling somewhere happily between a power ballad and a mid-tempo riff-rock anthem, “Shadow Dancer” incorporates crunchy vibrato-heavy guitar tones, catchy melody lines, and an unshakable rhythm section to provide a unique hybridization of rock styles, reminiscent of Led Zeppelin meets Soundgarden. Through Jared’s [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) right here at ArtistWorks, you can learn how to play the unique blend of blues and hard rock guitar the defines Jared’s “Blues Power” sound directly from the master himself. Shadow Dancer is available for download or streaming on all major platforms, including Apple Music, Spotify, iTunes, and Amazon Music. You can catch Jared live in concert with Black Stone Cherry this October, and he’ll also be hosting a variety of guitar clinics through Sam Ash Music at the below locations: Jared James Nichols Guitar Clinics at Sam Ash Music, October 2021: King of Prussia, PA – 10/05/2021 Charlotte, NC – 10/12/2021 Houston, TX – 10/16/2021 San Antonio, TX – 10/19/2021 Chicago, IL – 10/23/2021 For more info on upcoming clinics, tour dates, and new music, check out Jared’s website [here](https://www.jaredjamesnichols.com/). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jared James Nichols Releases New EP, "Shadow Dancer"](https://blog.artistworks.com/jared-james-nichols-releases-new-ep-shadow-dancer/) **Published:** September 17, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, blues rock powerhouse and ArtistWorks instructor, Jared James Nichols released his brand new four-track EP, Shadow Dancer, on Black Hill Records.

**Content:** ![]() This morning, blues rock powerhouse and ArtistWorks instructor, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) released his brand new four-track EP, Shadow Dancer, on Black Hill Records. Featuring Jared’s signature blend of blues and hard rock guitar stylings, Shadow Dancer not only showcases the “Blues Power” titan’s virtuosity as a guitar player, but his prowess as a songwriter, lyricist, and vocalist as well. Jared prefaced the four-track release with two singles, providing his audience and fan base with a small taste of the EP that left us all craving more. The first single, and coincidentally the first track on the EP, “Skin ‘n Bone” kicks off with a series of screaming guitar bends over a descending minor chord progression that immediately sets the tone of the records, deluging the listener with the raw strength and emotion that defines Jared’s “Blues Power” style. “I may not be great at sitting down and having a conversation with you about my feelings,” Jared explains. “But, I can play a song like ‘Skin ‘n Bone’ that shows you how I’m feeling and support it with sound and with guitar and with all the bombastic craziness that I put on it.” The EP’s second single, “Bad Roots,” retains the characteristic sound of Jared’s guitar-driven power trio, but, unlike “Skin ‘n Bone,” incorporates a pulsing 1/8th note bassline, forceful double kick drum pattern, huge fuzzed-out guitar tones, and vocal melody that is nothing short of hypnotizing. The EPs title track, “Shadow Dancer,” showcases a different side of the guitar master. Falling somewhere happily between a power ballad and a mid-tempo riff-rock anthem, “Shadow Dancer” incorporates crunchy vibrato-heavy guitar tones, catchy melody lines, and an unshakable rhythm section to provide a unique hybridization of rock styles, reminiscent of Led Zeppelin meets Soundgarden. Through Jared’s [online guitar lessons](https://artistworks.com/guitar-lessons-jared-james-nichols) right here at ArtistWorks, you can learn how to play the unique blend of blues and hard rock guitar the defines Jared’s “Blues Power” sound directly from the master himself. Shadow Dancer is available for download or streaming on all major platforms, including Apple Music, Spotify, iTunes, and Amazon Music. You can catch Jared live in concert with Black Stone Cherry this October, and he’ll also be hosting a variety of guitar clinics through Sam Ash Music at the below locations: Jared James Nichols Guitar Clinics at Sam Ash Music, October 2021: King of Prussia, PA – 10/05/2021 Charlotte, NC – 10/12/2021 Houston, TX – 10/16/2021 San Antonio, TX – 10/19/2021 Chicago, IL – 10/23/2021 For more info on upcoming clinics, tour dates, and new music, check out Jared’s website [here](https://www.jaredjamesnichols.com/). LEARN MORE: Have you always wanted to learn how to play blues rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and songs. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! While Jared’s course officially launches on September 21, 2021, you can sign up today to be first in line to become one of Jared’s first online students ever. Learn more [here](https://artistworks.com/guitar-lessons-jared-james-nichols). Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Jared James Nichols Restores One of the First Gibson Les Paul Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made) [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt) [New Course: Announcing “Blues Rock Guitar with Jared James Nichols”](https://blog.artistworks.com/new-course-announcing-blues-rock-guitar-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges!](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges-0/) **Published:** September 16, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In 2011, we welcomed mandolin icon, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), to our esteemed faculty of bluegrass instructors alongside upright bass virtuoso [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), legendary fiddle player [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), Grammy Award-winning guitarist [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and world-renowned banjo player [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). Together, this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program. We’re excited to announce that, after ten years as one of our premier instructors here at ArtistWorks, Mike has just completed his 8,000th [Video Exchange](https://www.youtube.com/watch?v=12AivptqoSM) with students from around the world. “I love the personal guidance I can give these players when they send me a video. My video responses are valued advice that teaches everyone in the course who watches them,” says Marshall. Congratulations Mike on reaching this outstanding achievement, and thank you to all of his wonderful bluegrass mandolin students for consistently submitting videos! To celebrate this fantastic milestone, our cofounder Patrica Butler sat down with Mike to conduct an in-depth interview as part of an exclusive episode of our ArtistWorks Music Series podcast in which they discuss Mike’s experience teaching on the ArtistWorks Video Exchange platform over the last decade. This exclusive interview is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). “I have regular students from the Czech Republic, Australia, Austria, Germany, Ireland, Italy, Panama, Iceland, Tasmania, pretty much every country you can imagine,” Mike explains. “That’s the most exciting part about this way of teaching—I’m able to connect with students from all over the world.” Mike’s online community has become a digital hub for mandolin and bluegrass enthusiasts from around the globe. Throughout the last ten years, it’s become a place that welcomes players of all levels and facilitates positivity, encouragement, and musical growth. Nothing promotes this more than ArtistWork’s unique Video Exchange Learning platform. “These last ten years working with ArtistWorks have been tremendous because they’ve enabled me to see so many people and players of all ages, levels, and styles,” Mike explains. “It’s forced me to grapple with these questions—how do you teach a young child? How do you teach an older student? How do you teach a twenty-something virtuoso? I’ve learned I need to take vastly different and unique approaches with each of my students.” Judging by this fantastic Video Exchange milestone, Mike has clearly had the opportunity to meet, mentor, and guide a vast array of mandolin players worldwide, and help mandolinists of all levels grow as musicians! Click [here](https://artistworks.com/mandolin-lessons-mike-marshall) to join today, and become a member of Mike’s online community. He looks forward to seeing you there! Listen to Mike’s exclusive ArtistWorks Music Series interview here: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [An In-Depth Interview: Mike Marshall Celebrates 8,000 Video Exchanges!](https://blog.artistworks.com/depth-interview-mike-marshall-celebrates-8000-video-exchanges/) **Published:** September 16, 2021 **Author:** ArtistWorks **Excerpt:**

In 2011, we welcomed mandolin icon, Mike Marshall, to our esteemed faculty of bluegrass instructors alongside upright bass virtuoso Missy Raines, legendary fiddle player Darol Anger, Grammy Award-winning guitarist Bryan Sutton, and world-renowned banjo player Tony Trischka. Together, this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program.

**Content:** ![]() In 2011, we welcomed mandolin icon, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), to our esteemed faculty of bluegrass instructors alongside upright bass virtuoso [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), legendary fiddle player [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), Grammy Award-winning guitarist [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and world-renowned banjo player [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka). Together, this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program. We’re excited to announce that, after ten years as one of our premier instructors here at ArtistWorks, Mike has just completed his 8,000th [Video Exchange](https://www.youtube.com/watch?v=12AivptqoSM) with students from around the world. “I love the personal guidance I can give these players when they send me a video. My video responses are valued advice that teaches everyone in the course who watches them,” says Marshall. Congratulations Mike on reaching this outstanding achievement, and thank you to all of his wonderful bluegrass mandolin students for consistently submitting videos! To celebrate this fantastic milestone, our cofounder Patrica Butler sat down with Mike to conduct an in-depth interview as part of an exclusive episode of our ArtistWorks Music Series podcast in which they discuss Mike’s experience teaching on the ArtistWorks Video Exchange platform over the last decade. This exclusive interview is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) “I have regular students from the Czech Republic, Australia, Austria, Germany, Ireland, Italy, Panama, Iceland, Tasmania, pretty much every country you can imagine,” Mike explains. “That’s the most exciting part about this way of teaching—I’m able to connect with students from all over the world.” Mike’s online community has become a digital hub for mandolin and bluegrass enthusiasts from around the globe. Throughout the last ten years, it’s become a place that welcomes players of all levels and facilitates positivity, encouragement, and musical growth. Nothing promotes this more than ArtistWork’s unique Video Exchange Learning platform. “These last ten years working with ArtistWorks have been tremendous because they’ve enabled me to see so many people and players of all ages, levels, and styles,” Mike explains. “It’s forced me to grapple with these questions—how do you teach a young child? How do you teach an older student? How do you teach a twenty-something virtuoso? I’ve learned I need to take vastly different and unique approaches with each of my students.” Judging by this fantastic Video Exchange milestone, Mike has clearly had the opportunity to meet, mentor, and guide a vast array of mandolin players worldwide, and help mandolinists of all levels grow as musicians! Click [here](https://artistworks.com/mandolin-lessons-mike-marshall) to join today, and become a member of Mike’s online community. He looks forward to seeing you there! Listen to Mike’s exclusive ArtistWorks Music Series interview here: WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personal feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—Overcoming Musical Obstacles: Mike Marshall](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles) [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [Mike Marshall Releases Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://blog.artistworks.com/mike-marshall-releases-mandocello-js-bach-cello-suite-no-1-bwv-1007) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Win a 6 Month VIP ArtistWorks Membership & Live Lesson!](https://blog.artistworks.com/win-6-month-vip-artistworks-membership-live-lesson-0/) **Published:** September 16, 2021 **Author:** ArtistWorks **Excerpt:**

Sign up now for a chance to win a 6 month VIP Membership to any ArtistWorks course, PLUS a FREE one-hour virtual lesson, one-on-one with the ArtistWorks teacher of your choice. There are 10 chances to win, so you won’t want to miss this! Enter now and find out whether you’ve won via email instantly.

**Content:** ![]() [Sign up now](https://go.artistworks.com/live-lesson-aug-2021-contest) for a chance to win a 6 month VIP Membership to any ArtistWorks course, PLUS a FREE one-hour virtual lesson, one-on-one with the ArtistWorks teacher of your choice. There are 10 chances to win, so you won’t want to miss this! [Enter now](https://go.artistworks.com/live-lesson-aug-2021-contest) and find out whether you’ve won via email instantly. **Here’s what 10 lucky winners will receive:** - 6 months of VIP access to any ArtistWorks online music course - Hundreds of details video lessons recorded by master musicians - Personal feedback and guidance through our optional Video Exchanges - Lesson resources and materials, including sheet music and tablature - Play-along backing tracks to jam along with - Access to your course’s entire Video Exchange library - Free Music Theory lessons - A FREE one-hour private virtual lesson with the ArtistWorks teacher of your choice! Don’t miss out on your chance to win. Hurry, the contest ends on 10/13! Click [here](https://go.artistworks.com/live-lesson-aug-2021-contest) to sign up and enter today. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Win a 6 Month VIP ArtistWorks Membership & Live Lesson!](https://blog.artistworks.com/win-6-month-vip-artistworks-membership-live-lesson/) **Published:** September 16, 2021 **Author:** ArtistWorks **Excerpt:**

Sign up now for a chance to win a 6 month VIP Membership to any ArtistWorks course, PLUS a FREE one-hour virtual lesson, one-on-one with the ArtistWorks teacher of your choice. There are 10 chances to win, so you won’t want to miss this! Enter now and find out whether you’ve won via email instantly.

**Content:** ![]() [Sign up now](https://go.artistworks.com/live-lesson-aug-2021-contest) for a chance to win a 6 month VIP Membership to any ArtistWorks course, PLUS a FREE one-hour virtual lesson, one-on-one with the ArtistWorks teacher of your choice. There are 10 chances to win, so you won’t want to miss this! [Enter now](https://go.artistworks.com/live-lesson-aug-2021-contest) and find out whether you’ve won via email instantly. **Here’s what 10 lucky winners will receive:** - 6 months of VIP access to any ArtistWorks online music course - Hundreds of details video lessons recorded by master musicians - Personal feedback and guidance through our optional Video Exchanges - Lesson resources and materials, including sheet music and tablature - Play-along backing tracks to jam along with - Access to your course’s entire Video Exchange library - Free Music Theory lessons - A FREE one-hour private virtual lesson with the ArtistWorks teacher of your choice! Don’t miss out on your chance to win. Hurry, the contest ends on 10/13! Click [here](https://go.artistworks.com/live-lesson-aug-2021-contest) to sign up and enter today. ABOUT ARTISTWORKS: ArtistWorks [online music lessons](https://artistworks.com/) are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of Video Exchanges. ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty can teach you how to play everything from bluegrass to jazz to rock to blues to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Paul Gilbert - Artist Bio Series](https://blog.artistworks.com/new-podcast-paul-gilbert-artist-bio-series-0/) **Published:** September 15, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with legendary shred guitar virtuoso and ArtistWorks electric rock guitar instructor, Paul Gilbert, for the first installment of our new Artist Bio Series.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with legendary shred guitar virtuoso and ArtistWorks electric rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), for the first installment of our new Artist Bio Series. In the “Bio Series” episodes of our podcast, Patricia will be chatting with members of our world-renowned faculty about their lives, careers, and experiences that led them to become the master musicians that they are today. This week, Patricia and Paul Gilbert discuss Paul’s childhood obsession with music, the joy of getting his first guitar, his experience teaching at the Musician’s Institute, the formation of Mr. Big and Racer X, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). Patricia and Paul naturally kick off the conversation by starting at the beginning with Paul’s childhood. Paul describes his desire to become a musician even as a young adolescent, how he was drawn to listening, and loved the energy of rock ‘n’ roll music in particular. He also outlines his early struggle with formal private music lessons—a struggle which ultimately led him to put the guitar down for a number of years. Fortunately, that didn’t distract from his love of music or musical development. “A lot of times, the metaphor I use for playing music is archery, where you have the bow and the arrow and you shoot at the target,” Paul explains. “You can be great at the bow and arrow, but if you’re not looking at the target, your arrows go off into nowhere. In those early years, I may not have been playing, but I was focused on building the target.” After reacquainting himself with the guitar and years of playing, Paul’s love for the instrument not only deepened but so did his desire to share his musical knowledge with others and teach. He and Patricia go on to outline Paul’s experiences teaching rock guitar in the mid-1980s as the youngest instructor in the history of the esteemed Musician’s Institute in Hollywood, CA. “Musician’s Institute called me and said ‘hey, we’ve heard a lot of good things about you, we’d love for you to teach here,’” Paul explains. “They needed rock teachers because most of the guitar instructors there at the time were teaching jazz-fusion. This was the era that birthed shred, and what I was doing was cutting edge.” To learn more about [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), his life, musical career, and approach to teaching, listen to the full podcast here: If you’re interested in studying electric rock guitar and learning even more about Paul’s approaches to developing as a guitarist and musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-paul-gilbert) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Paul Gilbert - Artist Bio Series](https://blog.artistworks.com/new-podcast-paul-gilbert-artist-bio-series/) **Published:** September 15, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with legendary shred guitar virtuoso and ArtistWorks electric rock guitar instructor, Paul Gilbert, for the first installment of our new Artist Bio Series.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with legendary shred guitar virtuoso and ArtistWorks electric rock guitar instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), for the first installment of our new Artist Bio Series. In the “Bio Series” episodes of our podcast, Patricia will be chatting with members of our world-renowned faculty about their lives, careers, and experiences that led them to become the master musicians that they are today. This week, Patricia and Paul Gilbert discuss Paul’s childhood obsession with music, the joy of getting his first guitar, his experience teaching at the Musician’s Institute, the formation of Mr. Big and Racer X, and more. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play rock guitar from a master musician like Paul Gilbert? Try a free guitar lesson now!](https://go.artistworks.com/free-online-rock-guitar-lessons-paul-gilbert) Patricia and Paul naturally kick off the conversation by starting at the beginning with Paul’s childhood. Paul describes his desire to become a musician even as a young adolescent, how he was drawn to listening, and loved the energy of rock ‘n’ roll music in particular. He also outlines his early struggle with formal private music lessons—a struggle which ultimately led him to put the guitar down for a number of years. Fortunately, that didn’t distract from his love of music or musical development. “A lot of times, the metaphor I use for playing music is archery, where you have the bow and the arrow and you shoot at the target,” Paul explains. “You can be great at the bow and arrow, but if you’re not looking at the target, your arrows go off into nowhere. In those early years, I may not have been playing, but I was focused on building the target.” After reacquainting himself with the guitar and years of playing, Paul’s love for the instrument not only deepened but so did his desire to share his musical knowledge with others and teach. He and Patricia go on to outline Paul’s experiences teaching rock guitar in the mid-1980s as the youngest instructor in the history of the esteemed Musician’s Institute in Hollywood, CA. “Musician’s Institute called me and said ‘hey, we’ve heard a lot of good things about you, we’d love for you to teach here,’” Paul explains. “They needed rock teachers because most of the guitar instructors there at the time were teaching jazz-fusion. This was the era that birthed shred, and what I was doing was cutting edge.” To learn more about [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), his life, musical career, and approach to teaching, listen to the full podcast here: If you’re interested in studying electric rock guitar and learning even more about Paul’s approaches to developing as a guitarist and musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-paul-gilbert) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [An In-Depth Interview: Bryan Sutton Celebrates 9,000 Video Exchanges](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges) [ArtistWorks Music Series—How to Play at an Advanced Level: John Patitucci & Eric Marienthal](https://blog.artistworks.com/new-podcast-john-patitucci-eric-marienthal-how-play-advanced-level) [Paul Gilbert Releases 16th Solo Album, Werewolves of Portland](https://blog.artistworks.com/paul-gilbert-releases-16th-solo-album-werewolves-portland) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Sept. 2021 News: Bonaparte's Retreat, more](https://blog.artistworks.com/sept-2021-news-bonapartes-retreat-more/) **Published:** September 11, 2021 **Author:** ArtistWorks **Excerpt:**


Greetings, Fiddlers!


As we head into Autumn of 2021, I hope everyone is getting enough fiddling time. It’s a bit better year so far, with unexpected setbacks, but basically we’re hopeful that we’ll gradually be able to get out there and play more music with friends, maybe sooner, maybe later.

We now have the complete lesson series [all 5 parts!] of Byron Berline’s Huckleberry Hornpipe safely tucked away in the Greeting Video section, available to all you fiddlers simply by clicking on the VIEW MORE button right below the screen in the middle of you Fiddle School Home Page.

The overworked tech crew at Artistworks also found time—between moving the entire production office across town and adding 2 MAJOR new music schools— to post a new lesson series on one of my favorite tunes: the great and multi-faceted Bonaparte’s Retreat. At this point, only the beginning version is up, but there are beginning, intermediate, and advanced versions, and I’ll soon have some nice backup tracks for those various versions of this tune available in the “Study Materials” section. The PDFs are already there, in the Additional Study Materials bin.
https://my.artistworks.com/darol-anger/learning/185804/271034

**Content:** ![]() **Greetings, Fiddlers!** As we head into Autumn of 2021, I hope everyone is getting enough fiddling time. It’s a bit better year so far, with unexpected setbacks, but basically we’re hopeful that we’ll gradually be able to get out there and play more music with friends, maybe sooner, maybe later. We now have the complete lesson series \[all 5 parts!\] of Byron Berline’s **Huckleberry Hornpipe** safely tucked away in the **Greeting Video** section, available to all you fiddlers simply by clicking on the **VIEW MORE** button right below the screen in the middle of you Fiddle School Home Page. The overworked tech crew at Artistworks also found time—between moving the entire production office across town and adding 2 MAJOR new music schools— to post a new lesson series on one of my favorite tunes: the great and multi-faceted **Bonaparte’s Retreat**. At this point, only the beginning version is up, but there are beginning, intermediate, and advanced versions, and I’ll soon have some nice backup tracks for those various versions of this tune available in the “Study Materials” section. The PDFs are already there, in the Additional Study Materials bin. https://my.artistworks.com/darol-anger/learning/185804/271034 https://my.artistworks.com/darol-anger/study-materials AND… our Fiddle School has a Facebook Page! Many of you have already visited this; it’s the former **Darol’s Fiddling Retreat** page. The events of the last couple of years have made it impossible to actually do this event, so I just turned that page into a “gateway drug” for our fabulous enclave here. https://www.facebook.com/darolangerfiddleschool/ You can post there for the public, or just do a quick survey of various news about fiddlers in general. Mostly I’ve been purging the page of heavy-metal music incursions! Somehow, many movie and Metal fans saw an opportunity to post all over my fiddle page, but I’m weeding them out. Ah, the Internet. It makes me extra grateful for this protected space here where we can all do our thing and bathe in fiddling thoughts, and support and encourage each other. Thanks again for being such seriously wonderful participants in our great collective endeavor: to improve our fiddling a little bit at a time, and have a good time doing it! Enjoy! —DA ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing "Bluegrass Guitar with Chris Eldridge"](https://blog.artistworks.com/new-course-announcing-bluegrass-guitar-chris-eldridge-0/) **Published:** September 10, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming October 2021, “Bluegrass Guitar with Chris Eldridge.”

**Content:** ![]() We are excited to announce our newest course coming October 2021, “[Bluegrass Guitar with Chris Eldridge](https://go.artistworks.com/guitar-lessons-chris-eldridge).” Widely considered one of the premier acoustic guitarists of the modern era, Chris “Critter” Eldridge has cofounded and performed around the globe with some of the most prolific groups in the modern bluegrass scene. Most commonly known as the guitarist and co-founding member of the Grammy award-winning bluegrass outfit, Punch Brothers, Chris has brought his unique acoustic guitar stylings to a handful of bluegrass’ most successful and influential groups, including acclaimed jamgrass quintet, The Infamous Stringdusters, seminal bluegrass group, The Seldom Scene, and Chris Thile’s Live from Here radio show house band, to name a few. Through Chris’ online guitar lessons here at ArtistWorks, you’ll learn the ins and outs of Chris’ unique approach to bluegrass guitar playing, and the intricate techniques and methods that shape Chris’ distinct sound and style. “I’m really excited to share, in a really comprehensive way, what I’ve learned about the guitar over the years,” Chris explains. “With this curriculum, I tried really hard to demystify a lot of things about how music works.” In addition to eight Grammy nominations to date and one Grammy win in 2018, Chris was named “Instrumentalist of the Year” by the Americana Music Association in 2019. Throughout his illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. He also performs in an acoustic duo alongside jazz guitar virtuoso Julian Lage. Chris has drawn from decades of performance experience to create a comprehensive course of guitar lessons online designed to teach players of all levels how to play bluegrass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Chris and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Chris at every step of your musical journey. “The course was really built for everybody,” Chris explains. “I mined all of my experience and tried to share everything that felt important to me about music. So, I’m thinking of myself as a real open book here.” [Sign up now](https://go.artistworks.com/guitar-lessons-chris-eldridge) for news updates from Chris and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks online music lessons are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Chris to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing "Bluegrass Guitar with Chris Eldridge"](https://blog.artistworks.com/new-course-announcing-bluegrass-guitar-chris-eldridge/) **Published:** September 10, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming October 2021, “Bluegrass Guitar with Chris Eldridge.”

**Content:** ![]() We are excited to announce our newest course coming October 2021, “[Bluegrass Guitar with Chris Eldridge](https://go.artistworks.com/guitar-lessons-chris-eldridge).” Widely considered one of the premier acoustic guitarists of the modern era, Chris “Critter” Eldridge has cofounded and performed around the globe with some of the most prolific groups in the modern bluegrass scene. Most commonly known as the guitarist and co-founding member of the Grammy award-winning bluegrass outfit, Punch Brothers, Chris has brought his unique acoustic guitar stylings to a handful of bluegrass’ most successful and influential groups, including acclaimed jamgrass quintet, The Infamous Stringdusters, seminal bluegrass group, The Seldom Scene, and Chris Thile’s Live from Here radio show house band, to name a few. Through Chris’ online guitar lessons here at ArtistWorks, you’ll learn the ins and outs of Chris’ unique approach to bluegrass guitar playing, and the intricate techniques and methods that shape Chris’ distinct sound and style. “I’m really excited to share, in a really comprehensive way, what I’ve learned about the guitar over the years,” Chris explains. “With this curriculum, I tried really hard to demystify a lot of things about how music works.” In addition to eight Grammy nominations to date and one Grammy win in 2018, Chris was named “Instrumentalist of the Year” by the Americana Music Association in 2019. Throughout his illustrious career, Chris has had the opportunity to work with some of the biggest names in pop, bluegrass, rock, and jazz, including Paul Simon, Renée Fleming, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Jon Brion, Fiona Apple, The War and Treaty, Jerry Douglas, I’m With Her, and Del McCoury. He also performs in an acoustic duo alongside jazz guitar virtuoso Julian Lage. Chris has drawn from decades of performance experience to create a comprehensive course of guitar lessons online designed to teach players of all levels how to play bluegrass guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Chris and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Chris at every step of your musical journey. “The course was really built for everybody,” Chris explains. “I mined all of my experience and tried to share everything that felt important to me about music. So, I’m thinking of myself as a real open book here.” [Sign up now](https://go.artistworks.com/guitar-lessons-chris-eldridge) for news updates from Chris and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks online music lessons are recorded and taught by 40 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Chris to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Podcast: An In-Depth Interview - Bryan Sutton Celebrates 9,000 Video Exchanges!](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges-0/) **Published:** September 9, 2021 **Author:** ArtistWorks **Excerpt:**

In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program.

**Content:** ![]() In 2011, we welcomed Grammy Award-winning guitarist [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), bluegrass mandolin icon [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), upright bass virtuoso [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and legendary fiddle player [Darol Ange](https://artistworks.com/fiddle-lessons-darol-anger)r to our faculty of instructors. Alongside world-renowned banjo player [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program. We’re excited to announce that, after ten years as one of our premier instructors here at ArtistWorks, Bryan has just completed his 9,000th [Video Exchange](https://www.youtube.com/watch?v=12AivptqoSM). Congratulations Bryan on reaching this outstanding achievement, and thank you to all of his wonderful acoustic guitar students for consistently submitting videos! To celebrate this fantastic milestone, our cofounder Patrica Butler sat down with Bryan to conduct an in-depth interview as part of an exclusive episode of our ArtistWorks Music Series podcast to discuss his experience teaching on the ArtistWorks Video Exchange platform over the last decade. This exclusive interview is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). “Most of the people in the world of bluegrass are also players,” Bryan explains. “Everyone’s getting together and jamming all the same songs, and there’s a vibrancy in this community that’s always been there. Through ArtistWorks, there’s a direct window into that world.” Bryan’s online community has become an online hub for acoustic guitar and bluegrass enthusiasts alike. Throughout the last ten years, it’s become a place that welcomes players of all levels and facilitates positivity, encouragement, and musical growth. Nothing facilitates this more than ArtistWork’s unique Video Exchange Learning platform. “What I’ve always loved about ArtistWorks is that each Video Exchange gets uploaded to the site for the entire community to absorb, watcher, peruse, and learn from,” Bryan explains. “While I’m responding directly to the questions of one person, I’m really potentially talking to a few thousand people. And, who knows how many over time because they’re always there.” Judging by this fantastic Video Exchange milestone, Bryan has clearly had the opportunity to meet, mentor, and guide a vast array of acoustic guitar players worldwide, and help guitarists of all levels grow as musicians and flatpickers! Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today, and become a member of Bryan’s online community. He looks forward to seeing you there! Listen to Bryan’s exclusive ArtistWorks Music Series interview here: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: An In-Depth Interview - Bryan Sutton Celebrates 9,000 Video Exchanges!](https://blog.artistworks.com/new-podcast-depth-interview-bryan-sutton-celebrates-9000-video-exchanges/) **Published:** September 9, 2021 **Author:** ArtistWorks **Excerpt:**

In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program.

**Content:** ![]() In 2011, we welcomed Grammy Award-winning guitarist [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), bluegrass mandolin icon [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), upright bass virtuoso [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and legendary fiddle player [Darol Ange](https://artistworks.com/fiddle-lessons-darol-anger)r to our faculty of instructors. Alongside world-renowned banjo player [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), this amazing group of master musicians made up our collective of ArtistWorks bluegrass teachers, and, since then, we’ve ushered many more fantastic artists into our program. We’re excited to announce that, after ten years as one of our premier instructors here at ArtistWorks, Bryan has just completed his 9,000th [Video Exchange](https://www.youtube.com/watch?v=12AivptqoSM). Congratulations Bryan on reaching this outstanding achievement, and thank you to all of his wonderful acoustic guitar students for consistently submitting videos! To celebrate this fantastic milestone, our cofounder Patrica Butler sat down with Bryan to conduct an in-depth interview as part of an exclusive episode of our ArtistWorks Music Series podcast to discuss his experience teaching on the ArtistWorks Video Exchange platform over the last decade. This exclusive interview is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play flatpick guitar from a master musician like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) “Most of the people in the world of bluegrass are also players,” Bryan explains. “Everyone’s getting together and jamming all the same songs, and there’s a vibrancy in this community that’s always been there. Through ArtistWorks, there’s a direct window into that world.” Bryan’s online community has become an online hub for acoustic guitar and bluegrass enthusiasts alike. Throughout the last ten years, it’s become a place that welcomes players of all levels and facilitates positivity, encouragement, and musical growth. Nothing facilitates this more than ArtistWork’s unique Video Exchange Learning platform. “What I’ve always loved about ArtistWorks is that each Video Exchange gets uploaded to the site for the entire community to absorb, watcher, peruse, and learn from,” Bryan explains. “While I’m responding directly to the questions of one person, I’m really potentially talking to a few thousand people. And, who knows how many over time because they’re always there.” Judging by this fantastic Video Exchange milestone, Bryan has clearly had the opportunity to meet, mentor, and guide a vast array of acoustic guitar players worldwide, and help guitarists of all levels grow as musicians and flatpickers! Click [here](https://artistworks.com/guitar-lessons-bryan-sutton) to join today, and become a member of Bryan’s online community. He looks forward to seeing you there! Listen to Bryan’s exclusive ArtistWorks Music Series interview here: WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! LEARN MORE: Have you always wanted to learn how to play bluegrass acoustic guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personal feedback on your playing. Bryan’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series—How to Play at an Advanced Level: John Patitucci & Eric Marienthal](https://blog.artistworks.com/new-podcast-john-patitucci-eric-marienthal-how-play-advanced-level) [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons) [ArtistWorks Music Series—Becoming a Confident Player: Bryan Sutton](https://blog.artistworks.com/new-podcast-bryan-sutton-becoming-confident-player) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons-0/) **Published:** September 8, 2021 **Author:** ArtistWorks **Excerpt:**

A foundation of solid technique will lead to years of great playing and musical enjoyment on any instrument—and the banjo is no exception. To help build that critical foundation and grow your banjo skills, we’ve partnered with our two world-renowned bluegrass banjo instructors Tony Trischka and Noam Pikelny to bring you a series of FREE bundled lessons. These online banjo lesson bundles are designed specifically to teach you an essential technique that you can put into practice in the context of a tune immediately.

**Content:** ![]() A foundation of solid technique will lead to years of great playing and musical enjoyment on any instrument—and the banjo is no exception. To help build that critical foundation and grow your banjo skills, we’ve partnered with our two world-renowned bluegrass banjo instructors [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) to bring you a series of FREE bundled lessons. These online banjo lesson bundles are designed specifically to teach you an essential technique that you can put into practice in the context of a tune immediately. Tony’s banjo technique bundle will assist you in mastering the basic hammer-on and provide additional practice exercises utilizing the alternating thumb roll method as well, both of which are crucial skills needed to play in the bluegrass style. Then, you’ll immediately be able to put these two new skills into practice in the context of the classic bluegrass tune, “Shady Grove.” “Hammer-ons are very important when playing any stringed instrument, particularly the banjo or guitar, in the bluegrass style,” Tony explains. “Together, we’ll practice executing them cleanly and precisely, and learn to incorporate them into alternating thumb roll patterns.” Noam’s banjo technique bundle will teach you another very critical skill that bluegrass pickers employ frequently—the banjo backward roll. After working through Noam’s exercises outlining the backward roll pattern, you’ll be able to practice them and hear how they sound in the context of the classic tune, “You Are My Sunshine,” which Noam has specifically arranged for this exercise. “Backward rolls can be a little tricky,” Noam explains. “But, they lead to a really nice syncopated sound, and allow us to emphasize melody notes on our highest string really effectively.” [Click here to access these FREE Banjo “Technique Builders!”](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) TRY EITHER OF OUR FREE BLUEGRASS BANJO “TECHNIQUE BUILDERS” LISTED BELOW: BLUEGRASS BANJO WITH TONY TRISCHKA: What’s Included: - A multi-part online banjo lesson video teaching the basic banjo hammer-on technique along with a practice exercise using the alternating thumb roll - **A play-along backing track** allowing you to practice your new skills in an arrangement of the classic bluegrass tune, “Shady Grove” - **A printable PDF of the tablature** BLUEGRASS BANJO & BEYOND WITH NOAM PIKELNY: What’s Included: - A multi-part online banjo lesson video teaching the banjo backward roll pattern and exercises to work it up to tempo - **4 play-along backing tracks** allowing you to incorporate the technique into Noam’s arrangement of the classic tune, “You Are My Sunshine” in the key of C - **A printable PDF of the tablature** [Access your FREE “Technique Builder” here!](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) MEET OUR MASTER BANJO FACULTY: TONY TRISCHKA: For nearly 40 years, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo.” Tony has taught [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) at ArtistWorks since 2009, building a global learning community around his Video Exchange library. NOAM PIKELNY: [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” In September of 2010, Pikelny was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Noam’s 2013 recording, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, was described by the New York Times as “a token of reverence, a feat of translation and a show of dominion”. The album is widely considered a landmark recording in acoustic music and was named “Album of the Year” at the 2014 International Bluegrass Music Association Awards. Noam is a two-time International Bluegrass Music Association ‘Banjo Player of the Year’ and in 2019, Noam, along with his fellow Punch Brothers, was awarded the “Best Folk Album” Grammy® for their release, All Ashore. Noam makes his home in Nashville, TN, and has been teaching [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks since Spring, 2020. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Try Our Free Bluegrass Banjo Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-banjo-technique-builder-lessons/) **Published:** September 8, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() A foundation of solid technique will lead to years of great playing and musical enjoyment on any instrument—and the banjo is no exception. To help build that critical foundation and grow your banjo skills, we’ve partnered with our two world-renowned bluegrass banjo instructors [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) to bring you a series of FREE bundled lessons. These online banjo lesson bundles are designed specifically to teach you an essential technique that you can put into practice in the context of a tune immediately. Tony’s banjo technique bundle will assist you in mastering the basic hammer-on and provide additional practice exercises utilizing the alternating thumb roll method as well, both of which are crucial skills needed to play in the bluegrass style. Then, you’ll immediately be able to put these two new skills into practice in the context of the classic bluegrass tune, “Shady Grove.” “Hammer-ons are very important when playing any stringed instrument, particularly the banjo or guitar, in the bluegrass style,” Tony explains. “Together, we’ll practice executing them cleanly and precisely, and learn to incorporate them into alternating thumb roll patterns.” Noam’s banjo technique bundle will teach you another very critical skill that bluegrass pickers employ frequently—the banjo backward roll. After working through Noam’s exercises outlining the backward roll pattern, you’ll be able to practice them and hear how they sound in the context of the classic tune, “You Are My Sunshine,” which Noam has specifically arranged for this exercise. “Backward rolls can be a little tricky,” Noam explains. “But, they lead to a really nice syncopated sound, and allow us to emphasize melody notes on our highest string really effectively.” [Click here to access these FREE Banjo “Technique Builders!”](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) TRY EITHER OF OUR FREE BLUEGRASS BANJO “TECHNIQUE BUILDERS” LISTED BELOW: BLUEGRASS BANJO WITH TONY TRISCHKA: What’s Included: - A multi-part online banjo lesson video teaching the basic banjo hammer-on technique along with a practice exercise using the alternating thumb roll - **A play-along backing track** allowing you to practice your new skills in an arrangement of the classic bluegrass tune, “Shady Grove” - **A printable PDF of the tablature** BLUEGRASS BANJO & BEYOND WITH NOAM PIKELNY: What’s Included: - A multi-part online banjo lesson video teaching the banjo backward roll pattern and exercises to work it up to tempo - **4 play-along backing tracks** allowing you to incorporate the technique into Noam’s arrangement of the classic tune, “You Are My Sunshine” in the key of C - **A printable PDF of the tablature** [Access your FREE “Technique Builder” here!](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) MEET OUR MASTER BANJO FACULTY: TONY TRISCHKA: For nearly 40 years, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo.” Tony has taught [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) at ArtistWorks since 2009, building a global learning community around his Video Exchange library. NOAM PIKELNY: [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” In September of 2010, Pikelny was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Noam’s 2013 recording, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, was described by the New York Times as “a token of reverence, a feat of translation and a show of dominion”. The album is widely considered a landmark recording in acoustic music and was named “Album of the Year” at the 2014 International Bluegrass Music Association Awards. Noam is a two-time International Bluegrass Music Association ‘Banjo Player of the Year’ and in 2019, Noam, along with his fellow Punch Brothers, was awarded the “Best Folk Album” Grammy® for their release, All Ashore. Noam makes his home in Nashville, TN, and has been teaching [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks since Spring, 2020. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Ukulele Lesson: Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee-0/) **Published:** September 3, 2021 **Author:** ArtistWorks **Excerpt:**

One of the most common and fundamental techniques used to play chords on the ukulele is the barre chord fingering. However, for those who are just beginning their ukulele practice or are learning how to play a stringed instrument for the first time, fingering barre chords can often feel uncomfortable and a bit unnatural at first.

**Content:** ![]() One of the most common and fundamental techniques used to play chords on the ukulele is the barre chord fingering. However, for those who are just beginning their ukulele practice or are learning how to play a stringed instrument for the first time, fingering barre chords can often feel uncomfortable and a bit unnatural at first. Fortunately, in this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah) provides his unique approach to fingering barre chords that will improve your dexterity, physical comfort, and note clarity on your instrument. Before we dive into the lesson, let’s quickly review what a barre chord is. A barre chord is a type of chord in which one or more fingers are used to press down multiple strings across a single fret on the ukulele’s fingerboard. While barre chords are utilized on a variety of different stringed instruments, they work particularly well on the small four-stringed instrument due to the harmonic structure of standard ukulele tuning. One of the most common issues that players experience early on when learning to play barre chords is discomfort in the left hand caused by tension and high amounts of unneeded physical pressure. “There is a tendency among beginning ukulele players to squeeze too hard with their left hand,” Craig explains. “There are a variety of things you can practice to relieve that tension and play barre chords much more fluidly and comfortably.” Craig goes on to outline a unique approach in which he uses balanced pressure against the instrument’s body and fingerboard as well as an alternative left hand thumb placement to perform all ukulele chords with decreased tension and improved clarity. This method applies particularly well for barre chords and is a technique that ukulele players of all levels can benefit from exploring. “When I place my thumb on the neck directly behind the index finger on my left hand, I can immediately feel the tension,” Craig explains. “When I use this approach of balancing pressure between the body and the neck, I get a seesaw effect that relieves my reliance on my left hand.” To learn more about Craig’s unique approach to playing and practicing barre chords, dive into this [online ukulele lesson](https://artistworks.com/guitar-lessons-keith-wyatt): Introduction to Barre Chords with Craig Chee: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Ukulele Lesson: Introduction to Barre Chords with Craig Chee](https://blog.artistworks.com/ukulele-lesson-introduction-barre-chords-craig-chee/) **Published:** September 3, 2021 **Author:** ArtistWorks **Excerpt:**

One of the most common and fundamental techniques used to play chords on the ukulele is the barre chord fingering. However, for those who are just beginning their ukulele practice or are learning how to play a stringed instrument for the first time, fingering barre chords can often feel uncomfortable and a bit unnatural at first.

**Content:** ![]() One of the most common and fundamental techniques used to play chords on the ukulele is the barre chord fingering. However, for those who are just beginning their ukulele practice or are learning how to play a stringed instrument for the first time, fingering barre chords can often feel uncomfortable and a bit unnatural at first. Fortunately, in this [online ukulele lesson](https://artistworks.com/ukulele-lessons-craig-sarah), internationally-renowned ukulele player and ArtistWorks instructor [Craig Chee](https://artistworks.com/ukulele-lessons-craig-sarah) provides his unique approach to fingering barre chords that will improve your dexterity, physical comfort, and note clarity on your instrument. Before we dive into the lesson, let’s quickly review what a barre chord is. A barre chord is a type of chord in which one or more fingers are used to press down multiple strings across a single fret on the ukulele’s fingerboard. While barre chords are utilized on a variety of different stringed instruments, they work particularly well on the small four-stringed instrument due to the harmonic structure of standard ukulele tuning. One of the most common issues that players experience early on when learning to play barre chords is discomfort in the left hand caused by tension and high amounts of unneeded physical pressure. “There is a tendency among beginning ukulele players to squeeze too hard with their left hand,” Craig explains. “There are a variety of things you can practice to relieve that tension and play barre chords much more fluidly and comfortably.” Craig goes on to outline a unique approach in which he uses balanced pressure against the instrument’s body and fingerboard as well as an alternative left hand thumb placement to perform all ukulele chords with decreased tension and improved clarity. This method applies particularly well for barre chords and is a technique that ukulele players of all levels can benefit from exploring. “When I place my thumb on the neck directly behind the index finger on my left hand, I can immediately feel the tension,” Craig explains. “When I use this approach of balancing pressure between the body and the neck, I get a seesaw effect that relieves my reliance on my left hand.” To learn more about Craig’s unique approach to playing and practicing barre chords, dive into this [online ukulele lesson](https://artistworks.com/guitar-lessons-keith-wyatt): Introduction to Barre Chords with Craig Chee: LEARN MORE: Have you always wanted to learn how to play the ukulele? Through our comprehensive [ukulele lessons online](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah), and get personal feedback on your playing. Craig and Sarah’s course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—Building Your Practice Roadmap: Craig & Sarah](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap) [Craig & Sarah: 51st Annual Ukulele Festival Hawaii Kick-Off!](https://blog.artistworks.com/craig-sarah-51st-annual-ukulele-festival-hawaii-kick) [Craig Chee’s Guide to Ukulele Improvisation](https://blog.artistworks.com/craig-chees-guide-ukulele-improvisation) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: John Patitucci & Eric Marienthal - How to Play at an Advanced Level](https://blog.artistworks.com/new-podcast-john-patitucci-eric-marienthal-how-play-advanced-level-0/) **Published:** September 1, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with world-renowned jazz bassist John Patitucci and saxophone virtuoso Eric Marienthal, to discuss the concept of “How to Play at an Advanced Level,” particularly in the context of jazz improvisation. Together, these master ArtistWorks instructors explore the importance of attentive listening and communicating with other musicians on stage, having a strong knowledge of harmony, and continually refining and improving on basic techniques in order to take your playing to an advanced stage. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with world-renowned jazz bassist [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) and saxophone virtuoso [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), to discuss the concept of “How to Play at an Advanced Level,” particularly in the context of jazz improvisation. Together, these master ArtistWorks instructors explore the importance of attentive listening and communicating with other musicians on stage, having a strong knowledge of harmony, and continually refining and improving on basic techniques in order to take your playing to an advanced stage. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). As students in the earlier stages of learning an instrument, we often listen to more advanced players perform and wonder: how did they get to that level? What steps did they have to take to reach the advanced stage? One of the most common misconceptions is that advanced-level players no longer work on basic, fundamental techniques once they’ve elevated those skills to a masterful degree. John and Eric both heavily reinforce that that is not the case. “There’s a misconception that once you become advanced, you don’t work on basics anymore,” John explains. “Sound and rhythm are huge things that you work on your entire life. You can’t play at an advanced level unless you have control over the sound of your instrument and the ability to manipulate your instrument properly in time. So, those things—you never stop working on them.” Outside of practicing physical techniques, such as scales, long-tones, embouchure, etc., it is critical to work on ear training in order to hear and identify specific harmonic qualities, such as major, minor, and dominant 7th chords. A deep understanding of harmony will allow you to take your improvisation to an advanced stage. “We can do all kinds of different things to prepare ourselves for advanced performance, like practicing technique, working on rhythm, coordination, etc.,” Eric explains. “But, if we can truly hear the music in our hearts and in our heads, we’re ultimately going to figure out how to physically achieve that.” To learn more about how you can develop your skills and grow into an advanced-level player, regardless of the instrument you play, listen to the full podcast with [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) here: ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: John Patitucci & Eric Marienthal - How to Play at an Advanced Level](https://blog.artistworks.com/new-podcast-john-patitucci-eric-marienthal-how-play-advanced-level/) **Published:** September 1, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with world-renowned jazz bassist John Patitucci and saxophone virtuoso Eric Marienthal, to discuss the concept of “How to Play at an Advanced Level,” particularly in the context of jazz improvisation. Together, these master ArtistWorks instructors explore the importance of attentive listening and communicating with other musicians on stage, having a strong knowledge of harmony, and continually refining and improving on basic techniques in order to take your playing to an advanced stage. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with world-renowned jazz bassist [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) and saxophone virtuoso [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), to discuss the concept of “How to Play at an Advanced Level,” particularly in the context of jazz improvisation. Together, these master ArtistWorks instructors explore the importance of attentive listening and communicating with other musicians on stage, having a strong knowledge of harmony, and continually refining and improving on basic techniques in order to take your playing to an advanced stage. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play jazz saxophone from a master musician like Eric Marienthal? Try a free online saxophone lesson now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) As students in the earlier stages of learning an instrument, we often listen to more advanced players perform and wonder: how did they get to that level? What steps did they have to take to reach the advanced stage? One of the most common misconceptions is that advanced-level players no longer work on basic, fundamental techniques once they’ve elevated those skills to a masterful degree. John and Eric both heavily reinforce that that is not the case. “There’s a misconception that once you become advanced, you don’t work on basics anymore,” John explains. “Sound and rhythm are huge things that you work on your entire life. You can’t play at an advanced level unless you have control over the sound of your instrument and the ability to manipulate your instrument properly in time. So, those things—you never stop working on them.” LEARN MORE: [Want to learn from a jazz bass master like John Patitucci? Try a free online bass lesson now!](https://go.artistworks.com/free-online-bass-lessons-john-patitucci) Outside of practicing physical techniques, such as scales, long-tones, embouchure, etc., it is critical to work on ear training in order to hear and identify specific harmonic qualities, such as major, minor, and dominant 7th chords. A deep understanding of harmony will allow you to take your improvisation to an advanced stage. “We can do all kinds of different things to prepare ourselves for advanced performance, like practicing technique, working on rhythm, coordination, etc.,” Eric explains. “But, if we can truly hear the music in our hearts and in our heads, we’re ultimately going to figure out how to physically achieve that.” To learn more about how you can develop your skills and grow into an advanced-level player, regardless of the instrument you play, listen to the full podcast with [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and [John Patitucci](https://artistworks.com/jazz-bass-lessons-john-patitucci) here: If you’re interested in studying the jazz bass or saxophone and learning even more about how to take your playing to an advanced level, check out John and Eric’s [online music lessons](https://artistworks.com/all-courses) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Series — How to Find Your Own Sound: Guthrie Trapp](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-find-your-own-sound) [The 4 Most Common Types of Saxophones](https://blog.artistworks.com/4-most-common-types-saxophones) [Saxophone Exercise: Play for Control, Not Speed](https://blog.artistworks.com/saxophone-exercise-play-control-not-speed) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [VE Submission Deadline Dates for September/October 2021](https://blog.artistworks.com/ve-submission-deadline-dates-septemberoctober-2021/) **Published:** August 31, 2021 **Author:** ArtistWorks **Excerpt:**

Hello ArtistWorks Popular Piano School! Here are the next upcoming VE submission deadline dates:

Remember that I respond to VE submissions in the order that I receive them, so feel free to post ahead of those deadline dates if you want a better chance of seeing your VE response the following day!

**Content:** Hello ArtistWorks Popular Piano School! Here are the next upcoming VE submission deadline dates: - Sunday, Sept. 12 - Sunday, Sept. 19 - Sunday, Oct. 3 Remember that I respond to VE submissions in the order that I receive them, so feel free to post ahead of those deadline dates if you want a better chance of seeing your VE response the following day! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [My Geeky Summer](https://blog.artistworks.com/my-geeky-summer/) **Published:** August 31, 2021 **Author:** ArtistWorks **Excerpt:**

It's no secret that I'm a techie nerd, especially when it comes to music technologies. Well, here's a look at what kept me busy for the month of August, deep in the Catskill Mountains - enjoy!

**Content:** It’s no secret that I’m a techie nerd, especially when it comes to music technologies. Well, here’s a look at what kept me busy for the month of August, deep in the Catskill Mountains – enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jared James Nichols Restores One of the First Gibson Les Pauls Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made-0/) **Published:** August 30, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In April of 2021, blues and hard rock guitar titan, and the newest addition to the ArtistWorks master faculty, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) announced that he had come upon the remnants of one of the first Gibson Les Paul electric guitars ever made. Being the Gibson fanatic that he is, Jared was determined to restore the guitar to full playability and its original glory. Early last week, Jared came through on his word after revealing the fully restored 1952 Les Paul on his social media channels, which made waves throughout communities of guitar players and collectors alike. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP_2.jpeg) The various pieces of the guitar were gifted to Jared by one of his fans, TJ Duckwiler, after the instrument was severely damaged in a tornado in Washington, Illinois in 2013. TJ Duckwiler owned the Les Paul prior to Jared and was originally gifted the six-string by a woman whose late grandfather was the initial owner. After receiving the instrument, Jared appropriately dubbed the guitar, “Dorothy,” in reference to the beloved Kansas native swept up by a tornado in the classic 1939 film, The Wizard of Oz. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Screen_Shot_2021-08-30_at_2.55.10_PM.png) “Everything about Dorothy is beyond perfect, I am so grateful,” Jared revealed in his recent social media post. “I need to thank my brother TJ Duckwiler for this incredible gift and \[for\] trusting me to bring this instrument back to life, making music. Love you brother.” After receiving Dorothy, Jared reached out to master luthier Joel Wilkins, who specializes in early Fender and Gibson guitar restoration, pickup/electronics repair, and custom vintage pickup manufacturing, to revitalize Dorothy and bring her back to life. Legendary guitarist, collector, and a long-time friend of Jared’s, Joe Bonamassa, also aided in the restoration by donating much of the original 1952 hardware to bring the guitar back to authentic vintage specifications. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP.jpeg) “Joel \[Wilkins\] nailed it, completely,” Jared explains. “He put his heart and soul into this resurrection. Joel, I cannot thank you enough. You are the best I’ve ever had the honor of working with.” Dorothy has received a few modern appointments, Jared reports, including a Brazilian rosewood fingerboard and red rubies fashioned into a tornado-like formation on the headstock. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP_4.jpeg) Jared is gearing up to release his brand-new EP, Shadow Dancer in September, and will be supporting Black Stone Cherry on the road this October. To learn more, click [here](https://linktr.ee/jaredjamesnichols). While Jared’s new course, “[Blues Rock Guitar with Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols)” officially launches in mid-September, Pre-Sale VIP Memberships are currently available and provide tons of amazing perks and exclusives leading up to the launch. Learn more[ here](https://artistworks.com/guitar-lessons-jared-james-nichols). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jared James Nichols Restores One of the First Gibson Les Pauls Ever Made](https://blog.artistworks.com/jared-james-nichols-restores-one-first-gibson-les-pauls-ever-made/) **Published:** August 30, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In April of 2021, blues and hard rock guitar titan, and the newest addition to the ArtistWorks master faculty, [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols) announced that he had come upon the remnants of one of the first Gibson Les Paul electric guitars ever made. Being the Gibson fanatic that he is, Jared was determined to restore the guitar to full playability and its original glory. Early last week, Jared came through on his word after revealing the fully restored 1952 Les Paul on his social media channels, which made waves throughout communities of guitar players and collectors alike. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP_2.jpeg) The various pieces of the guitar were gifted to Jared by one of his fans, TJ Duckwiler, after the instrument was severely damaged in a tornado in Washington, Illinois in 2013. TJ Duckwiler owned the Les Paul prior to Jared and was originally gifted the six-string by a woman whose late grandfather was the initial owner. After receiving the instrument, Jared appropriately dubbed the guitar, “Dorothy,” in reference to the beloved Kansas native swept up by a tornado in the classic 1939 film, The Wizard of Oz. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Screen_Shot_2021-08-30_at_2.55.10_PM.png) “Everything about Dorothy is beyond perfect, I am so grateful,” Jared revealed in his recent social media post. “I need to thank my brother TJ Duckwiler for this incredible gift and \[for\] trusting me to bring this instrument back to life, making music. Love you brother.” After receiving Dorothy, Jared reached out to master luthier Joel Wilkins, who specializes in early Fender and Gibson guitar restoration, pickup/electronics repair, and custom vintage pickup manufacturing, to revitalize Dorothy and bring her back to life. Legendary guitarist, collector, and a long-time friend of Jared’s, Joe Bonamassa, also aided in the restoration by donating much of the original 1952 hardware to bring the guitar back to authentic vintage specifications. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP.jpeg) “Joel \[Wilkins\] nailed it, completely,” Jared explains. “He put his heart and soul into this resurrection. Joel, I cannot thank you enough. You are the best I’ve ever had the honor of working with.” Dorothy has received a few modern appointments, Jared reports, including a Brazilian rosewood fingerboard and red rubies fashioned into a tornado-like formation on the headstock. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Dorothy_LP_4.jpeg) Jared is gearing up to release his brand-new EP, Shadow Dancer in September, and will be supporting Black Stone Cherry on the road this October. To learn more, click [here](https://linktr.ee/jaredjamesnichols). LEARN MORE ABOUT “BLUES ROCK GUITAR WITH JARED JAMES NICHOLS:” Have you always wanted to learn how to play blues rock guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jared-james-nichols) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jared James Nichols](https://artistworks.com/guitar-lessons-jared-james-nichols), and get personal feedback on your playing. Jared’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and songs. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! While Jared’s course officially launches in mid-September, Pre-Sale VIP Memberships are currently available and provide tons of amazing perks and exclusives leading up to the launch. Learn more [here](https://artistworks.com/guitar-lessons-jared-james-nichols). Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Pre-Sale VIP Memberships for “Blues Rock Guitar with Jared James Nichols” Now Available!](https://blog.artistworks.com/pre-sale-vip-memberships-blues-rock-guitar-jared-james-nichols-now-available) [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt) [The 7 Pitfalls of Private Music Lessons & How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons-0/) **Published:** August 27, 2021 **Author:** ArtistWorks **Excerpt:**

A foundation of solid technique leads to years of great playing and musical enjoyment no matter your instrument of choice. To help build that critical foundation and grow your skills, we’ve partnered with a few members of our world-renowned bluegrass faculty—including Bryan Sutton, Tony Trischka, Mike Marshall, Sierra Hull, Noam Pikelny, and Darol Anger—to bring you a series of FREE bundled lessons designed specifically to teach you an essential skill that you can put to practice in the context of a tune immediately.

**Content:** ![]() A foundation of solid technique leads to years of great playing and musical enjoyment no matter your instrument of choice. To help build that critical foundation and grow your skills, we’ve partnered with a few members of our world-renowned bluegrass faculty—including [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger)—to bring you a series of FREE bundled lessons designed specifically to teach you an essential skill that you can put to practice in the context of a tune immediately. Each bundle includes a multi-part lesson video covering an important technique or skill that you’ll apply to a tune—plus a backing track and printable study material—all delivered right to your email inbox. We’ll also follow up with even more free sample lessons when you sign up now so that you can continue your progress and keep up your momentum. Everything you need to take your playing to the next level! [Click here to access your FREE “Technique Builder!”](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) TRY A FREE “TECHNIQUE BUILDER” FOR ANY OF THE INSTRUMENTS LISTED BELOW: ACOUSTIC BLUEGRASS GUITAR WITH BRYAN SUTTON: What’s Included: - A multi-part online acoustic guitar lesson video breaking down walking and alternating bass techniques over a boom-chuck style rhythm - **2 play-along backing tracks** allowing you to put those techniques to use in a version of the classic bluegrass tune, “Dark Hollow” - **A printable PDF of the tablature** BLUEGRASS MANDOLIN WITH SIERRA HULL: What’s Included: - A multi-part online mandolin lesson video teaching a basic tremolo technique - **2 play-along backing tracks** allowing you to incorporate the technique into an arrangement of the classic bluegrass tune, “Lonesome Moonlight Waltz” - **A printable PDF of the tablature** BLUEGRASS BANJO WITH TONY TRISCHKA: What’s Included: - A multi-part online banjo lesson video teaching the basic banjo hammer-on technique along with a practice exercise using the alternating thumb roll - **A play-along backing track** allowing you to practice your new skills in an arrangement of the classic bluegrass tune, “Shady Grove” - **A printable PDF of the tablature** FIDDLE WITH DAROL ANGER: What’s Included: - A multi-part online fiddle lesson video teaching the blues scale on the fiddle and how it’s applied in the bluegrass style - **3 play-along backing tracks** allowing you to practice using the scale in the context of the tune, “Blues on Gravel” - **A printable PDF of the notation** BLUEGRASS MANDOLIN WITH MIKE MARSHALL: What’s Included: - A multi-part online mandolin lesson video teaching the basics of alternate picking and Mike’s unique “pick stroke theory” - **A play-along backing track** of the classic tune, “Whiskey Before Breakfast,” over which to practice these techniques - **A printable PDF of the tablature** BLUEGRASS BANJO & BEYOND WITH NOAM PIKELNY: What’s Included: - A multi-part online banjo lesson video teaching the banjo backward roll pattern and exercises to work it up to tempo - **4 play-along backing tracks** allowing you to incorporate the technique into Noam’s arrangement of the classic tune, “You Are My Sunshine” in the key of C - **A printable PDF of the tablature** [Access your FREE “Technique Builder” here!](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) MEET OUR MASTER BLUEGRASS FACULTY: BRYAN SUTTON: [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) is arguably the best flatpick guitarist since the late great Doc Watson. During his eclectic career, he has appeared as a leading session guitarist on albums from Dolly Parton, the Dixie Chicks, Rhonda Vincent, and more. He has also played in the legendary bluegrass bands Kentucky Thunder and Hot Rize. Bryan picked up the guitar from his dad at the age of 8 and won his first Grammy award in 2007. He’s received IBMA’s ‘Guitarist of the Year’ ten times. Bryan joined the ArtistWorks family in 2011, bring his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) to students around the globe. SIERRA HULL: [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) has accomplished more as a singer, songwriter, and performer in the last 25 years than many musicians do in a lifetime. Recognized three years in a row as the IBMA “Mandolin Player of the Year,” she received a Grammy nomination for her album Weighted Mind when she was just 26. Since her early childhood, Sierra has collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, Sturgill Simpson, and more. As such, Sierra has drawn from decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass and has been teaching at ArtistWorks since Summer 2021. TONY TRISCHKA: For nearly 40 years, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo.” Tony has taught [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) at ArtistWorks since 2009, building a global learning community around his Video Exchange library. DAROL ANGER: For over 40 years, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) has played on and produced scores of important recordings, and is a noted composer. Darol helped drive the evolution of the contemporary string band through his founding of pathbreaking ensembles such as Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, Montreux, and The Duo. A MacDowell and UCross Fellow, he is a featured soloist on several recordings and motion picture soundtracks. Darol is also committed to string education and helped found the String Resource Board for the International Jazz Educators Association. Since 2011, Darol has extended his love of music education by offering [online fiddle lessons](https://artistworks.com/fiddle-lessons-darol-anger) at ArtistWorks. MIKE MARSHALL: For more than 35 years, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) has set a new standard for American acoustic music, with a breadth of talent that spans mandolin, guitar, violin, and mandocello. At age 19, he left his native Florida to pursue music, eventually joining the David Grisman Quintet in the Bay Area. Since those early days, Mike’s historic career has spanned hundreds of recordings and taken him on tour around the globe. He has also received numerous credits as a composer, producer, and featured musician. You can hear his iconic mandolin playing on the theme for NPR’s ‘Car Talk’, as well as the San Francisco-based radio show ‘Forum’ on KQED Radio. Mike has been a member of our since 2011, and, today, he and his wife Caterina Lichtenberg both teach [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks. NOAM PIKELNY: [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” In September of 2010, Pikelny was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Noam’s 2013 recording, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, was described by the New York Times as “a token of reverence, a feat of translation and a show of dominion”. The album is widely considered a landmark recording in acoustic music and was named “Album of the Year” at the 2014 International Bluegrass Music Association Awards. Noam is a two-time International Bluegrass Music Association ‘Banjo Player of the Year’ and in 2019, Noam, along with his fellow Punch Brothers, was awarded the “Best Folk Album” Grammy® for their release, All Ashore. Noam makes his home in Nashville, TN, and has been teaching [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks since Spring, 2020. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Try Our Free Bluegrass Technique Builder Lessons!](https://blog.artistworks.com/try-our-free-bluegrass-technique-builder-lessons/) **Published:** August 27, 2021 **Author:** ArtistWorks **Excerpt:**

A foundation of solid technique leads to years of great playing and musical enjoyment no matter your instrument of choice. To help build that critical foundation and grow your skills, we’ve partnered with a few members of our world-renowned bluegrass faculty—including Bryan Sutton, Tony Trischka, Mike Marshall, Sierra Hull, Noam Pikelny, and Darol Anger—to bring you a series of FREE bundled lessons designed specifically to teach you an essential skill that you can put to practice in the context of a tune immediately.

**Content:** ![]() A foundation of solid technique leads to years of great playing and musical enjoyment no matter your instrument of choice. To help build that critical foundation and grow your skills, we’ve partnered with a few members of our world-renowned bluegrass faculty—including [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull), [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger)—to bring you a series of FREE bundled lessons designed specifically to teach you an essential skill that you can put to practice in the context of a tune immediately. Each bundle includes a multi-part lesson video covering an important technique or skill that you’ll apply to a tune—plus a backing track and printable study material—all delivered right to your email inbox. We’ll also follow up with even more free sample lessons when you sign up now so that you can continue your progress and keep up your momentum. Everything you need to take your playing to the next level! [Click here to access your FREE “Technique Builder!”](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) TRY A FREE “TECHNIQUE BUILDER” FOR ANY OF THE INSTRUMENTS LISTED BELOW: ACOUSTIC BLUEGRASS GUITAR WITH BRYAN SUTTON: What’s Included: - A multi-part online acoustic guitar lesson video breaking down walking and alternating bass techniques over a boom-chuck style rhythm - **2 play-along backing tracks** allowing you to put those techniques to use in a version of the classic bluegrass tune, “Dark Hollow” - **A printable PDF of the tablature** BLUEGRASS MANDOLIN WITH SIERRA HULL: What’s Included: - A multi-part online mandolin lesson video teaching a basic tremolo technique - **2 play-along backing tracks** allowing you to incorporate the technique into an arrangement of the classic bluegrass tune, “Lonesome Moonlight Waltz” - **A printable PDF of the tablature** BLUEGRASS BANJO WITH TONY TRISCHKA: What’s Included: - A multi-part online banjo lesson video teaching the basic banjo hammer-on technique along with a practice exercise using the alternating thumb roll - **A play-along backing track** allowing you to practice your new skills in an arrangement of the classic bluegrass tune, “Shady Grove” - **A printable PDF of the tablature** FIDDLE WITH DAROL ANGER: What’s Included: - A multi-part online fiddle lesson video teaching the blues scale on the fiddle and how it’s applied in the bluegrass style - **3 play-along backing tracks** allowing you to practice using the scale in the context of the tune, “Blues on Gravel” - **A printable PDF of the notation** BLUEGRASS MANDOLIN WITH MIKE MARSHALL: What’s Included: - A multi-part online mandolin lesson video teaching the basics of alternate picking and Mike’s unique “pick stroke theory” - **A play-along backing track** of the classic tune, “Whiskey Before Breakfast,” over which to practice these techniques - **A printable PDF of the tablature** BLUEGRASS BANJO & BEYOND WITH NOAM PIKELNY: What’s Included: - A multi-part online banjo lesson video teaching the banjo backward roll pattern and exercises to work it up to tempo - **4 play-along backing tracks** allowing you to incorporate the technique into Noam’s arrangement of the classic tune, “You Are My Sunshine” in the key of C - **A printable PDF of the tablature** [Access your FREE “Technique Builder” here!](https://go.artistworks.com/free-bluegrass-lessons-technique-builder) MEET OUR MASTER BLUEGRASS FACULTY: BRYAN SUTTON: [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) is arguably the best flatpick guitarist since the late great Doc Watson. During his eclectic career, he has appeared as a leading session guitarist on albums from Dolly Parton, the Dixie Chicks, Rhonda Vincent, and more. He has also played in the legendary bluegrass bands Kentucky Thunder and Hot Rize. Bryan picked up the guitar from his dad at the age of 8 and won his first Grammy award in 2007. He’s received IBMA’s ‘Guitarist of the Year’ ten times. Bryan joined the ArtistWorks family in 2011, bring his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) to students around the globe. SIERRA HULL: [Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull) has accomplished more as a singer, songwriter, and performer in the last 25 years than many musicians do in a lifetime. Recognized three years in a row as the IBMA “Mandolin Player of the Year,” she received a Grammy nomination for her album Weighted Mind when she was just 26. Since her early childhood, Sierra has collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, Sturgill Simpson, and more. As such, Sierra has drawn from decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass and has been teaching at ArtistWorks since Summer 2021. TONY TRISCHKA: For nearly 40 years, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo.” Tony has taught [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) at ArtistWorks since 2009, building a global learning community around his Video Exchange library. DAROL ANGER: For over 40 years, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) has played on and produced scores of important recordings, and is a noted composer. Darol helped drive the evolution of the contemporary string band through his founding of pathbreaking ensembles such as Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, Montreux, and The Duo. A MacDowell and UCross Fellow, he is a featured soloist on several recordings and motion picture soundtracks. Darol is also committed to string education and helped found the String Resource Board for the International Jazz Educators Association. Since 2011, Darol has extended his love of music education by offering [online fiddle lessons](https://artistworks.com/fiddle-lessons-darol-anger) at ArtistWorks. MIKE MARSHALL: For more than 35 years, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) has set a new standard for American acoustic music, with a breadth of talent that spans mandolin, guitar, violin, and mandocello. At age 19, he left his native Florida to pursue music, eventually joining the David Grisman Quintet in the Bay Area. Since those early days, Mike’s historic career has spanned hundreds of recordings and taken him on tour around the globe. He has also received numerous credits as a composer, producer, and featured musician. You can hear his iconic mandolin playing on the theme for NPR’s ‘Car Talk’, as well as the San Francisco-based radio show ‘Forum’ on KQED Radio. Mike has been a member of our since 2011, and, today, he and his wife Caterina Lichtenberg both teach [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks. NOAM PIKELNY: [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” In September of 2010, Pikelny was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Noam’s 2013 recording, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, was described by the New York Times as “a token of reverence, a feat of translation and a show of dominion”. The album is widely considered a landmark recording in acoustic music and was named “Album of the Year” at the 2014 International Bluegrass Music Association Awards. Noam is a two-time International Bluegrass Music Association ‘Banjo Player of the Year’ and in 2019, Noam, along with his fellow Punch Brothers, was awarded the “Best Folk Album” Grammy® for their release, All Ashore. Noam makes his home in Nashville, TN, and has been teaching [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks since Spring, 2020. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [“Bluegrass Mandolin with Sierra Hull” is Now Open!](https://blog.artistworks.com/“bluegrass-mandolin-sierra-hull”-now-open/) **Published:** August 18, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Bluegrass Mandolin with Sierra Hull,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Bluegrass Mandolin with Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Over the last two-and-a-half decades, Sierra has accomplished more as a singer, songwriter, and performer than many musicians do in a lifetime. As a three-time IBMA “Mandolin Player of the Year” award winner and a Grammy nominee when she was just 26, the now 29-year-old Sierra has already proven herself to be a modern pioneer of the bluegrass genre, a virtuosic songwriter, and a true master of the mandolin. Having collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, and fellow ArtistWorks master instructor Bryan Sutton since her early childhood, Sierra has drawn from decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass. “I’ve always loved teaching and always had a passion for it,” Sierra comments. “So, to have an outlet where I can really share what I’ve learned about the mandolin with other people really excites me.” Whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sierra and get an intimate look into her unique approach to playing bluegrass through her [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull). Grow as a mandolin player while simultaneously furthering yourself as a musician, and get direct guidance from Sierra at every step of your musical journey. “A good technique and foundation can take you anywhere you want to go,” Sierra explains. “So, in my course, I cover everything from the basics and playing simple chords to learning how to improvise and play tunes the way our heroes do.” [Sign up now](https://artistworks.com/mandolin-lessons-sierra-hull) to gain access to Sierra’s library of mandolin lessons, as well as our patented Video Exchange Learning® platform. Sierra reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [“Bluegrass Mandolin with Sierra Hull” is Now Open!](https://blog.artistworks.com/bluegrass-mandolin-sierra-hull-now-open/) **Published:** August 18, 2021 **Author:** ArtistWorks **Excerpt:**

We are absolutely ecstatic to announce that our newest course, “Bluegrass Mandolin with Sierra Hull,” is officially here! As of 12 pm PT, the course is officially live and open to all students.

**Content:** ![]() We are absolutely ecstatic to announce that our newest course, “[Bluegrass Mandolin with Sierra Hull](https://artistworks.com/mandolin-lessons-sierra-hull),” is officially here! As of 12 pm PT, the course is officially live and open to all students. Over the last two-and-a-half decades, Sierra has accomplished more as a singer, songwriter, and performer than many musicians do in a lifetime. As a three-time IBMA “Mandolin Player of the Year” award winner and a Grammy nominee when she was just 26, the now 29-year-old Sierra has already proven herself to be a modern pioneer of the bluegrass genre, a virtuosic songwriter, and a true master of the mandolin. Having collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, and fellow ArtistWorks master instructor Bryan Sutton since her early childhood, Sierra has drawn from decades of performance experience to create a comprehensive course of [online mandolin lessons](https://artistworks.com/mandolin-lessons-sierra-hull) designed to teach players of all levels how to play modern bluegrass. “I’ve always loved teaching and always had a passion for it,” Sierra comments. “So, to have an outlet where I can really share what I’ve learned about the mandolin with other people really excites me.” Whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sierra and get an intimate look into her unique approach to playing bluegrass through her [mandolin lessons online](https://artistworks.com/mandolin-lessons-sierra-hull). Grow as a mandolin player while simultaneously furthering yourself as a musician, and get direct guidance from Sierra at every step of your musical journey. “A good technique and foundation can take you anywhere you want to go,” Sierra explains. “So, in my course, I cover everything from the basics and playing simple chords to learning how to improvise and play tunes the way our heroes do.” [Sign up now](https://artistworks.com/mandolin-lessons-sierra-hull) to gain access to Sierra’s library of mandolin lessons, as well as our patented Video Exchange Learning® platform. Sierra reviews each submission and records a video response, offering specific guidance to take your playing to the next level. ABOUT ARTISTWORKS: ArtistWorks online music lessons are recorded and taught by 39 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to officially welcome Sierra to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning® platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Podcast: Guthrie Trapp - How to Find Your Own Sound](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-find-your-own-sound-0/) **Published:** August 18, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, Guthrie Trapp, to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, the value of focusing on what you have to say through your music, and the importance of embracing a diverse array of musical influences. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with ArtistWorks [electric country guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, the value of focusing on what you have to say through your music, and the importance of embracing a diverse array of musical influences. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sound of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike. “When you’re just starting out, you do have to mimic the style of players you like in order to have a blueprint that will teach you how to obtain some of the sounds that you’re inspired by,” Guthrie explains. “But as you develop and go through phases of critical listening to different players and genres and your ear grows, your chances of developing your own unique style increases.” The process of developing your unique sound on your instrument has as much to do with listening as it does with practicing with your instrument in hand. Diversifying what you listen to will not only expand your musical ear, it will also help you discover new sounds that you like and will naturally become a part of your playing vocabulary, and those that you may not. “I love listening to Cuban music, African music, bluegrass–the list goes on,” Guthrie explains. “And, because of that, I naturally bring elements from those genres into my playing on guitar. It’s become part of who I am as a player.” To learn more about how you can develop your own unique sound and grow as a musician, regardless of the instrument you play, listen to the full podcast with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) here: If you’re interested in studying the electric country guitar and learning even more about Guthrie’s approaches to developing a unique sound and style, check out his [online guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, cofounder Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Guthrie Trapp - How to Find Your Own Sound](https://blog.artistworks.com/new-podcast-guthrie-trapp-how-find-your-own-sound/) **Published:** August 18, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with ArtistWorks electric country guitar instructor and one of Nashville’s most sought-after session musicians, Guthrie Trapp, to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, the value of focusing on what you have to say through your music, and the importance of embracing a diverse array of musical influences. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, our cofounder Patricia Butler sits down with ArtistWorks [electric country guitar](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) instructor and one of Nashville’s most sought-after session musicians, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, the value of focusing on what you have to say through your music, and the importance of embracing a diverse array of musical influences. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play country guitar from a master musician like Guthrie Trapp? Try a free guitar lesson now!](https://go.artistworks.com/free-country-guitar-lessons) As we begin the process of learning how to play an instrument, we tend to focus most of our attention and energy on playing the correct notes, performing pieces accurately, and emulating the sound of musicians that we’re inspired by. While this is a critical place from which to begin your journey, musical performance is ultimately about self-expression and developing your own unique voice on your instrument. However, understanding how to accomplish this goal can be daunting for beginner and advanced players alike. “When you’re just starting out, you do have to mimic the style of players you like in order to have a blueprint that will teach you how to obtain some of the sounds that you’re inspired by,” Guthrie explains. “But as you develop and go through phases of critical listening to different players and genres and your ear grows, your chances of developing your own unique style increases.” The process of developing your unique sound on your instrument has as much to do with listening as it does with practicing with your instrument in hand. Diversifying what you listen to will not only expand your musical ear, it will also help you discover new sounds that you like and will naturally become a part of your playing vocabulary, and those that you may not. “I love listening to Cuban music, African music, bluegrass–the list goes on,” Guthrie explains. “And, because of that, I naturally bring elements from those genres into my playing on guitar. It’s become part of who I am as a player.” To learn more about how you can develop your own unique sound and grow as a musician, regardless of the instrument you play, listen to the full podcast with [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) here: If you’re interested in studying the electric country guitar and learning even more about Guthrie’s approaches to developing a unique sound and style, check out his [online guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Live with Guthrie Trapp & Audley Freed!](https://blog.artistworks.com/live-guthrie-trapp-audley-freed) [ArtistWorks Music Series—How to Find Your Own Sound: Noam Pikelny](https://blog.artistworks.com/new-podcast-noam-pikelny-how-find-your-own-sound) [Guthrie Trapp Joins Billy Gibbons Tribute Show Lineup](https://blog.artistworks.com/guthrie-trapp-joins-billy-gibbons-tribute-show-lineup) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Guthrie Trapp & Audley Freed!](https://blog.artistworks.com/live-guthrie-trapp-audley-freed-0/) **Published:** August 17, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master guitar instructor [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and special guest Audley Freed, lead guitarist for the southern hard rock band The Black Crowes, for an afternoon discussion on, “How to Find Your Own Sound.” These two guitar virtuosos will be discussing their unique approaches to developing their own musical sounds and styles, sharing some guidance on how players can embrace outside influence while still expressing themselves musically, and highlighting the importance of focusing on tone as much as note choice and execution when performing. Of course, the in-depth discussion will also be rounded out with some amazing live musical performances and picking. We encourage you to bring your questions and join the conversation. You won’t want to miss this! As one of Nashville’s most sought after session musicians and inventive solo artists, Guthrie Trapp has brought his unique guitar style, hybridizing genres from country to blues, bluegrass, R&B, jazz, Latin, rock, and beyond, to the recordings and productions of some of the most prolific artists performing today. Growing up on the Florida/Alabama coast, Guthrie was exposed to a vast array of musical styles as a young musician and quickly learned to embrace these influences and enfuse them into his own playing. Since then, Guthrie has shared his unique flavor of guitar playing on the recordings and in the performances of artists such as Vince Gill, Dolly Parton, Garth Brooks, John Oates, Billy Gibbons, Alison Krauss, Tony Rice, Earl Scruggs, Randy Travis, and more. Audley Freed has spent the last thirty years touring the world and recording on albums—honing his craft to develop his own sonic signature on the guitar. Most commonly known as the lead guitarist of the southern hard rock outfit The Black Crowes, Audley has performed, recorded, and written songs alongside some of the biggest names in rock music. Throughout his expansive musical career, he’s brought his talents to the recordings and performances of artists such as Gov’t Mule, Sharyl Crow, Train, Joe Perry, Jimmy Page, Peter Frampton, and The Dixie Chicks, in addition to his longstanding tenure as a member of The Black Crowes. Tune in here this Wednesday, August 18 at 4:30 PM PST to join the event: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Guthrie Trapp & Audley Freed!](https://blog.artistworks.com/live-guthrie-trapp-audley-freed/) **Published:** August 17, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master guitar instructor Guthrie Trapp and special guest Audley Freed, lead guitarist for the southern hard rock band The Black Crowes, for an afternoon discussion on, “How to Find Your Own Sound.” These two guitar virtuosos will be discussing their unique approaches to developing their own musical sounds and styles, sharing some guidance on how players can embrace outside influence while still expressing themselves musically, and highlighting the importance of focusing on tone as much as note choice and execution when performing. Of course, the in-depth discussion will also be rounded out with some amazing live musical performances and picking. We encourage you to bring your questions and join the conversation. You won’t want to miss this! While you wait, try some free sample guitar lessons from Guthrie, on us!

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master guitar instructor [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and special guest Audley Freed, lead guitarist for the southern hard rock band The Black Crowes, for an afternoon discussion on, “How to Find Your Own Sound.” These two guitar virtuosos will be discussing their unique approaches to developing their own musical sounds and styles, sharing some guidance on how players can embrace outside influence while still expressing themselves musically, and highlighting the importance of focusing on tone as much as note choice and execution when performing. Of course, the in-depth discussion will also be rounded out with some amazing live musical performances and picking. We encourage you to bring your questions and join the conversation. You won’t want to miss this! While you wait, try some [free sample guitar lessons](https://go.artistworks.com/free-country-guitar-lessons) from Guthrie, on us! As one of Nashville’s most sought after session musicians and inventive solo artists, Guthrie Trapp has brought his unique guitar style, hybridizing genres from country to blues, bluegrass, R&B, jazz, Latin, rock, and beyond, to the recordings and productions of some of the most prolific artists performing today. Growing up on the Florida/Alabama coast, Guthrie was exposed to a vast array of musical styles as a young musician and quickly learned to embrace these influences and enfuse them into his own playing. Since then, Guthrie has shared his unique flavor of guitar playing on the recordings and in the performances of artists such as Vince Gill, Dolly Parton, Garth Brooks, John Oates, Billy Gibbons, Alison Krauss, Tony Rice, Earl Scruggs, Randy Travis, and more. LEARN MORE: [Want to learn how to play guitar from a master musician like Guthrie Trapp? Try a free online guitar lesson now!](https://go.artistworks.com/free-country-guitar-lessons) Audley Freed has spent the last thirty years touring the world and recording on albums—honing his craft to develop his own sonic signature on the guitar. Most commonly known as the lead guitarist of the southern hard rock outfit The Black Crowes, Audley has performed, recorded, and written songs alongside some of the biggest names in rock music. Throughout his expansive musical career, he’s brought his talents to the recordings and performances of artists such as Gov’t Mule, Sharyl Crow, Train, Joe Perry, Jimmy Page, Peter Frampton, and The Dixie Chicks, in addition to his longstanding tenure as a member of The Black Crowes. Tune in here this Wednesday, August 18 at 4:30 PM PST to join the event: LEARN MORE: Have you always wanted to learn how to play country guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personal feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Guthrie Trapp Joins Billy Gibbons Tribute Show Lineup](https://blog.artistworks.com/guthrie-trapp-joins-billy-gibbons-tribute-show-lineup) [The Washington Post: Musician’s Turn to Online Teaching](https://blog.artistworks.com/washington-post-musicians-turn-online-teaching) [ArtistWorks Music Series Podcast–Can Talent Be Taught: Guthrie Trapp](https://blog.artistworks.com/guthrie-trapp-stars-our-latest-podcast) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt-0/) **Published:** August 13, 2021 **Author:** ArtistWorks **Excerpt:**

One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore.

**Content:** ![]() One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore. In this blues [guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), walks us through the basics of the 12 bar blues structure. He highlights pivotal guitar chords and fingerings for the progression that translate across the neck and discusses introductory blues improvisational techniques that can be employed over this foundational song form. “Blues has a form, a way of arranging the chords, that is stylistically called the 12 bar blues,” Keith explains. “The 12 bar blues songwriting method was invented and began evolving around the beginning of the 20th century, and is ingenious and fundamental to blues music.” The 12 bar blues can be broken down into three sections, with each section consisting of four bars, or measures. The melody played over every 12 bar blues is arranged within each of these three sections in a very specific way. The song’s melody is divided into two sub-sections within each of the progression’s three overarching sections that manifest in the form of a musical call and response. This can feel mathematical and confusing, but the concept becomes instantly apparent in a musical context. “The way blues songs are written is such that they have a call and a response,” Keith explains. “In each phrase, the musician says something, and then provides a musical answer back.” It is crucial for beginner and advanced guitarists alike to review the 12 bar blues chord structure. For beginner guitar players, this is a form that you’ll want to practice thoroughly and internalize. For more advanced students, it never hurts to revisit more basic concepts that relate to this fundamental progression, like crafting musical and sophisticated call and response phrases. To learn more about the structure of a 12 bar blues and Keith’s approach to call and response improvisation, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): The 12 Bar Blues Progression with Keith Wyatt: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Blues Guitar Lesson: The 12 Bar Blues Progression with Keith Wyatt](https://blog.artistworks.com/blues-guitar-lesson-12-bar-blues-progression-keith-wyatt/) **Published:** August 13, 2021 **Author:** ArtistWorks **Excerpt:**

One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore.

**Content:** ![]() One of the most fundamental chord progressions that has shaped a near-endless number of songs in genres ranging from blues to jazz, rock, bluegrass, and beyond is the 12 bar blues. It’s a song form that is deeply rooted in American, and now world, music culture, and is an essential chord structure that every musician should know and explore. In this blues [guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt), critically acclaimed guitarist, former Director of Programs at the Musician’s Institute in Hollywood, CA, and ArtistWorks master instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), walks us through the basics of the 12 bar blues structure. He highlights pivotal guitar chords and fingerings for the progression that translate across the neck and discusses introductory blues improvisational techniques that can be employed over this foundational song form. “Blues has a form, a way of arranging the chords, that is stylistically called the 12 bar blues,” Keith explains. “The 12 bar blues songwriting method was invented and began evolving around the beginning of the 20th century, and is ingenious and fundamental to blues music.” The 12 bar blues can be broken down into three sections, with each section consisting of four bars, or measures. The melody played over every 12 bar blues is arranged within each of these three sections in a very specific way. The song’s melody is divided into two sub-sections within each of the progression’s three overarching sections that manifest in the form of a musical call and response. This can feel mathematical and confusing, but the concept becomes instantly apparent in a musical context. “The way blues songs are written is such that they have a call and a response,” Keith explains. “In each phrase, the musician says something, and then provides a musical answer back.” It is crucial for beginner and advanced guitarists alike to review the 12 bar blues chord structure. For beginner guitar players, this is a form that you’ll want to practice thoroughly and internalize. For more advanced students, it never hurts to revisit more basic concepts that relate to this fundamental progression, like crafting musical and sophisticated call and response phrases. To learn more about the structure of a 12 bar blues and Keith’s approach to call and response improvisation, dive into this [online guitar lesson](https://artistworks.com/guitar-lessons-keith-wyatt) from [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt): The 12 Bar Blues Progression with Keith Wyatt: LEARN MORE: Have you always wanted to learn how to play the blues guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-keith-wyatt) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and get personal feedback on your playing. Keith’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast—Exploring the Styles of Blues: Keith Wyatt ](https://blog.artistworks.com/new-podcast-keith-wyatt-exploring-styles-blues) [Blues Slide Guitar: A New Lessons Series with Keith Wyatt](https://blog.artistworks.com/blues-slide-guitar-new-lesson-series) [New Course: Announcing “Blues Rock Guitar with Jared James Nichols”](https://blog.artistworks.com/new-course-announcing-blues-rock-guitar-jared-james-nichols) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Mike Marshall: An In-Depth Interview on Mandolin, Bluegrass, & Beyond](https://blog.artistworks.com/mike-marshall-depth-interview-mandolin-bluegrass-beyond-0/) **Published:** August 11, 2021 **Author:** ArtistWorks **Excerpt:**

Earlier this week, three-time Grammy-nominated mandolinist and ArtistWorks instructor, Mike Marshall, was interviewed by music journalist Markus Brandstetter for the popular independent German music blog, Hyperlocrian.com. In this in-depth interview, Markus and Mike discuss Mike’s extensive musical background, his life-long relationship with stringed instruments (particularly the mandolin), and the current state of bluegrass music and beyond.

**Content:** ![]() Earlier this week, three-time Grammy-nominated mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), was interviewed by music journalist Markus Brandstetter for the popular independent German music blog, [Hyperlocrian.com](https://www.hyperlocrian.com/). In this in-depth interview, Markus and Mike discuss Mike’s extensive musical background, his life-long relationship with stringed instruments (particularly the mandolin), and the current state of bluegrass music and beyond. Throughout the interview, there was one common theme that continued to naturally present itself—Mike’s desire to explore the capabilities of his instrument and his passion for pushing musical boundaries. Even as a young child, Mike’s musical inclinations organically steered him in a progressive, forward-thinking direction. “When I was young and still learning, I was particularly interested in what contemporary bluegrass players were doing. People who were stretching the boundaries,” Mike recalls. “There was a band called The New Grass Revival that caught my attention. Sam Bush was their mandolin player and became a bit of a hero of mine. That was my initial inspiration.” As an accomplished, professional player, Mike has continued to remain interested in “stretching the boundaries,” and, as a result, has become an inspiration to many young players in his own right, including students who have participated in his [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) here at ArtistWorks. While his roots run deep in the bluegrass genre, it’s no surprise that Mike has also branched out extensively into other musical realms as well. “My idea of music-making has always been to see where I could go with the music next,” Mike explains. “I want to defy what’s expected both in terms of technicality (what’s possible on the instrument), and then expand into and embrace classical genres and other music from around the world.” To learn more about Mike and his progressive approach to mandolin playing and bluegrass, watch the full interview here: If you’re interested in studying the bluegrass mandolin and learning even more about Mike’s approach to musicianship and performance, check out his[ online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) right here at ArtistWorks! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mike Marshall: An In-Depth Interview on Mandolin, Bluegrass, & Beyond](https://blog.artistworks.com/mike-marshall-depth-interview-mandolin-bluegrass-beyond/) **Published:** August 11, 2021 **Author:** ArtistWorks **Excerpt:**

Earlier this week, three-time Grammy-nominated mandolinist and ArtistWorks instructor, Mike Marshall, was interviewed by music journalist Markus Brandstetter for the popular independent German music blog, Hyperlocrian.com. In this in-depth interview, Markus and Mike discuss Mike’s extensive musical background, his life-long relationship with stringed instruments (particularly the mandolin), and the current state of bluegrass music and beyond.

**Content:** ![]() Earlier this week, three-time Grammy-nominated mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), was interviewed by music journalist Markus Brandstetter for the popular independent German music blog, [Hyperlocrian.com](https://www.hyperlocrian.com/). In this in-depth interview, Markus and Mike discuss Mike’s extensive musical background, his life-long relationship with stringed instruments (particularly the mandolin), and the current state of bluegrass music and beyond. Throughout the interview, there was one common theme that continued to naturally present itself—Mike’s desire to explore the capabilities of his instrument and his passion for pushing musical boundaries. Even as a young child, Mike’s musical inclinations organically steered him in a progressive, forward-thinking direction. “When I was young and still learning, I was particularly interested in what contemporary bluegrass players were doing. People who were stretching the boundaries,” Mike recalls. “There was a band called The New Grass Revival that caught my attention. Sam Bush was their mandolin player and became a bit of a hero of mine. That was my initial inspiration.” As an accomplished, professional player, Mike has continued to remain interested in “stretching the boundaries,” and, as a result, has become an inspiration to many young players in his own right, including students who have participated in his [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) here at ArtistWorks. While his roots run deep in the bluegrass genre, it’s no surprise that Mike has also branched out extensively into other musical realms as well. “My idea of music-making has always been to see where I could go with the music next,” Mike explains. “I want to defy what’s expected both in terms of technicality (what’s possible on the instrument), and then expand into and embrace classical genres and other music from around the world.” To learn more about Mike and his progressive approach to mandolin playing and bluegrass, watch the full interview here: If you’re interested in studying the bluegrass mandolin and learning even more about Mike’s approach to musicianship and performance, check out his[ online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) right here at ArtistWorks! LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personalized feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolin players and musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Mike Marshall Releases Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://blog.artistworks.com/mike-marshall-releases-mandocello-js-bach-cello-suite-no-1-bwv-1007) [ArtistWorks Music Series—Overcoming Musical Obstacles: Mike Marshall](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles) [LIVE “Dispatch from Home!” with Mike Marshall & Tony Trischka](https://blog.artistworks.com/live-mike-marshall-tony-trischka) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Classical Violin Lesson: Basic Vibrato with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-basic-vibrato-richard-amoroso-0/) **Published:** August 6, 2021 **Author:** ArtistWorks **Excerpt:**

Musical performances that truly move and inspire us have one very critical element in common—emotional expression. But, what makes a piece of music expressive? What elevates a performance to a level that can at one moment bring an audience to tears and have them dancing on their feet the next? One of the most effective techniques that musicians can employ to bolster the expressive nature of their music is the use of vibrato.

**Content:** ![]() Musical performances that truly move and inspire us have one very critical element in common—emotional expression. But, what makes a piece of music expressive? What elevates a performance to a level that can at one moment bring an audience to tears and have them dancing on their feet the next? One of the most effective techniques that musicians can employ to bolster the expressive nature of their music is the use of vibrato. In this classical [violin lesson](https://artistworks.com/violin-lessons-richard-amoroso), Philadelphia Orchestra first section violinist and ArtistWorks instructor, [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso) provides a step-by-step guide to perfecting your vibrato technique and outlines three primary methods for producing a clean vibrato tone. “Vibrato allows you to create a multitude of different sounds even if you’re playing the same notes,” Richard explains. “It’s what allows the violin to resonate and change color, and it can be used in all kinds of different ways to create different flavors.” As vibrato plays such a fundamental role in bringing emotional expression to a performance, it’s important for musicians to learn how to execute vibrato techniques the correct way. This is a skill that beginners want to focus on heavily early on, and more advanced players should consistently revisit and monitor. “Vibrato is a hard thing to learn,” Richard explains. “And, if it’s not learned properly at first, it can be difficult to unlearn bad habits. So, I really encourage you all to learn vibrato properly right from the get-go.” To learn more about the intricacies of vibrato and Richard’s three primary vibrato techniques, dive into this [online violin lesson](https://artistworks.com/violin-lessons-richard-amoroso) from [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso): Basic Vibrato with Richard Amoroso: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Classical Violin Lesson: Basic Vibrato with Richard Amoroso](https://blog.artistworks.com/classical-violin-lesson-basic-vibrato-richard-amoroso/) **Published:** August 6, 2021 **Author:** ArtistWorks **Excerpt:**

Musical performances that truly move and inspire us have one very critical element in common—emotional expression. But, what makes a piece of music expressive? What elevates a performance to a level that can at one moment bring an audience to tears and have them dancing on their feet the next? One of the most effective techniques that musicians can employ to bolster the expressive nature of their music is the use of vibrato.

**Content:** ![]() Musical performances that truly move and inspire us have one very critical element in common—emotional expression. But, what makes a piece of music expressive? What elevates a performance to a level that can at one moment bring an audience to tears and have them dancing on their feet the next? One of the most effective techniques that musicians can employ to bolster the expressive nature of their music is the use of vibrato. In this classical [violin lesson](https://artistworks.com/violin-lessons-richard-amoroso), Philadelphia Orchestra first section violinist and ArtistWorks instructor, [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso) provides a step-by-step guide to perfecting your vibrato technique and outlines three primary methods for producing a clean vibrato tone. “Vibrato allows you to create a multitude of different sounds even if you’re playing the same notes,” Richard explains. “It’s what allows the violin to resonate and change color, and it can be used in all kinds of different ways to create different flavors.” As vibrato plays such a fundamental role in bringing emotional expression to a performance, it’s important for musicians to learn how to execute vibrato techniques the correct way. This is a skill that beginners want to focus on heavily early on, and more advanced players should consistently revisit and monitor. “Vibrato is a hard thing to learn,” Richard explains. “And, if it’s not learned properly at first, it can be difficult to unlearn bad habits. So, I really encourage you all to learn vibrato properly right from the get-go.” To learn more about the intricacies of vibrato and Richard’s three primary vibrato techniques, dive into this [online violin lesson](https://artistworks.com/violin-lessons-richard-amoroso) from [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso): Basic Vibrato with Richard Amoroso: LEARN MORE: Have you always wanted to learn how to play the classical violin? Through our comprehensive [violin lessons online](https://artistworks.com/violin-lessons-richard-amoroso) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Richard Amoroso](https://artistworks.com/violin-lessons-richard-amoroso), and get personalized feedback on your playing. Richard’s course starts with the basics and teaches everything from beginner violin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as violinists and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Classical Violin Lesson: Chromatic Scales with Richard Amoroso](https://blog.artistworks.com/violin-beginners-chromatic-scales) [ArtistWorks Music Series – Habits of Highly Effective Musicians: Richard Amoroso](https://blog.artistworks.com/new-podcast-richard-amorosos-top-practice-habits) [Fiddle Lesson: Bow Speed, Pressure, and Placement with Darol Anger ](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Noam Pikelny - How to Find Your Own Sound](https://blog.artistworks.com/new-podcast-noam-pikelny-how-find-your-own-sound-0/) **Published:** August 4, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy award-winning master musician, founding member of the Punch Brothers, and ArtistWorks banjo instructor, Noam Pikelny, to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, how to embrace outside influence while still expressing yourself musically, and the importance of focusing on tone as much as note choice and execution when performing. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy award-winning master musician, founding member of the Punch Brothers, and ArtistWorks [banjo](https://artistworks.com/banjo-lessons-noam-pikelny) instructor, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, how to embrace outside influence while still expressing yourself musically, and the importance of focusing on tone as much as note choice and execution when performing. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). As we begin the process of learning how to play an instrument, we tend to focus almost solely on playing the correct notes and performing the piece accurately. But, playing the right notes is only one facet of a great performance. The ability to conjure a beautiful tone out of your instrument is a critical skill, and is an important component of musicality that is often overlooked by beginner and advanced players alike. “The concrete sound that you produce on your instrument is such a huge part of a player’s style,” Noam explains. “The sound that you make on your instrument is so integral to what you’re trying to communicate when playing—it’s your voice.” While navigating the path to find our own “voice” on our instrument, we often feel compelled to emulate the sound and styles of some of our favorite players that we enjoy listening to. While that’s a great place to start, Noam also encourages his students to take different approaches, and helps guide them through the process of discovering their own unique tonal qualities on the banjo. “What is your argument? How do you see the world differently on your banjo than I do?” Noam asks. “The search for the answers to those questions is lifelong, but we can’t embark on that journey unless we have the musicianship to identify what we like and what we don’t.” To learn more about how you can develop your own unique sound and grow as a musician, regardless of the instrument you play, listen to the full podcast with [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) here: If you’re interested in studying the bluegrass banjo and beyond and learning even more about Noam’s approaches to developing a unique sound and style, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Noam Pikelny - How to Find Your Own Sound](https://blog.artistworks.com/new-podcast-noam-pikelny-how-find-your-own-sound/) **Published:** August 4, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy award-winning master musician, founding member of the Punch Brothers, and ArtistWorks banjo instructor, Noam Pikelny, to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, how to embrace outside influence while still expressing yourself musically, and the importance of focusing on tone as much as note choice and execution when performing. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy award-winning master musician, founding member of the Punch Brothers, and ArtistWorks [banjo](https://artistworks.com/banjo-lessons-noam-pikelny) instructor, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), to discuss the concept of “How to Find Your Own Sound.” Together, they explore the process of developing a unique voice as a player, how to embrace outside influence while still expressing yourself musically, and the importance of focusing on tone as much as note choice and execution when performing. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass banjo and beyond from a master musician like Noam Pikleny? Try a free banjo lesson now!](https://go.artistworks.com/free-banjo-lessons-noam-pikelny) As we begin the process of learning how to play an instrument, we tend to focus almost solely on playing the correct notes and performing the piece accurately. But, playing the right notes is only one facet of a great performance. The ability to conjure a beautiful tone out of your instrument is a critical skill, and is an important component of musicality that is often overlooked by beginner and advanced players alike. “The concrete sound that you produce on your instrument is such a huge part of a player’s style,” Noam explains. “The sound that you make on your instrument is so integral to what you’re trying to communicate when playing—it’s your voice.” While navigating the path to find our own “voice” on our instrument, we often feel compelled to emulate the sound and styles of some of our favorite players that we enjoy listening to. While that’s a great place to start, Noam also encourages his students to take different approaches, and helps guide them through the process of discovering their own unique tonal qualities on the banjo. “What is your argument? How do you see the world differently on your banjo than I do?” Noam asks. “The search for the answers to those questions is lifelong, but we can’t embark on that journey unless we have the musicianship to identify what we like and what we don’t.” To learn more about how you can develop your own unique sound and grow as a musician, regardless of the instrument you play, listen to the full podcast with [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) here: If you’re interested in studying the bluegrass banjo and beyond and learning even more about Noam’s approaches to developing a unique sound and style, check out his [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [ArtistWorks Music Series – Overcoming Musical Obstaces: Mike Marshall](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles) [Celebrating One Year of “Banjo with Noam Pikelny”](https://blog.artistworks.com/celebrating-one-year-%E2%80%9Cbanjo-noam-pikelny%E2%80%9D) [ArtistWorks Music Series – Talking with Noam Pikelny](https://blog.artistworks.com/new-podcast-artistworks-talks-noam-pikelny) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing "Blues Rock Guitar with Jared James Nichols"](https://blog.artistworks.com/new-course-announcing-blues-rock-guitar-jared-james-nichols-0/) **Published:** August 2, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming September 2021, “Blues Rock Guitar with Jared James Nichols.”

**Content:** ![]() We are excited to announce our newest course coming September 2021, “[Blues Rock Guitar with Jared James Nichols](https://go.artistworks.com/guitar-lessons-jaredjames-nichols).” Jared James Nichols has traveled the world, spreading his unique flavor of vintage-inspired modern Blues Rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Through Jared’s online guitar lessons here at ArtistWorks, you’ll learn Jared’s special combination of blues and hard rock guitar stylings with direct feedback from the riff titan himself. “With this course, I’m giving you all access to everything I have ever learned,” Jared explains. “Players are going to get a behind-the-scenes look at everything I do.” Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared was also recently named one of Gibson’s official Guitar Brand Ambassadors alongside the likes of Slash, Jerry Cantrell, Dave Mustaine, and Lzzy Hale. Jared has drawn from decades of performance experience to create a comprehensive course of guitar lessons online designed to teach players of all levels how to play blues and hard rock guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Jared and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Jared at every step of your musical journey. “This is like nothing else online. This is so intimate and I get to have a one-on-one relationship with you,” Jared explains. “What do you want to work on? How can we fix this? How can we make you a better guitar player right now?” [Sign up now](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) for news updates from Jared and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Course: Announcing "Blues Rock Guitar with Jared James Nichols"](https://blog.artistworks.com/new-course-announcing-blues-rock-guitar-jared-james-nichols/) **Published:** August 2, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce our newest course coming September 2021, “Blues Rock Guitar with Jared James Nichols.”

**Content:** ![]() We are excited to announce our newest course coming September 2021, “[Blues Rock Guitar with Jared James Nichols](https://go.artistworks.com/guitar-lessons-jaredjames-nichols).” Jared James Nichols has traveled the world, spreading his unique flavor of vintage-inspired modern Blues Rock. As the frontman of his namesake power trio, Jared is always sure to bring the “Blues Power,” and, as you watch him perform, his captivating presence, energy, and inarguable musical mastery quickly become infectious. Through Jared’s online guitar lessons here at ArtistWorks, you’ll learn Jared’s special combination of blues and hard rock guitar stylings with direct feedback from the riff titan himself. “With this course, I’m giving you all access to everything I have ever learned,” Jared explains. “Players are going to get a behind-the-scenes look at everything I do.” Jared has toured across the US and Europe with acts like Living Colour, Blue Öyster Cult, Zakk Wylde, Glenn Hughes, Walter Trout, Fozzy, and John 5, and has shared the stage with rock and blues guitar legends like Slash, Billy Gibbons, Peter Frampton, Joe Bonamassa, Steve Vai, Leslie West, and more. Jared was also recently named one of Gibson’s official Guitar Brand Ambassadors alongside the likes of Slash, Jerry Cantrell, Dave Mustaine, and Lzzy Hale. Jared has drawn from decades of performance experience to create a comprehensive course of guitar lessons online designed to teach players of all levels how to play blues and hard rock guitar. So, whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Jared and get an intimate look into his unique approach and style. Grow as a guitarist while simultaneously furthering yourself as a musician, and get direct guidance from Jared at every step of your musical journey. “This is like nothing else online. This is so intimate and I get to have a one-on-one relationship with you,” Jared explains. “What do you want to work on? How can we fix this? How can we make you a better guitar player right now?” [Sign up now](https://go.artistworks.com/guitar-lessons-jaredjames-nichols) for news updates from Jared and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks online music lessons are recorded and taught by 39 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Sierra to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [5th Position Riff- Based Saxophone- style R&B Blues!](https://blog.artistworks.com/5th-position-riff-based-saxophone-style-rb-blues/) **Published:** August 1, 2021 **Author:** ArtistWorks **Excerpt:**

https://www.youtube.com/watch?v=5mSBHn2CgDs

**Content:** ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [A great little idea for your up-sliding bowgrip, and my Facebook Fiddle School Page!](https://blog.artistworks.com/great-little-idea-your-sliding-bowgrip-and-my-facebook-fiddle-school-page/) **Published:** August 1, 2021 **Author:** ArtistWorks **Excerpt:**

Thanks to Lev Zhurbin for this cool idea for keeping your right hand from sliding up the bow in this hot, hot weather. All you need is a rubber band.

AND... I've instituted a Fiddle School Facebook Page for that info and posts which don't have to be private, and to introduce other fiddlers to this school.

enjoy!

DA

**Content:** **Thanks to Lev Zhurbin for this cool idea for keeping your right hand from sliding up the bow in this hot, hot weather. All you need is a rubber band.** AND… I’ve instituted a **[Fiddle School Facebook Page](https://www.facebook.com/darolangerfiddleschool/)** for that info and posts which don’t have to be private, and to introduce other fiddlers to this school. enjoy!![]() DA ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [ArtistWorks Presents: Deering Live with Tony Trischka](https://blog.artistworks.com/artistworks-presents-deering-live-tony-trischka-0/) **Published:** July 28, 2021 **Author:** ArtistWorks **Excerpt:**

On July 29, 2021, bluegrass banjo icon and ArtistWorks master instructor, Tony Trischka will be hosting a live-streaming event presented by Deering Banjos in collaboration with ArtistWorks. The event will begin at 6:00 PM ET/3:00 PM PT and will feature extensive performances from Tony, as well as in-depth discussions on Tony’s current projects, recent releases, and, of course, all things banjo and why Tony chooses Deering. They’ll also be examining Tony’s approaches as an educator, and dive deep into the benefits and extensive curriculum that Tony teaches in his amazing bluegrass banjo course here at ArtistWorks.

**Content:** ![]() On July 29, 2021, bluegrass banjo icon and ArtistWorks master instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) will be hosting a live-streaming event presented by [Deering Banjos](https://www.deeringbanjos.com/pages/live) in collaboration with ArtistWorks. The event will begin at 6:00 PM ET/3:00 PM PT and will feature extensive performances from Tony, as well as in-depth discussions on Tony’s current projects, recent releases, and, of course, all things banjo and why Tony chooses Deering. They’ll also be examining Tony’s approaches as an educator, and dive deep into the benefits and extensive curriculum that Tony teaches in his amazing bluegrass banjo course here at ArtistWorks. Referred to by The New York Times as the “father of modern bluegrass” in 2006, Grammy-nominated banjoist and 2007 IBMA “Banjo Player of the Year” [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has truly revolutionized the instrument and the bluegrass genre. In addition to having a prolific career as a performer spanning more than 50 years, Tony is also a masterful educator and has taught some of the most prevalent names in banjo including Béla Fleck, Steve Martin, and fellow ArtistWorks instructor [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). In addition to performing on and producing dozens of records in his career, including Steve Martin’s Grammy-nominated album Rare Bird Alert, Tony has performed across the globe with artists such as Tony Rice, Earl Scruggs, Béla Fleck, David Grisman, Steve Martin, and more. He’s also shared the stage alongside fellow ArtistWorks instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). Tony helped pioneer our bluegrass education platform and has been teaching bluegrass banjo at ArtistWorks since 2009. So, tune in on July 29 at 6:00 PM ET/3:00 PM PT on the [Deering Live page here](https://www.deeringbanjos.com/pages/live). This is an event that you won’t want to miss! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Presents: Deering Live with Tony Trischka](https://blog.artistworks.com/artistworks-presents-deering-live-tony-trischka/) **Published:** July 28, 2021 **Author:** ArtistWorks **Excerpt:**

On July 29, 2021, bluegrass banjo icon and ArtistWorks master instructor, Tony Trischka will be hosting a live-streaming event presented by Deering Banjos in collaboration with ArtistWorks. The event will begin at 6:00 PM ET/3:00 PM PT and will feature extensive performances from Tony, as well as in-depth discussions on Tony’s current projects, recent releases, and, of course, all things banjo and why Tony chooses Deering. They’ll also be examining Tony’s approaches as an educator, and dive deep into the benefits and extensive curriculum that Tony teaches in his amazing bluegrass banjo course here at ArtistWorks.

**Content:** ![]() On July 29, 2021, bluegrass banjo icon and ArtistWorks master instructor, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) will be hosting a live-streaming event presented by [Deering Banjos](https://www.deeringbanjos.com/pages/live) in collaboration with ArtistWorks. The event will begin at 6:00 PM ET/3:00 PM PT and will feature extensive performances from Tony, as well as in-depth discussions on Tony’s current projects, recent releases, and, of course, all things banjo and why Tony chooses Deering. They’ll also be examining Tony’s approaches as an educator, and dive deep into the benefits and extensive curriculum that Tony teaches in his amazing bluegrass banjo course here at ArtistWorks. LEARN MORE: [Want to learn from a bluegrass banjo master like Tony Trischka? Try some free online banjo lessons now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Referred to by The New York Times as the “father of modern bluegrass” in 2006, Grammy-nominated banjoist and 2007 IBMA “Banjo Player of the Year” [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has truly revolutionized the instrument and the bluegrass genre. In addition to having a prolific career as a performer spanning more than 50 years, Tony is also a masterful educator and has taught some of the most prevalent names in banjo including Béla Fleck, Steve Martin, and fellow ArtistWorks instructor [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). In addition to performing on and producing dozens of records in his career, including Steve Martin’s Grammy-nominated album Rare Bird Alert, Tony has performed across the globe with artists such as Tony Rice, Earl Scruggs, Béla Fleck, David Grisman, Steve Martin, and more. He’s also shared the stage alongside fellow ArtistWorks instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). Tony helped pioneer our bluegrass education platform and has been teaching bluegrass banjo at ArtistWorks since 2009. So, tune in on July 29 at 6:00 PM ET/3:00 PM PT on the [Deering Live page here](https://www.deeringbanjos.com/pages/live). This is an event that you won’t want to miss! LEARN MORE: Have you always wanted to learn how to play the banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personalized feedback on your playing. Tony’s course starts with the basics and teaches everything from beginner banjo to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Live “Dispatch from Home!” with Mike Marshall & Tony Trischka](https://blog.artistworks.com/live-mike-marshall-tony-trischka) [Banjo Lesson: Right Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) [Banjo Lesson: “Rattling Clog” with Tony Trischka](https://blog.artistworks.com/tony-trischka-banjo-lesson-rattling-clog-0) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall Releases Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://blog.artistworks.com/mike-marshall-releases-mandocello-js-bach-cello-suite-no-1-bwv-1007-0/) **Published:** July 27, 2021 **Author:** ArtistWorks **Excerpt:**

Three-time Grammy-nominated mandolinist and ArtistWorks instructor, Mike Marshall is not only a master of the mandolin but of a variety of stringed instruments including the guitar, fiddle, and mandocello. On July 26, 2021, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 unaccompanied on the mandocello.

**Content:** ![]() Three-time Grammy-nominated mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) is not only a master of the mandolin but of a variety of stringed instruments including the guitar, fiddle, and mandocello. On July 26, 2021, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 unaccompanied on the mandocello. While Mike may be most often associated with the bluegrass genre (and is a [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) instructor here at ArtistWorks), he is no stranger to a vast array of performance styles and techniques. In addition to sharing the stage with fellow bluegrass giants like David Grisman, Chris Thile, Edgar Meyer, Béla Fleck, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and more, Mike has also recorded several albums in the Brazilian Choro style and has performed countless classical masterpieces with his wife, fellow mandolin virtuoso and ArtistWorks instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). So, the release of this new rendition of Bach’s Cello Suite was not Mike’s first plunge into the classical realm. “I had always wanted to dive deep into this work by Johann Sebastian Bach and this past year of pandemic madness finally gave me the time,” Mike stated when asked about the new record in an interview with popular music blog [Mandolin Café](https://www.mandolincafe.com/forum/content/785-Mike-Marshall-Mandocello-J.S.-Bach-Cello-Suite-1-BWV-1007). “It also seemed like the music resonated with the uncertainty of all of life during these past months. It put me in the right frame of mind and was pretty much about all I was able to play.” Some of you may be wondering, “what is a mandocello?” A mandocello is a baritone instrument of the mandolin family and features a larger body, longer neck, extended scale length, and a deeper, lower tuning compared to its petite counterpart. Like a mandolin, the mandocello has eight strings paired in four sets of two. The strings in each pair are tuned in unison and each pair is separated from the next by the interval of a fifth. However, unlike the mandolin, the mandocello is tuned down from G to low C. In essence, the mandocello is to the mandolin as the cello is to the violin. “I‘m playing my beloved mandocello in this recording built by the great luthier John Monteleone,” Mike explains. “It’s tuned just like the cello (CGDA).” Mike’s masterful mandocello performance of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 can be downloaded and purchased directly from Mike’s [Bandcamp page](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-j-s-bach-cello-suite-1-bwv-1007). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Marshall Releases Mandocello J.S. Bach Cello Suite No. 1, BWV 1007](https://blog.artistworks.com/mike-marshall-releases-mandocello-js-bach-cello-suite-no-1-bwv-1007/) **Published:** July 27, 2021 **Author:** ArtistWorks **Excerpt:**

Three-time Grammy-nominated mandolinist and ArtistWorks instructor, Mike Marshall is not only a master of the mandolin but of a variety of stringed instruments including the guitar, fiddle, and mandocello. On July 26, 2021, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 unaccompanied on the mandocello.

**Content:** ![]() Three-time Grammy-nominated mandolinist and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) is not only a master of the mandolin but of a variety of stringed instruments including the guitar, fiddle, and mandocello. On July 26, 2021, Mike once again solidified his status as a master of the strings when he released his latest album performing the entirety of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 unaccompanied on the mandocello. While Mike may be most often associated with the bluegrass genre (and is a [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) instructor here at ArtistWorks), he is no stranger to a vast array of performance styles and techniques. In addition to sharing the stage with fellow bluegrass giants like David Grisman, Chris Thile, Edgar Meyer, Béla Fleck, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and more, Mike has also recorded several albums in the Brazilian Choro style and has performed countless classical masterpieces with his wife, fellow mandolin virtuoso and ArtistWorks instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg). So, the release of this new rendition of Bach’s Cello Suite was not Mike’s first plunge into the classical realm. “I had always wanted to dive deep into this work by Johann Sebastian Bach and this past year of pandemic madness finally gave me the time,” Mike stated when asked about the new record in an interview with popular music blog [Mandolin Café](https://www.mandolincafe.com/forum/content/785-Mike-Marshall-Mandocello-J.S.-Bach-Cello-Suite-1-BWV-1007). “It also seemed like the music resonated with the uncertainty of all of life during these past months. It put me in the right frame of mind and was pretty much about all I was able to play.” Some of you may be wondering, “what is a mandocello?” A mandocello is a baritone instrument of the mandolin family and features a larger body, longer neck, extended scale length, and a deeper, lower tuning compared to its petite counterpart. Like a mandolin, the mandocello has eight strings paired in four sets of two. The strings in each pair are tuned in unison and each pair is separated from the next by the interval of a fifth. However, unlike the mandolin, the mandocello is tuned down from G to low C. In essence, the mandocello is to the mandolin as the cello is to the violin. “I‘m playing my beloved mandocello in this recording built by the great luthier John Monteleone,” Mike explains. “It’s tuned just like the cello (CGDA).” Mike’s masterful mandocello performance of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007 can be downloaded and purchased directly from Mike’s [Bandcamp page](https://mikemarshallf5.bandcamp.com/album/mike-marshall-mandocello-j-s-bach-cello-suite-1-bwv-1007). LEARN MORE: Have you always wanted to learn how to play bluegrass mandolin? Through our comprehensive [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personalized feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolin players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [ArtistWorks Music Series Podcast: Mike Marshall – Overcoming Musical Obstacles](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles) [Live “Dispatch from Home!” with Mike Marshall & Tony Trischka](https://blog.artistworks.com/live-mike-marshall-tony-trischka) [Mandolin Lesson: How to Hold the Mandolin with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Mike Marshall - Overcoming Musical Obstacles](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles-0/) **Published:** July 21, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks bluegrass mandolin instructor, Mike Marshall, to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). As musicians, whether we’re beginners learning an instrument for the first time or advanced-level professional players, we all go through periods where our progress plateaus and we find ourselves faced with a musical challenge that we struggle to overcome. “As players, we’re always trying to take the next step on the musical ladder, so to speak,” Mike explains. “Whether you’re a beginner learning how to play a new Aminor7 chord or you’re an advanced player playing with Béla Fleck and Edgar Meyer and they want to push the tempo on a tune beyond your capabilities, still you’re facing the same challenge—how to reach that next step on the ladder.” However, based on Mike Marshall’s decades of performance experience, he believes that the manner in which we approach these challenges from a psychological perspective is very much the same regardless of the skill level we’re at. “Overcoming the various challenges that I’ve faced while playing and learning music has always stemmed back to my self-confidence and whether or not I had put in the time and focus,” Mike explains. “The question I always ask myself is, ‘did I put in the time on the right things to make the progress?’” To learn more about how you can overcome your musical challenges and what you can do to “make the progress,” listen to the full podcast with [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the bluegrass mandolin and learning even more about Mike’s approaches to overcoming musical challenges, check out his [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Mike Marshall - Overcoming Musical Obstacles](https://blog.artistworks.com/new-podcast-mike-marshall-overcoming-musical-obstacles/) **Published:** July 21, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks bluegrass mandolin instructor, Mike Marshall, to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a free mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) As musicians, whether we’re beginners learning an instrument for the first time or advanced-level professional players, we all go through periods where our progress plateaus and we find ourselves faced with a musical challenge that we struggle to overcome. “As players, we’re always trying to take the next step on the musical ladder, so to speak,” Mike explains. “Whether you’re a beginner learning how to play a new Aminor7 chord or you’re an advanced player playing with Béla Fleck and Edgar Meyer and they want to push the tempo on a tune beyond your capabilities, still you’re facing the same challenge—how to reach that next step on the ladder.” However, based on Mike Marshall’s decades of performance experience, he believes that the manner in which we approach these challenges from a psychological perspective is very much the same regardless of the skill level we’re at. “Overcoming the various challenges that I’ve faced while playing and learning music has always stemmed back to my self-confidence and whether or not I had put in the time and focus,” Mike explains. “The question I always ask myself is, ‘did I put in the time on the right things to make the progress?’” To learn more about how you can overcome your musical challenges and what you can do to “make the progress,” listen to the full podcast with [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the bluegrass mandolin and learning even more about Mike’s approaches to overcoming musical challenges, check out his [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Live with Mike Marshall & Tony Trischka: Overcoming Musical Obstacles](https://blog.artistworks.com/live-mike-marshall-tony-trischka) [ArtistWorks Music Series Podcast – Make it a Musical Summer: David Butler](https://blog.artistworks.com/new-podcast-david-butler-make-it-musical-summer) [Mandolin Lesson: How to Hold the Mandolin with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Mike Marshall - Overcoming Musical Obstacles](https://blog.artistworks.com/) **Published:** July 21, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks bluegrass mandolin instructor, Mike Marshall, to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks cofounder Patricia Butler sits down with Grammy-nominated master musician and ArtistWorks [bluegrass mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), to discuss the concept of “Overcoming Musical Obstacles.” Together, they explore the benefits of making mistakes and working through them, collaborating and playing with other musicians of a similar skill level, and taking consistent incremental steps to elevate your playing. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play bluegrass mandolin from a master musician like Mike Marshall? Try a free mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) As musicians, whether we’re beginners learning an instrument for the first time or advanced-level professional players, we all go through periods where our progress plateaus and we find ourselves faced with a musical challenge that we struggle to overcome. “As players, we’re always trying to take the next step on the musical ladder, so to speak,” Mike explains. “Whether you’re a beginner learning how to play a new Aminor7 chord or you’re an advanced player playing with Béla Fleck and Edgar Meyer and they want to push the tempo on a tune beyond your capabilities, still you’re facing the same challenge—how to reach that next step on the ladder.” However, based on Mike Marshall’s decades of performance experience, he believes that the manner in which we approach these challenges from a psychological perspective is very much the same regardless of the skill level we’re at. “Overcoming the various challenges that I’ve faced while playing and learning music has always stemmed back to my self-confidence and whether or not I had put in the time and focus,” Mike explains. “The question I always ask myself is, ‘did I put in the time on the right things to make the progress?’” To learn more about how you can overcome your musical challenges and what you can do to “make the progress,” listen to the full podcast with [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the bluegrass mandolin and learning even more about Mike’s approaches to overcoming musical challenges, check out his [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Live with Mike Marshall & Tony Trischka: Overcoming Musical Obstacles](https://blog.artistworks.com/live-mike-marshall-tony-trischka) [ArtistWorks Music Series Podcast – Make it a Musical Summer: David Butler](https://blog.artistworks.com/new-podcast-david-butler-make-it-musical-summer) [Mandolin Lesson: How to Hold the Mandolin with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Mike Marshall & Tony Trischka!](https://blog.artistworks.com/live-mike-marshall-tony-trischka-0/) **Published:** July 20, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master instructors Mike Marshall (bluegrass mandolin) and Tony Trischka (bluegrass banjo) for an afternoon discussion on, “Overcoming Musical Obstacles.” These two titans of bluegrass will bring their expert advice and unique perspectives on musicianship and playing to the subject, and discuss their experience in meeting musical challenges everyone faces while learning how to play an instrument. In addition to sharing their secrets, they’ll also be demonstrating their ideas and rounding out the discussion with some amazing live musical performances.

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) (bluegrass mandolin) and [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) (bluegrass banjo) for an afternoon discussion on, “Overcoming Musical Obstacles.” These two titans of bluegrass will bring their expert advice and unique perspectives on musicianship and playing to the subject, and discuss their experience in meeting musical challenges everyone faces while learning how to play an instrument. In addition to sharing their secrets, they’ll also be demonstrating their ideas and rounding out the discussion with some amazing live musical performances. Widely considered to be one of the most accomplished and prolific mandolinists of the modern era, [Mike Marshall](https://artistworks.com//mandolin-lessons-mike-marshall) has truly expanded the musical range of the mandolin and shattered any preconceived notions of what the instrument is capable of. In addition to his prowess on the mandolin, the three-time Grammy nominee is also a master of the mandocello, fiddle, and guitar, and brings a variety of stylistic influences to his playing, including bluegrass, classical, jazz, and Brazilian Choro music. Mike has recorded and performed across the globe with artists such as Stephane Grappelli, David Grisman, Joshua Bell, Edgar Meyer, Chris Thile, and Béla Fleck, as well as fellow ArtistWorks master instructors [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and more. LEARN MORE: [Want to learn mandolin from a master musician like Mike Marshall? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Referred to by The New York Times as the “father of modern bluegrass” in 2006, Grammy-nominated banjoist and 2007 IBMA “Banjo Player of the Year” [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has truly revolutionized the instrument and the bluegrass genre. In addition to having a prolific career as a performer spanning more than 50 years, Tony is also a masterful educator and has taught some of the most prevalent names in banjo including Béla Fleck, Steve Martin, and fellow ArtistWorks instructor [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). In addition to performing on and producing dozens of records in his career, including Steve Martin’s Grammy-nominated album Rare Bird Alert, Tony has performed across the globe with artists such as Tony Rice, Earl Scruggs, Béla Fleck, David Grisman, Steve Martin, and more. He’s also shared the stage alongside fellow ArtistWorks instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). LEARN MORE: [Want to learn from a bluegrass banjo master like Tony Trischka? Try a free online banjo lesson now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Regardless of your preferred instrument or genre, join us for a great conversation on overcoming musical challenges from two masters of the craft this Tuesday, July 20, 2021, at 4:30 pm PST on our [Facebook page](https://www.facebook.com/ArtistWorks). You’re sure to receive some great knowledge and advice that you can immediately bring to your practice! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Mike Marshall & Tony Trischka!](https://blog.artistworks.com/live-mike-marshall-tony-trischka/) **Published:** July 20, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master instructors Mike Marshall (bluegrass mandolin) and Tony Trischka (bluegrass banjo) for an afternoon discussion on, “Overcoming Musical Obstacles.” These two titans of bluegrass will bring their expert advice and unique perspectives on musicianship and playing to the subject, and discuss their experience in meeting musical challenges everyone faces while learning how to play an instrument. In addition to sharing their secrets, they’ll also be demonstrating their ideas and rounding out the discussion with some amazing live musical performances.

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ cofounder Patricia Butler will host ArtistWorks master instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) (bluegrass mandolin) and [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) (bluegrass banjo) for an afternoon discussion on, “Overcoming Musical Obstacles.” These two titans of bluegrass will bring their expert advice and unique perspectives on musicianship and playing to the subject, and discuss their experience in meeting musical challenges everyone faces while learning how to play an instrument. In addition to sharing their secrets, they’ll also be demonstrating their ideas and rounding out the discussion with some amazing live musical performances. Widely considered to be one of the most accomplished and prolific mandolinists of the modern era, [Mike Marshall](https://artistworks.com//mandolin-lessons-mike-marshall) has truly expanded the musical range of the mandolin and shattered any preconceived notions of what the instrument is capable of. In addition to his prowess on the mandolin, the three-time Grammy nominee is also a master of the mandocello, fiddle, and guitar, and brings a variety of stylistic influences to his playing, including bluegrass, classical, jazz, and Brazilian Choro music. Mike has recorded and performed across the globe with artists such as Stephane Grappelli, David Grisman, Joshua Bell, Edgar Meyer, Chris Thile, and Béla Fleck, as well as fellow ArtistWorks master instructors [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and more. LEARN MORE: [Want to learn mandolin from a master musician like Mike Marshall? Try a free online mandolin lesson now!](https://go.artistworks.com/free-online-mandolin-lessons-mike-marshall) Referred to by The New York Times as the “father of modern bluegrass” in 2006, Grammy-nominated banjoist and 2007 IBMA “Banjo Player of the Year” [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) has truly revolutionized the instrument and the bluegrass genre. In addition to having a prolific career as a performer spanning more than 50 years, Tony is also a masterful educator and has taught some of the most prevalent names in banjo including Béla Fleck, Steve Martin, and fellow ArtistWorks instructor [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). In addition to performing on and producing dozens of records in his career, including Steve Martin’s Grammy-nominated album Rare Bird Alert, Tony has performed across the globe with artists such as Tony Rice, Earl Scruggs, Béla Fleck, David Grisman, Steve Martin, and more. He’s also shared the stage alongside fellow ArtistWorks instructors [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and [Michael Daves](https://artistworks.com/bluegrass-vocal-lessons-michael-daves). LEARN MORE: [Want to learn from a bluegrass banjo master like Tony Trischka? Try a free online banjo lesson now!](https://go.artistworks.com/free-online-banjo-lessons-tony-trischka) Regardless of your preferred instrument or genre, join us for a great conversation on overcoming musical challenges from two masters of the craft this Tuesday, July 20, 2021, at 4:30 pm PST on our [Facebook page](https://www.facebook.com/ArtistWorks). You’re sure to receive some great knowledge and advice that you can immediately bring to your practice! LEARN MORE: Have you always wanted to learn how to play the mandolin? Or maybe you’ve wanted to pick up a banjo and play bluegrass? Through our comprehensive [mandolin](https://artistworks.com/mandolin-lessons-mike-marshall) and [banjo lessons online](https://artistworks.com/banjo-lessons-tony-trischka) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) or [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personalized feedback on your playing. Mike and Tony’s courses start with the basics and teach everything from the introductory fundamentals to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as musicians. Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Banjo Lesson: Right Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka) [Mandolin Lesson: How to Hold the Mandolin with Mike Marshall](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin) [Mandolin Lesson: Essential Bluegrass Mandolin Chords with Mike Marshall](https://blog.artistworks.com/essential-bluegrass-mandolin-chords-chop-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Joins World’s Leading Online Music Education Alliance](https://blog.artistworks.com/artistworks-joins-world’s-leading-online-music-education-alliance-0/) **Published:** July 12, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that ArtistWorks has officially joined a consortium of major online music education companies, which includes TrueFire, JamPlay, and FaderPro. The collective are all portfolio companies of private equity firm, Growth Catalyst Partners. These four firms provide musicians around the world with music instruction on dozens of instruments and genres while delivering access to Grammy Award-winning artists, top session players, and world-renowned educators.

**Content:** ![]() We are excited to announce that ArtistWorks has officially joined a consortium of major online music education companies, which includes TrueFire, JamPlay, and FaderPro. The collective are all portfolio companies of private equity firm, Growth Catalyst Partners. These four firms provide musicians around the world with music instruction on dozens of instruments and genres while delivering access to Grammy Award-winning artists, top session players, and world-renowned educators. Founded in 2008, ArtistWorks partners with master musicians and enables them to create and preserve their teaching legacy online. Each hand-selected ArtistWorks teacher brings years of performing, recording, and teaching expertise to their online music lessons, offering the rare combination of virtuosity and educational excellence. The instructional format is empowered by the company’s industry-unique Video Exchange® Learning Platform, which allows subscribing students to submit practice videos and receive personal video assessments from their teacher. Students have access to hundreds of music lessons in each course, and the added benefit of Video Exchange brings an entirely new level of interpersonal learning to online music education. “We welcome this new alliance that ensures fulfillment of the long-held ArtistWorks mission to ‘teach the world music’. Working alongside the other top-quality consortium companies who strongly complement each other will allow exciting new collaborations and exceptional learning opportunities for lifelong players,” says Patricia Butler, CEO and Cofounder of ArtistWorks. While ArtistWorks will continue to operate as a stand-alone brand and will maintain its industry-unique learning experience through Video Exchange Learning®, we are excited to belong to this alliance of the world’s leading online music education companies. ArtistWorks has taught hundreds of thousands of students in over 80 countries around the globe with an unwavering mission to “teach the world music.” Through our affiliation with TrueFire, JamPlay, and FaderPro, we’re pleased to continue our legacy while expanding our collective reach to bring more music to the world, together. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Joins World’s Leading Online Music Education Alliance](https://blog.artistworks.com/artistworks-joins-world’s-leading-online-music-education-alliance/) **Published:** July 12, 2021 **Author:** ArtistWorks **Excerpt:**

We are excited to announce that ArtistWorks has officially joined a consortium of major online music education companies, which includes TrueFire, JamPlay, and FaderPro. The collective are all portfolio companies of private equity firm, Growth Catalyst Partners. These four firms provide musicians around the world with music instruction on dozens of instruments and genres while delivering access to Grammy Award-winning artists, top session players, and world-renowned educators.

**Content:** ![]() We are excited to announce that ArtistWorks has officially joined a consortium of major online music education companies, which includes TrueFire, JamPlay, and FaderPro. The collective are all portfolio companies of private equity firm, Growth Catalyst Partners. These four firms provide musicians around the world with music instruction on dozens of instruments and genres while delivering access to Grammy Award-winning artists, top session players, and world-renowned educators. Founded in 2008, ArtistWorks partners with master musicians and enables them to create and preserve their teaching legacy online. Each hand-selected ArtistWorks teacher brings years of performing, recording, and teaching expertise to their online music lessons, offering the rare combination of virtuosity and educational excellence. The instructional format is empowered by the company’s industry-unique Video Exchange® Learning Platform, which allows subscribing students to submit practice videos and receive personal video assessments from their teacher. Students have access to hundreds of music lessons in each course, and the added benefit of Video Exchange brings an entirely new level of interpersonal learning to online music education. “We welcome this new alliance that ensures fulfillment of the long-held ArtistWorks mission to ‘teach the world music’. Working alongside the other top-quality consortium companies who strongly complement each other will allow exciting new collaborations and exceptional learning opportunities for lifelong players,” says Patricia Butler, CEO and Cofounder of ArtistWorks. While ArtistWorks will continue to operate as a stand-alone brand and will maintain its industry-unique learning experience through Video Exchange Learning®, we are excited to belong to this alliance of the world’s leading online music education companies. ArtistWorks has taught hundreds of thousands of students in over 80 countries around the globe with an unwavering mission to “teach the world music.” Through our affiliation with TrueFire, JamPlay, and FaderPro, we’re pleased to continue our legacy while expanding our collective reach to bring more music to the world, together. MORE ABOUT ARTISTWORKS: ArtistWorks’ online music lessons are recorded and taught by 37 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. Want to get started on overcoming the roadblock on your musical journey with our[ music lessons online](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [So long, Byron Berline](https://blog.artistworks.com/so-long-byron-berline/) **Published:** July 11, 2021 **Author:** ArtistWorks **Excerpt:**

On the weekend of July 11, 2021, I learned that one of my greatest musical heroes, Byron Berline, had passed on.

Here's an appreciation from my good friend and great fiddler Matt Glaser:

I first heard Byron Berline in 1972. I was 16 years old, and had been playing the fiddle for 3 years. I worked a part-time job at the Katonah Public Library, re-stacking bookshelves, and doing a bit of incompetent gardening.

One day, while slacking off at work, I was leafing through records. Here’s one by The Flying Burrito Brothers. On the back cover there were pictures of the musicians, mostly hippies, but not this one guy -”Byron Berline, Fiddle”—he is pretty clean cut, and smiling like a madman. Hmm….looks interesting. I’ll think I’ll sign it out.

I remember walking the mile or so back home, going upstairs to my room, and putting the record on the turntable. The tune was Dixie Breakdown. And then….. what? The Big Bang? Being born, but for real? My head exploding? I had never heard ANYTHING like that….and I still have not recovered. I can trace the entire trajectory of my life to that moment--the moment where Byron injected his radioactive sound into my brain.

**Content:** ![]() On the weekend of July 11, 2021, I learned that one of my greatest musical heroes, Byron Berline, had passed on. Here’s an appreciation from my good friend and great fiddler Matt Glaser: I first heard Byron Berline in 1972. I was 16 years old, and had been playing the fiddle for 3 years. I worked a part-time job at the Katonah Public Library, re-stacking bookshelves, and doing a bit of incompetent gardening. One day, while slacking off at work, I was leafing through records. Here’s one by The Flying Burrito Brothers. On the back cover there were pictures of the musicians, mostly hippies, but not this one guy -”Byron Berline, Fiddle”—he is pretty clean cut, and smiling like a madman. Hmm….looks interesting. I’ll think I’ll sign it out. I remember walking the mile or so back home, going upstairs to my room, and putting the record on the turntable. The tune was Dixie Breakdown. And then….. what? The Big Bang? Being born, but for real? My head exploding? I had never heard ANYTHING like that….and I still have not recovered. I can trace the entire trajectory of my life to that moment–the moment where Byron injected his radioactive sound into my brain. He and his fiddle were from Kansas and Oklahoma, but his sound was stopping people in their tracks all over the place —Darol Anger and Stuart Duncan in California, Mark O’Connor in Washington, me in suburban NY ,and so many others; making us rethink our lives! Whatever that sound is that Byron has, we want it! It’s like a bluegrass It’s a Wonderful Life—-If it wasn’t for Byron, Darol would have opened a health-food store, Stuart would have become a banker, Mark would have become a fitness instructor, and I would have gotten a Masters degree in Religious Studies. Thank you Byron. matt glaser artistic director american roots music program berklee college of music ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Course: Announcing “Bluegrass Mandolin with Sierra Hull”](https://blog.artistworks.com/new-course-announcing-“bluegrass-mandolin-sierra-hull”/) **Published:** July 8, 2021 **Author:** ArtistWorks **Excerpt:**

We are thrilled to announce our newest course coming August 2021, Bluegrass Mandolin with Sierra Hull.

**Content:** ![]() We are thrilled to announce our newest course coming August 2021,[ ](https://go.artistworks.com/banjo-lessons-noam-pikelny)[Bluegrass Mandolin with Sierra Hull](https://go.artistworks.com/mandolin-lessons-sierra-hull). Over the last two-and-a-half decades, Sierra has accomplished more as a singer, songwriter, and performer than many musicians do in a lifetime. As a three-time IBMA “Mandolin Player of the Year” award winner and a Grammy nominee when she was just 26, the now 29-year-old Sierra has already proven herself to be a modern pioneer of the bluegrass genre, a virtuosic songwriter, and a true master of the mandolin. Having collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, and fellow ArtistWorks master instructor Bryan Sutton since her early childhood, Sierra has drawn from decades of performance experience to create a comprehensive course of online mandolin lessons designed to teach players of all levels how to play modern bluegrass. “I’ve always loved teaching and always had a passion for it,” Sierra comments. “So, to have an outlet where I can really share what I’ve learned about the mandolin with other people really excites me.” Whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sierra and get an intimate look into her unique approach to playing bluegrass through her mandolin lessons online. Grow as a mandolin player while simultaneously furthering yourself as a musician, and get direct guidance from Sierra at every step of your musical journey. “A good technique and foundation can take you anywhere you want to go,” Sierra explains. “So, in my course, I cover everything from the basics and playing simple chords to learning how to improvise and play tunes the way our heroes do.” [Sign up now](https://go.artistworks.com/mandolin-lessons-sierra-hull) for news updates from Sierra and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Course: Announcing “Bluegrass Mandolin with Sierra Hull”](https://blog.artistworks.com/new-course-announcing-bluegrass-mandolin-sierra-hull/) **Published:** July 8, 2021 **Author:** ArtistWorks **Excerpt:**

We are thrilled to announce our newest course coming August 2021, Bluegrass Mandolin with Sierra Hull.

**Content:** ![]() We are thrilled to announce our newest course coming August 2021,[ ](https://go.artistworks.com/banjo-lessons-noam-pikelny)[Bluegrass Mandolin with Sierra Hull](https://go.artistworks.com/mandolin-lessons-sierra-hull). Over the last two-and-a-half decades, Sierra has accomplished more as a singer, songwriter, and performer than many musicians do in a lifetime. As a three-time IBMA “Mandolin Player of the Year” award winner and a Grammy nominee when she was just 26, the now 29-year-old Sierra has already proven herself to be a modern pioneer of the bluegrass genre, a virtuosic songwriter, and a true master of the mandolin. Having collaborated with iconic artists like Alison Krauss, Béla Fleck, Garth Brooks, and fellow ArtistWorks master instructor Bryan Sutton since her early childhood, Sierra has drawn from decades of performance experience to create a comprehensive course of online mandolin lessons designed to teach players of all levels how to play modern bluegrass. “I’ve always loved teaching and always had a passion for it,” Sierra comments. “So, to have an outlet where I can really share what I’ve learned about the mandolin with other people really excites me.” Whether you’re starting from scratch or you’re an experienced player looking to break new ground, learn with Sierra and get an intimate look into her unique approach to playing bluegrass through her mandolin lessons online. Grow as a mandolin player while simultaneously furthering yourself as a musician, and get direct guidance from Sierra at every step of your musical journey. “A good technique and foundation can take you anywhere you want to go,” Sierra explains. “So, in my course, I cover everything from the basics and playing simple chords to learning how to improvise and play tunes the way our heroes do.” [Sign up now](https://go.artistworks.com/mandolin-lessons-sierra-hull) for news updates from Sierra and ArtistWorks, exclusive presale opportunities, invitations to live events, sample lessons with tab and backing tracks, automatic entry to upcoming giveaways, and much more! ABOUT ARTISTWORKS: ArtistWorks online music lessons are recorded and taught by 37 world-renowned master musicians who not only have rich musical legacies but have a deep passion for teaching and sharing their knowledge. We’re excited to welcome Sierra to our faculty! Through the ArtistWorks platform, students have the unique opportunity to both learn at their own pace and also interact with and receive feedback from our faculty of master teachers in the form of “Video Exchanges.” ArtistWorks’ patented Video Exchange Learning platform allows students to submit questions to our master faculty in the form of a video, and our instructors then create personal video responses full of guidance, encouragement, and critical next steps to facilitate improvement. Our teachers also provide notation, tablature, backing tracks, and other amazing supplemental materials to round out their holistic curricula in each course. Students can learn anything from acoustic and electric guitar to banjo, piano, mandolin, fiddle, saxophone, ukulele, how to sing—just about any instrument you can think of. And, our esteemed faculty teach everything from jazz to bluegrass to rock to classical and beyond. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Podcast: David Butler - Make it a Musical Summer](https://blog.artistworks.com/new-podcast-david-butler-make-it-musical-summer-0/) **Published:** July 7, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with David Butler, Chairman and co-founder of ArtistWorks, creator of Video Exchange Learning, and our Beginner’s Guide to Acoustic Guitar instructor, to discuss the best ways to make your summer season musical. Together, they explore the benefits of playing music outdoors, getting together with friends to perform, and discovering new outlets to infuse your summer with more music. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with [David Butler](https://artistworks.com/beginner-guitar-lessons), Chairman and co-founder of ArtistWorks, creator of Video Exchange Learning, and our [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) instructor, to discuss the best ways to make your summer season musical. Together, they explore the benefits of playing music outdoors, getting together with friends to perform, and discovering new outlets to infuse your summer with more music. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). The freedom of the summer months often feels infinite—no limits, no boundaries, no restrictions. As children, we’re untethered from the confines of the classroom and, as adults, we feel an equal need to escape from the office, explore the outdoors, and enjoy a vacation away. Fortunately, like the summertime, music is also liberating, and one of the great beauties of playing an instrument is the ability to take it with you wherever you go. “I learned a lot of guitar in the summertime as a kid. It was a great time to get together with my friends who also had guitars to share ideas and play together,” David explains. “We’d go camping, gather around the campfire, pass around different instruments, and just play. It was wonderful fun!” David goes on to emphasize that, not only were these summer campfire jam sessions great fun, but they were also a perfect catalyst for collaboration, exchanging ideas (both musical and otherwise), and teaching. “Whenever you get musicians together, whether they’re professionals or amateurs, there’s always this beginning point where you have to find musical common denominators,” David explains. “So, invariably, there’s some teaching that happens. If someone wants to play a Grateful Dead song, for example, and you don’t know it, you’ve got to learn it from your fellow players really fast. But, then you walk away from the jam session having learned something new.” To learn more ways you can make your summer season musical, listen to the full podcast with [David Butler](https://artistworks.com/beginner-guitar-lessons) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: David Butler - Make it a Musical Summer](https://blog.artistworks.com/new-podcast-david-butler-make-it-musical-summer/) **Published:** July 7, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with David Butler, Chairman and co-founder of ArtistWorks, creator of Video Exchange Learning, and our Beginner’s Guide to Acoustic Guitar instructor, to discuss the best ways to make your summer season musical. Together, they explore the benefits of playing music outdoors, getting together with friends to perform, and discovering new outlets to infuse your summer with more music. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with [David Butler](https://artistworks.com/beginner-guitar-lessons), Chairman and co-founder of ArtistWorks, creator of Video Exchange Learning, and our [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) instructor, to discuss the best ways to make your summer season musical. Together, they explore the benefits of playing music outdoors, getting together with friends to perform, and discovering new outlets to infuse your summer with more music. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play acoustic guitar from a master musician like David Butler? Try a free acoustic guitar lesson now!](https://go.artistworks.com/free-adult-acoustic-guitar-lessons) The freedom of the summer months often feels infinite—no limits, no boundaries, no restrictions. As children, we’re untethered from the confines of the classroom and, as adults, we feel an equal need to escape from the office, explore the outdoors, and enjoy a vacation away. Fortunately, like the summertime, music is also liberating, and one of the great beauties of playing an instrument is the ability to take it with you wherever you go. “I learned a lot of guitar in the summertime as a kid. It was a great time to get together with my friends who also had guitars to share ideas and play together,” David explains. “We’d go camping, gather around the campfire, pass around different instruments, and just play. It was wonderful fun!” David goes on to emphasize that, not only were these summer campfire jam sessions great fun, but they were also a perfect catalyst for collaboration, exchanging ideas (both musical and otherwise), and teaching. “Whenever you get musicians together, whether they’re professionals or amateurs, there’s always this beginning point where you have to find musical common denominators,” David explains. “So, invariably, there’s some teaching that happens. If someone wants to play a Grateful Dead song, for example, and you don’t know it, you’ve got to learn it from your fellow players really fast. But, then you walk away from the jam session having learned something new.” To learn more ways you can make your summer season musical, listen to the full podcast with [David Butler](https://artistworks.com/beginner-guitar-lessons) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the acoustic guitar and learning even more about David’s approaches to teaching and growing as a musician, check out his [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: # [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help) [Beginner’s Guide to Acoustic Guitar: All-Inclusive Plan Now Available](https://blog.artistworks.com/beginners-guide-acoustic-guitar-all-inclusive-plan-now-available) [ArtistWorks Music Series Podcast: Becoming a Confident Player – Howard Levy](https://blog.artistworks.com/new-podcast-howard-levy-becoming-confident-player) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Banjo Lesson: Right Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka-0/) **Published:** July 2, 2021 **Author:** ArtistWorks **Excerpt:**

It may seem like a simple concept, but understanding the proper approach to positioning and planting your right hand is one of the most critical, if not the most important, first steps when learning how to play the banjo. Right hand positioning and technique impacts your time, dexterity, stamina, speed, tone, and even your tuning. In fact, it’s the foundation on which you will build all your other performance skills. So, getting this crucial technique mastered is extremely important.

**Content:** ![]() It may seem like a simple concept, but understanding the proper approach to positioning and planting your right hand is one of the most critical, if not the most important, first steps when learning how to play the [banjo](https://artistworks.com/banjo-lessons). Right hand positioning and technique impacts your time, dexterity, stamina, speed, tone, and even your tuning. In fact, it’s the foundation on which you will build all your other performance skills. So, getting this crucial technique mastered is extremely important. In this [online banjo lesson](https://artistworks.com/banjo-lessons), world-renowned bluegrass banjo player and member of our premier faculty here at ArtistWorks, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) teaches you the proper way to approach positioning your right hand and planting your anchor finger or fingers on the head of the banjo. Throughout the lesson, Tony repeatedly emphasizes one particular key concept when determining your right hand position—the importance of comfort and finding what works best for you. “To get into position, I suggest bringing your right hand over the strings and onto the head of the banjo in a very natural way,” Tony explains. “It’s important to find a position that feels most comfortable for you.” There are two main elements to keep in mind when positioning your right hand and performing on the banjo: 1\. How you plant your finger or fingers on the head of the banjo while playing 2\. Where you place your right hand over the strings between the bridge and the fingerboard These two factors play a huge role, not only in executing proper technique but in your overall tone and tuning stability. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), Grammy award-winning banjoist, founding member of Punch Brothers, and another master banjo instructor here at ArtistWorks, stresses this heavily in a similar lesson on right hand positioning from his series of [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny). “When planting your fingers on the head of the banjo, you can use the pinky, ring finger, or both. What’s important is that you’re comfortable,” Noam explains. “Planting dictates the sound of the banjo because we’re dampening the head. If you don’t plant, the banjo sounds overly ring-y and almost underwater sounding.” Like planting, where you place your right hand between the bridge and the fingerboard can completely transform your sound on the banjo. Tony recounts an experience in this [banjo lesson](https://artistworks.com/banjo-lessons) that drastically altered his perception of banjo tone and right hand placement. “In playing bluegrass, you want to play kind of close to the bridge, so you can get that punchy sound,” Tony explains. “When I first started playing, I would rest my pinky on the backside of the bridge, and that would really choke my tone. You don’t want to touch the bridge.” How you place your right hand on the banjo is essential when determining the tone you want to achieve on the instrument, and is chock full of subtleties and nuances. Whether you’re a beginner, intermediate, or advanced level player, it’s imperative to keep this fundamental skill at the forefront of your mind when practicing and to experiment with it. It never hurts to revisit the basics. To learn more about the intricacies and process for approaching right hand placement, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons) from [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Banjo Lesson: Right Hand Positioning with Tony Trischka](https://blog.artistworks.com/banjo-lesson-right-hand-positioning-tony-trischka/) **Published:** July 2, 2021 **Author:** ArtistWorks **Excerpt:**

It may seem like a simple concept, but understanding the proper approach to positioning and planting your right hand is one of the most critical, if not the most important, first steps when learning how to play the banjo. Right hand positioning and technique impacts your time, dexterity, stamina, speed, tone, and even your tuning. In fact, it’s the foundation on which you will build all your other performance skills. So, getting this crucial technique mastered is extremely important.

**Content:** ![]() It may seem like a simple concept, but understanding the proper approach to positioning and planting your right hand is one of the most critical, if not the most important, first steps when learning how to play the [banjo](https://artistworks.com/banjo-lessons). Right hand positioning and technique impacts your time, dexterity, stamina, speed, tone, and even your tuning. In fact, it’s the foundation on which you will build all your other performance skills. So, getting this crucial technique mastered is extremely important. In this [online banjo lesson](https://artistworks.com/banjo-lessons), world-renowned bluegrass banjo player and member of our premier faculty here at ArtistWorks, [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) teaches you the proper way to approach positioning your right hand and planting your anchor finger or fingers on the head of the banjo. Throughout the lesson, Tony repeatedly emphasizes one particular key concept when determining your right hand position—the importance of comfort and finding what works best for you. “To get into position, I suggest bringing your right hand over the strings and onto the head of the banjo in a very natural way,” Tony explains. “It’s important to find a position that feels most comfortable for you.” There are two main elements to keep in mind when positioning your right hand and performing on the banjo: 1\. How you plant your finger or fingers on the head of the banjo while playing 2\. Where you place your right hand over the strings between the bridge and the fingerboard These two factors play a huge role, not only in executing proper technique but in your overall tone and tuning stability. [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), Grammy award-winning banjoist, founding member of Punch Brothers, and another master banjo instructor here at ArtistWorks, stresses this heavily in a similar lesson on right hand positioning from his series of [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny). “When planting your fingers on the head of the banjo, you can use the pinky, ring finger, or both. What’s important is that you’re comfortable,” Noam explains. “Planting dictates the sound of the banjo because we’re dampening the head. If you don’t plant, the banjo sounds overly ring-y and almost underwater sounding.” Like planting, where you place your right hand between the bridge and the fingerboard can completely transform your sound on the banjo. Tony recounts an experience in this [banjo lesson](https://artistworks.com/banjo-lessons) that drastically altered his perception of banjo tone and right hand placement. “In playing bluegrass, you want to play kind of close to the bridge, so you can get that punchy sound,” Tony explains. “When I first started playing, I would rest my pinky on the backside of the bridge, and that would really choke my tone. You don’t want to touch the bridge.” How you place your right hand on the banjo is essential when determining the tone you want to achieve on the instrument, and is chock full of subtleties and nuances. Whether you’re a beginner, intermediate, or advanced level player, it’s imperative to keep this fundamental skill at the forefront of your mind when practicing and to experiment with it. It never hurts to revisit the basics. To learn more about the intricacies and process for approaching right hand placement, dive into this [online banjo lesson](https://artistworks.com/banjo-lessons) from [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka): LEARN MORE: Have you always wanted to learn how to play bluegrass banjo? Through our comprehensive [banjo lessons online](https://artistworks.com/banjo-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), and get personalized feedback on your playing. Tony and Noam’s courses each start with the basics and teach everything from beginner banjo to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians in either banjo course! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: # [Pick Tips: A Guide to Banjo Picks](https://blog.artistworks.com/pick-tips-guide-banjo-picks) # [Banjo Tuning Basics for Beginners](https://blog.artistworks.com/banjo-tuning-basics) # [ArtistWorks Music Series Podcast: Tony Trischka – Styles of Bluegrass](https://blog.artistworks.com/new-podcast-tony-trischka-styles-bluegrass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Acoustic Bluegrass Bass Lesson: Finding Your Playing Position with Missy Raines](https://blog.artistworks.com/acoustic-bluegrass-bass-lesson-finding-your-playing-position-missy-raines-0/) **Published:** July 1, 2021 **Author:** ArtistWorks **Excerpt:**

The acoustic upright bass, or double bass, is a large instrument, and its sheer size alone can be daunting for players approaching the instrument for the first time. Unlike the mandolin, fiddle, banjo, acoustic guitar, or any of the other instruments that make up a bluegrass ensemble, the upright bass not only requires an understanding of how to hold the instrument in order to play it but also how to position the instrument around or against your body.

**Content:** ![]() The acoustic upright bass, or double bass, is a large instrument, and its sheer size alone can be daunting for players approaching the instrument for the first time. Unlike the mandolin, fiddle, banjo, acoustic guitar, or any of the other instruments that make up a bluegrass ensemble, the upright bass not only requires an understanding of how to hold the instrument in order to play it but also how to position the instrument around or against your body. In this [online upright bass lesson](https://artistworks.com/bass-lessons-missy-raines), nine-time IBMA “Bass Player of the Year” award-winner, First Lady of Bluegrass, and ArtistWorks master instructor, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) explains the proper methods to find your ideal playing position on the double bass. The critical factor that Missy emphasizes throughout this bass lesson is the importance of finding your position—every player’s position is slightly different, and discovering a position that is comfortable for you is paramount. “The upright bass is a big instrument,” Missy explains. “A lot of playing the instrument well just has to do with feeling like you’re in control and you can feel comfortable with it.” There are two key elements to keep in mind when positioning your bass to maximize comfort and control—the height of the bass, and the angle at which you rest the bass against your body. “You want your bass to rest against your body at an angle,” Missy explains. “This angle is going to depend on what you’re most comfortable with. A lot of players actually have quite a deep angle, while others play with the bass almost vertical. You’ll discover what feels best for you the more you have your bass in your hands.” To learn more about how to find the proper playing position that works for you, dive into this [online upright bass lesson](https://artistworks.com/bass-lessons-missy-raines) from the legendary [Missy Raines](https://artistworks.com/bass-lessons-missy-raines): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [Acoustic Bluegrass Bass Lesson: Finding Your Playing Position with Missy Raines](https://blog.artistworks.com/acoustic-bluegrass-bass-lesson-finding-your-playing-position-missy-raines/) **Published:** July 1, 2021 **Author:** ArtistWorks **Excerpt:**

The acoustic upright bass, or double bass, is a large instrument, and its sheer size alone can be daunting for players approaching the instrument for the first time. Unlike the mandolin, fiddle, banjo, acoustic guitar, or any of the other instruments that make up a bluegrass ensemble, the upright bass not only requires an understanding of how to hold the instrument in order to play it but also how to position the instrument around or against your body.

**Content:** ![]() The acoustic upright bass, or double bass, is a large instrument, and its sheer size alone can be daunting for players approaching the instrument for the first time. Unlike the mandolin, fiddle, banjo, acoustic guitar, or any of the other instruments that make up a bluegrass ensemble, the upright bass not only requires an understanding of how to hold the instrument in order to play it but also how to position the instrument around or against your body. In this [online upright bass lesson](https://artistworks.com/bass-lessons-missy-raines), nine-time IBMA “Bass Player of the Year” award-winner, First Lady of Bluegrass, and ArtistWorks master instructor, [Missy Raines](https://artistworks.com/bass-lessons-missy-raines) explains the proper methods to find your ideal playing position on the double bass. The critical factor that Missy emphasizes throughout this bass lesson is the importance of finding your position—every player’s position is slightly different, and discovering a position that is comfortable for you is paramount. “The upright bass is a big instrument,” Missy explains. “A lot of playing the instrument well just has to do with feeling like you’re in control and you can feel comfortable with it.” There are two key elements to keep in mind when positioning your bass to maximize comfort and control—the height of the bass, and the angle at which you rest the bass against your body. “You want your bass to rest against your body at an angle,” Missy explains. “This angle is going to depend on what you’re most comfortable with. A lot of players actually have quite a deep angle, while others play with the bass almost vertical. You’ll discover what feels best for you the more you have your bass in your hands.” To learn more about how to find the proper playing position that works for you, dive into this [online upright bass lesson](https://artistworks.com/bass-lessons-missy-raines) from the legendary [Missy Raines](https://artistworks.com/bass-lessons-missy-raines): LEARN MORE: Have you always wanted to learn how to play acoustic bluegrass bass? Through our comprehensive [upright bass lessons online](https://artistworks.com/bass-lessons-missy-raines) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Missy Raines](https://artistworks.com/bass-lessons-missy-raines), and get personalized feedback on your playing. Missy’s course starts with the basics and teaches everything from beginner upright bass to advanced performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as double bass players and musicians! Try out some [free sample music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: # [Missy Raines’ Award-Winning Track, “Swept Away”](https://blog.artistworks.com/missy-raines-swept-away) # [The First Ladies of Bluegrass Take the Stage](https://blog.artistworks.com/first-ladies-bluegrass-take-stage) # [Missy Raines on Songwriting](https://blog.artistworks.com/missy-raines-songwriting) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Bass --- ### [July/August VE Submission Deadline Dates](https://blog.artistworks.com/julyaugust-ve-submission-deadline-dates/) **Published:** June 29, 2021 **Author:** ArtistWorks **Excerpt:**

Dear AWPPS (ArtistWorks Popular Piano School) Family,

Happy Summer! Here are the upcoming deadline dates for Video Exchange Submissions:

As always, I will respond to VE's in the order that they were submitted, so feel free to submit before the dates if you don't mind waiting.

Have a lovely, healthy, and musical summer!

-Hugh

**Content:** Dear AWPPS (ArtistWorks Popular Piano School) Family, Happy Summer! Here are the upcoming deadline dates for Video Exchange Submissions: - Sunday July 11 - Sunday July 25 (my apologies, I need to cancel this VE deadline date due to a last minute recital in NYC…) - Sunday August 1 - Sunday August 29 As always, I will respond to VE’s in the order that they were submitted, so feel free to submit before the dates if you don’t mind waiting. Have a lovely, healthy, and musical summer! -Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help-0/) **Published:** June 25, 2021 **Author:** ArtistWorks **Excerpt:**

This week, we had the pleasure of sitting down with David Butler, Chairman and co-founder of ArtistWorks and our “Beginner’s Guide to Acoustic Guitar” course instructor, to discuss the concept of Video Exchange, how he conceptualized the learning method, and a few of the reasons why it’s such an effective tool for teaching music lessons. Here are the seven pitfalls of private music lessons, and how Video Exchange can help:

**Content:** ![]() This week, we had the pleasure of sitting down with [David Butler](https://artistworks.com/beginner-guitar-lessons), Chairman and co-founder of ArtistWorks and our “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)” course instructor, to discuss the concept of Video Exchange, how he conceptualized the learning method, and a few of the reasons why it’s such an effective tool for teaching music lessons. Here are the seven pitfalls of private music lessons, and how Video Exchange can help: [David Butler](https://artistworks.com/beginner-guitar-lessons): In 2006, I was given the privilege of watching a couple of dozen private lessons taught by a jazz guitarist in his private studio. In those private lessons, I noticed that the experience for both the students and the teacher was often far from optimal. This also mirrored some of my own experiences in private lessons over the years. So, I’ll give you a comparison of the private lesson approach (as I observed and experienced it) and Video Exchange Learning (which I created as a way to improve on the private lesson approach): Private Lesson Pitfall #1: I noticed that in private music lessons, students generally feel unprepared and rushed. Sometimes they even experience performance anxiety, and, in many cases, aren’t able to master techniques taught to them from one private lesson to the next. So, rather than feeling encouraged and inspired at the end of their private lessons, students too often feel defeated and drained. Additionally, because they can’t witness the progress of any of the teacher’s other students, they don’t know how they’re doing by comparison. Video Exchange Solution #1: With our online music lessons and the Video Exchange approach, students don’t submit videos for feedback until they feel ready. Students can privately record their submission over and over until they feel that the exercise or technique they’re playing reflects their level of learning. Just as importantly, with the VE approach, students can view all interactions between their teacher and his or her other students. This helps them to realize that they aren’t alone in their musical journey and allows students to learn from one another. Private Lesson Pitfall #2: Music teachers that host private lessons end up teaching the same concepts over and over. Rather than feeling invigorated, private lesson teachers often feel exhausted and uninspired after repeating themselves all day. Video Exchange Solution #2: When we collaborate with a master musician to create a course at ArtistWorks, that musician records a carefully prepared, organized, and comprehensive path of lessons. These lessons are captured in a professional studio with multiple camera angles and high-quality audio. These recorded lessons address all the common techniques and issues for the teacher’s specific instrument and genre and serve as the “textbook” for the course. This approach to online music lessons liberates instructors from having to teach the same topics over and over. With our Video Exchange courses, students can watch and work through the recorded lessons at their own pace and are invited to submit their own videos to their teacher for assessment when they feel ready. After watching the student’s video, the teacher then turns on his or her own camera and records a response video. In his or her response, the teacher will provide an assessment, point out any issues, and sometimes refer the student back to the recorded lesson material for remediation, rather than re-teaching the material from scratch. Additionally, because every Video Exchange is available for all students in the course to view, the teacher constantly impacts their whole subscriber community with each response. Liberated from repetition by the recorded lesson blocks, teachers are able to impact a large volume of students and do so with less fatigue and frustration. Private Lesson Pitfall #3: Private music lessons are often expensive. As a result, some students may never be able to access them, and the ones that can sometimes feel over-charged. Video Exchange Solution #3: Our Video Exchange courses at ArtistWorks offer students access to the minds and techniques of master musicians (many of them critically acclaimed and award-winning) at family-friendly pricing. We’re able to keep prices affordable for the students due to the efficiency of the VE structure for both the teachers and student communities. Private Lesson Pitfall #4: Even though private music lessons can be expensive, many teachers still experience financial struggles and feel underpaid. Video Exchange Solution #4: When you’re a teacher of private lessons, your remuneration is limited by the number of hours you can teach in a month, a week, a day, etc. (presuming you can even fill your roster, which can often be difficult). The VE model allows teachers to better leverage their time, share their skills and knowledge with more students, and make a stable income while doing so. Private Lesson Pitfall #5: Selecting the right private teacher for you is difficult. Video Exchange Solution #5: At ArtistWorks, every single one of our teachers is vetted. Our faculty is comprised of only experts and/or master musicians. Therefore, when looking for a teacher at ArtistWorks, the student simply has to choose the instrument and genre he or she is interested in learning with no need to worry about the teacher’s qualifications. Private Lesson Pitfall #6: Most successful performing and recording musicians don’t teach private lessons at all, or, if they do, the lessons are prohibitively expensive. Video Exchange Solution #6: In fact, most ArtistWorks instructors are performing and recording musicians—many are Grammy-winners or otherwise highly recognized artists. These great musicians want to “give back” to the world and create an impactful teaching legacy with ArtistWorks. We have found a way to provide all students with individualized access to great musicians—that way is the VE approach. Private Lesson Pitfall #7: Private lessons are inconvenient. Video Exchange Solution #7: Private lessons require the student and teacher to coordinate their schedules, and in-person lessons require travel. With our Video Exchange Learning platform at ArtistWorks, students can learn at their own pace when it’s most convenient for them to do so, and teachers can respond to a huge number of students quickly and efficiently, making a greater impact on the global musical community. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The 7 Pitfalls of Private Music Lessons, and How Video Exchange Can Help](https://blog.artistworks.com/7-pitfalls-private-music-lessons-and-how-video-exchange-can-help/) **Published:** June 25, 2021 **Author:** ArtistWorks **Excerpt:**

This week, we had the pleasure of sitting down with David Butler, Chairman and co-founder of ArtistWorks and our “Beginner’s Guide to Acoustic Guitar” course instructor, to discuss the concept of Video Exchange, how he conceptualized the learning method, and a few of the reasons why it’s such an effective tool for teaching music lessons. Here are the seven pitfalls of private music lessons, and how Video Exchange can help:

**Content:** ![]() This week, we had the pleasure of sitting down with [David Butler](https://artistworks.com/beginner-guitar-lessons), Chairman and co-founder of ArtistWorks and our “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)” course instructor, to discuss the concept of Video Exchange, how he conceptualized the learning method, and a few of the reasons why it’s such an effective tool for teaching music lessons. Here are the seven pitfalls of private music lessons, and how Video Exchange can help: [David Butler](https://artistworks.com/beginner-guitar-lessons): In 2006, I was given the privilege of watching a couple of dozen private lessons taught by a jazz guitarist in his private studio. In those private lessons, I noticed that the experience for both the students and the teacher was often far from optimal. This also mirrored some of my own experiences in private lessons over the years. So, I’ll give you a comparison of the private lesson approach (as I observed and experienced it) and Video Exchange Learning (which I created as a way to improve on the private lesson approach): Private Lesson Pitfall #1: I noticed that in private music lessons, students generally feel unprepared and rushed. Sometimes they even experience performance anxiety, and, in many cases, aren’t able to master techniques taught to them from one private lesson to the next. So, rather than feeling encouraged and inspired at the end of their private lessons, students too often feel defeated and drained. Additionally, because they can’t witness the progress of any of the teacher’s other students, they don’t know how they’re doing by comparison. Video Exchange Solution #1: With our online music lessons and the Video Exchange approach, students don’t submit videos for feedback until they feel ready. Students can privately record their submission over and over until they feel that the exercise or technique they’re playing reflects their level of learning. Just as importantly, with the VE approach, students can view all interactions between their teacher and his or her other students. This helps them to realize that they aren’t alone in their musical journey and allows students to learn from one another. Private Lesson Pitfall #2: Music teachers that host private lessons end up teaching the same concepts over and over. Rather than feeling invigorated, private lesson teachers often feel exhausted and uninspired after repeating themselves all day. Video Exchange Solution #2: When we collaborate with a master musician to create a course at ArtistWorks, that musician records a carefully prepared, organized, and comprehensive path of lessons. These lessons are captured in a professional studio with multiple camera angles and high-quality audio. These recorded lessons address all the common techniques and issues for the teacher’s specific instrument and genre and serve as the “textbook” for the course. This approach to online music lessons liberates instructors from having to teach the same topics over and over. With our Video Exchange courses, students can watch and work through the recorded lessons at their own pace and are invited to submit their own videos to their teacher for assessment when they feel ready. After watching the student’s video, the teacher then turns on his or her own camera and records a response video. In his or her response, the teacher will provide an assessment, point out any issues, and sometimes refer the student back to the recorded lesson material for remediation, rather than re-teaching the material from scratch. Additionally, because every Video Exchange is available for all students in the course to view, the teacher constantly impacts their whole subscriber community with each response. Liberated from repetition by the recorded lesson blocks, teachers are able to impact a large volume of students and do so with less fatigue and frustration. Private Lesson Pitfall #3: Private music lessons are often expensive. As a result, some students may never be able to access them, and the ones that can sometimes feel over-charged. Video Exchange Solution #3: Our Video Exchange courses at ArtistWorks offer students access to the minds and techniques of master musicians (many of them critically acclaimed and award-winning) at family-friendly pricing. We’re able to keep prices affordable for the students due to the efficiency of the VE structure for both the teachers and student communities. Private Lesson Pitfall #4: Even though private music lessons can be expensive, many teachers still experience financial struggles and feel underpaid. Video Exchange Solution #4: When you’re a teacher of private lessons, your remuneration is limited by the number of hours you can teach in a month, a week, a day, etc. (presuming you can even fill your roster, which can often be difficult). The VE model allows teachers to better leverage their time, share their skills and knowledge with more students, and make a stable income while doing so. Private Lesson Pitfall #5: Selecting the right private teacher for you is difficult. Video Exchange Solution #5: At ArtistWorks, every single one of our teachers is vetted. Our faculty is comprised of only experts and/or master musicians. Therefore, when looking for a teacher at ArtistWorks, the student simply has to choose the instrument and genre he or she is interested in learning with no need to worry about the teacher’s qualifications. Private Lesson Pitfall #6: Most successful performing and recording musicians don’t teach private lessons at all, or, if they do, the lessons are prohibitively expensive. Video Exchange Solution #6: In fact, most ArtistWorks instructors are performing and recording musicians—many are Grammy-winners or otherwise highly recognized artists. These great musicians want to “give back” to the world and create an impactful teaching legacy with ArtistWorks. We have found a way to provide all students with individualized access to great musicians—that way is the VE approach. Private Lesson Pitfall #7: Private lessons are inconvenient. Video Exchange Solution #7: Private lessons require the student and teacher to coordinate their schedules, and in-person lessons require travel. With our Video Exchange Learning platform at ArtistWorks, students can learn at their own pace when it’s most convenient for them to do so, and teachers can respond to a huge number of students quickly and efficiently, making a greater impact on the global musical community. WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! MORE ON OUR “BEGINNER’S GUIDE TO ACOUSTIC GUITAR” COURSE: [David Butler](https://artistworks.com/beginner-guitar-lessons) is the Chairman and co-founder of ArtistWorks, a lifelong acoustic guitarist, and the creator of Video Exchange Learning®. He grew up listening to and playing the guitar-centric music of the ’60s, surrounded by the many musical influences of his hometown Memphis, Tennessee. Especially drawn to the sound of the acoustic guitar, he strived to master and teach its many styles and techniques including flat pick and fingerstyle (“Travis”) picking. In this online [Beginner Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) course, David shares his lifetime of acoustic guitar knowledge. His goal is to provide comprehensive, step-by-step, deep instruction that fills in gaps that often cause first-time players to get frustrated. Normally behind the camera at ArtistWorks, he now steps to the other side to teach all the adult beginners who wish to play and enjoy the acoustic guitar. Interested in learning how to play the acoustic guitar? Experience our acoustic guitar lessons online for yourself and try out some [free sample music lessons](https://artistworks.com/#freelessons) here. You’ll quickly see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner’s Guide to Acoustic Guitar: All-Inclusive Plan Now Available!](https://blog.artistworks.com/beginners-guide-acoustic-guitar-all-inclusive-plan-now-available) # [Beginner Acoustic Guitar: Learning Guitar Basics](https://blog.artistworks.com/beginner-acoustic-guitar-learning-guitar-basics) # [Beginner Acoustic Guitar: Two Simple, but Important Tips](https://blog.artistworks.com/beginner-acoustic-guitar-two-simple-important-tips) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Howard Levy - Becoming a Confident Player](https://blog.artistworks.com/new-podcast-howard-levy-becoming-confident-player-0/) **Published:** June 23, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with boundary-pushing [harmonica](https://artistworks.com/harmonica-lessons-howard-levy) player [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) to continue the conversation on the concept of becoming a confident musician with another ArtistWorks master instructor. Together, they explore the role that confidence plays in performance, how to properly set expectations to bolster your confidence, and the steps you can take to grow into a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). As many of us have witnessed, master musicians radiate confidence when they’re performing. As an audience member, it quickly becomes apparent that you’re watching an undisputed master perform when every note, rest, passage, or shift in dynamics feels intentional, precise, and purposeful. However, despite what we may perceive in the audience, even master musicians make mistakes on stage. What truly distinguishes a master player from the rest is his or her ability to play through the mistake and recover with confidence. “Mistakes are the way that we learn,” Howard explains. “We can’t always tell when we’re making a mistake because we’re so involved in the actual playing. So, if you’re doing some practicing and you’re working on a tune, record yourself playing it and listen back. By doing that, you can truly evaluate your performance, learn from mistakes, and improve.” Whether you’re a beginner, intermediate, or advanced player, Howard provides specific techniques to help musicians of all levels grow their confidence, learn to play through their mistakes, and become rock-solid players. “The diatonic harmonica is particularly weird,” Howard explains. “Since we don’t have all the chromatic notes equally available, there’s all sorts of special techniques—throat and ambiture positions—that we need to use just to play a major scale. So, as a teacher, I have to provide students with tunes and techniques that they can succeed at so that they build confidence and don’t get demoralized.” To learn more about becoming a confident player, ways you can improve your success, and trust the work you’re putting in on your [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), or any other instrument, listen to the full podcast with [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Howard Levy - Becoming a Confident Player](https://blog.artistworks.com/new-podcast-howard-levy-becoming-confident-player/) **Published:** June 23, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with boundary-pushing harmonica player Howard Levy to continue the conversation on the concept of becoming a confident musician with another ArtistWorks master instructor. Together, they explore the role that confidence plays in performance, how to properly set expectations to bolster your confidence, and the steps you can take to grow into a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with boundary-pushing [harmonica](https://artistworks.com/harmonica-lessons-howard-levy) player [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) to continue the conversation on the concept of becoming a confident musician with another ArtistWorks master instructor. Together, they explore the role that confidence plays in performance, how to properly set expectations to bolster your confidence, and the steps you can take to grow into a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn how to play harmonica from a master musician like Howard Levy? Try a free harmonica lesson now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) As many of us have witnessed, master musicians radiate confidence when they’re performing. As an audience member, it quickly becomes apparent that you’re watching an undisputed master perform when every note, rest, passage, or shift in dynamics feels intentional, precise, and purposeful. However, despite what we may perceive in the audience, even master musicians make mistakes on stage. What truly distinguishes a master player from the rest is his or her ability to play through the mistake and recover with confidence. “Mistakes are the way that we learn,” Howard explains. “We can’t always tell when we’re making a mistake because we’re so involved in the actual playing. So, if you’re doing some practicing and you’re working on a tune, record yourself playing it and listen back. By doing that, you can truly evaluate your performance, learn from mistakes, and improve.” Whether you’re a beginner, intermediate, or advanced player, Howard provides specific techniques to help musicians of all levels grow their confidence, learn to play through their mistakes, and become rock-solid players. “The diatonic harmonica is particularly weird,” Howard explains. “Since we don’t have all the chromatic notes equally available, there’s all sorts of special techniques—throat and ambiture positions—that we need to use just to play a major scale. So, as a teacher, I have to provide students with tunes and techniques that they can succeed at so that they build confidence and don’t get demoralized.” To learn more about becoming a confident player, ways you can improve your success, and trust the work you’re putting in on your [harmonica](https://artistworks.com/harmonica-lessons-howard-levy), or any other instrument, listen to the full podcast with [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the harmonica and learning even more about Howard’s approaches to growing as a musician, check out his [online harmonica lessons](https://artistworks.com/harmonica-lessons-howard-levy) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free sample music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Live with Howard Levy, Bryan Sutton, & Béla Fleck](https://blog.artistworks.com/live-howard-levy-bryan-sutton-b%C3%A9la-fleck) [ArtistWorks Music Series Podcast: Bryan Sutton – Becoming a Confident Player](https://blog.artistworks.com/new-podcast-bryan-sutton-becoming-confident-player) [Harmonica Lesson: How to Hold the Harmonica](https://blog.artistworks.com/how-hold-harmonica) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Classical Piano Lesson: Practicing with Christie Peery’s F.E.R.N. Approach](https://blog.artistworks.com/classical-piano-lesson-practicing-christie-peery’s-fern-approach/) **Published:** June 18, 2021 **Author:** ArtistWorks **Excerpt:**

Practice time is something that we as musicians all wish we had more of. Therefore, when we are able to sit down with our instrument, it’s important to maximize that time to get the most out of our practice. To help accomplish that, establishing an organized agenda that provides each rehearsal session with structure and intention is critical and can be extremely effective.

**Content:** ![]() Practice time is something that we as musicians all wish we had more of. Therefore, when we are able to sit down with our instrument, it’s important to maximize that time to get the most out of our practice. To help accomplish that, establishing an organized agenda that provides each rehearsal session with structure and intention is critical and can be extremely effective. In this [online classical piano lesson](https://blog.artistworks.com/christie-peery-honors-her-mothers-piano-legacy), master pianist, ArtistWorks instructor, and founder of the Peery Piano Method, [Christie Peery](https://blog.artistworks.com/christie-peery-honors-her-mothers-piano-legacy) walks us through a rehearsal regimen that she developed that will maximize your practice time, and ensure success when learning how to play a new piece of music for the first week. Christie dubbed this five-part practice method F.E.R.N., a four-letter acronym designed to help you remember each step of the exercise process. The acronym stands for: **1.** Fingering 2\. Expression 3\. Rhythm 4\. Notes To employ Christie’s F.E.R.N. method, the piece that you’re learning needs to be practiced five times in a row. Upon each pass of the piece, Christie suggests focusing on one specific element of your performance. First, begin by focusing on executing the piece using accurate fingerings, then follow that by focusing on correct expression, then rhythm, and then notes. In the fifth and final performance of the piece, it should be your goal to execute all five elements of F.E.R.N. as precisely as possible. “F.E.R.N. is the way you should practice every time you learn a musical piece,” Christie explains. “A stellar performance isn’t expected at the beginning of the week, but, as the week goes on, you’ll see your progress and that you’re getting more parts of F.E.R.N. perfectly each time you practice.” Watch the video below to dive deeper into Christie’s F.E.R.N. method, and learn more about her [classical piano lessons](https://artistworks.com/piano-lessons-christie-peery) here at ArtistWorks: While Christie originally conceptualized this practice regimen with the classical piano in mind, its brilliance lies in the fact that it can be applied to essentially any instrument. Guitarists, Banjoists, Saxophonists, and Fiddle players alike can all approach learning a new piece using the F.E.R.N. technique. So, regardless of your instrument, players of all skill levels should incorporate Christie’s F.E.R.N. method into their practice routine. You will certainly hear the results and see your progress! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Classical Piano Lesson: Practicing with the F.E.R.N. Approach](https://blog.artistworks.com/classical-piano-lesson-practicing-fern-approach/) **Published:** June 18, 2021 **Author:** ArtistWorks **Excerpt:**

Practice time is something that we as musicians all wish we had more of. Therefore, when we are able to sit down with our instrument, it’s important to maximize that time to get the most out of our practice. To help accomplish that, establishing an organized agenda that provides each rehearsal session with structure and intention is critical and can be extremely effective.

**Content:** ![]() Practice time is something that we as musicians all wish we had more of. Therefore, when we are able to sit down with our instrument, it’s important to maximize that time to get the most out of our practice. To help accomplish that, establishing an organized agenda that provides each rehearsal session with structure and intention is critical and can be extremely effective. In this [online classical piano lesson](https://blog.artistworks.com/christie-peery-honors-her-mothers-piano-legacy), master pianist, ArtistWorks instructor, and founder of the Peery Piano Method, [Christie Peery](https://blog.artistworks.com/christie-peery-honors-her-mothers-piano-legacy) walks us through a rehearsal regimen that she developed that will maximize your practice time, and ensure success when learning how to play a new piece of music for the first week. Christie dubbed this five-part practice method F.E.R.N., a four-letter acronym designed to help you remember each step of the exercise process. The acronym stands for: **1.** Fingering 2\. Expression 3\. Rhythm 4\. Notes To employ Christie’s F.E.R.N. method, the piece that you’re learning needs to be practiced five times in a row. Upon each pass of the piece, Christie suggests focusing on one specific element of your performance. First, begin by focusing on executing the piece using accurate fingerings, then follow that by focusing on correct expression, then rhythm, and then notes. In the fifth and final performance of the piece, it should be your goal to execute all five elements of F.E.R.N. as precisely as possible. “F.E.R.N. is the way you should practice every time you learn a musical piece,” Christie explains. “A stellar performance isn’t expected at the beginning of the week, but, as the week goes on, you’ll see your progress and that you’re getting more parts of F.E.R.N. perfectly each time you practice.” Watch the video below to dive deeper into Christie’s F.E.R.N. method, and learn more about her [classical piano lessons](https://artistworks.com/piano-lessons-christie-peery) here at ArtistWorks: While Christie originally conceptualized this practice regimen with the classical piano in mind, its brilliance lies in the fact that it can be applied to essentially any instrument. Guitarists, Banjoists, Saxophonists, and Fiddle players alike can all approach learning a new piece using the F.E.R.N. technique. So, regardless of your instrument, players of all skill levels should incorporate Christie’s F.E.R.N. method into their practice routine. You will certainly hear the results and see your progress! LEARN MORE: Have you always wanted to learn how to play classical piano? Through our comprehensive [piano lessons online](https://artistworks.com/piano-lessons-christie-peery) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Christie Peery](https://artistworks.com/piano-lessons-christie-peery), and get personal feedback on your playing. Christie’s course starts with the basics and teaches everything from beginner classical piano to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians. Try out some [free sample piano lessons](https://go.artistworks.com/try-free-piano-lessons-artistworks-2) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: # [ArtistWorks Music Series Podcast: Habits of Highly Effective Musicians with Christie Peery](https://blog.artistworks.com/new-podcast-habits-highly-effective-musicians-christie-peery) [Talking Piano with Christie Peery](https://blog.artistworks.com/talking-piano-lessons-christie-peery) [Christie Peery Honor’s Her Mother’s Piano Legacy](https://blog.artistworks.com/christie-peery-honors-her-mothers-piano-legacy) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### ["Caterina Lichtenberg Solo" Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award-0/) **Published:** June 14, 2021 **Author:** ArtistWorks **Excerpt:**

On May 15, 2020, master classical mandolinist and ArtistWorks instructor, Caterina Lichtenberg, released her latest album, Caterina Lichtenberg Solo. Earlier this month, the Association for the Promotion of Classical Music announced that the nineteen-track album has been nominated for a 2021 Opus Klassik Award, one of the most prestigious German awards recognizing achievement in classical music performance.

**Content:** ![]() On May 15, 2020, master classical mandolinist and ArtistWorks instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), released her latest album, Caterina Lichtenberg Solo. Earlier this month, the Association for the Promotion of Classical Music announced that the nineteen-track album has been nominated for a 2021 Opus Klassik Award, one of the most prestigious German awards recognizing achievement in classical music performance. Caterina Lichtenberg Solo, Caterina’s tenth album release as a leader, has been nominated for awards in two of the Opus Klassik’s twenty-five categories: “Classical Without Limits” and “Solo Instrument Performance.” Also nominated for an award in these categories are artists such as Yo-Yo Ma & Kathryn Stott for Songs of Comfort and Hope, Pat Metheny for Road to the Sun, Sergey Malov for Bach – 6 Suites for Cello Solo, and more. The caliber of musicianship among all the nominees in these two categories is a true testament to the award’s prestige, and to Caterina’s mastery of the classical mandolin. In Caterina Lichtenberg Solo, Caterina performs solo works on three different types of mandolins: the Neapolitan mandolin, Baroque mandolin, and American mandola—each bringing a unique flavor to the album and emphasizing Caterina’s expansive musical palette. As indicated by Caterina’s instrument selection, the album features a repertoire spanning from Baroque to Neapolitan and 20th Century, including works from notable composers like Bach, Calace, Telemann, Kuwahara, and Abel. The album is a true “tour de force” of virtuosity and emotional depth that is rarely heard on Caterina’s chosen instrument. MORE ON THE ALBUM: [Learn more about “Caterina Lichtenberg Solo,” and order your copy today!](https://caterinalichtenberg.com/discography/caterina-lichtenberg-solo/) To further cement her prowess as one of modern music’s premier mandolinists, Caterina holds the only position in the world for classical mandolin at the Music Conservatory in Cologne, Germany. She has released and appeared on dozens of albums of duo and chamber music, and has toured the world as a soloist, with symphonies, and with her partner, fellow mandolin master [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). In addition to holding her role as a professor at the Music Conservatory in Cologne, Caterina is also a master instructor here at ArtistWorks, teaching [online mandolin lessons](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) to students around the globe since 2016. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### ["Caterina Lichtenberg Solo" Nominated for Opus Klassik Award](https://blog.artistworks.com/caterina-lichtenberg-solo-nominated-opus-klassik-award/) **Published:** June 14, 2021 **Author:** ArtistWorks **Excerpt:**

On May 15, 2020, master classical mandolinist and ArtistWorks instructor, Caterina Lichtenberg, released her latest album, Caterina Lichtenberg Solo. Earlier this month, the Association for the Promotion of Classical Music announced that the nineteen-track album has been nominated for a 2021 Opus Klassik Award, one of the most prestigious German awards recognizing achievement in classical music performance.

**Content:** ![]() On May 15, 2020, master classical mandolinist and ArtistWorks instructor, [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), released her latest album, Caterina Lichtenberg Solo. Earlier this month, the Association for the Promotion of Classical Music announced that the nineteen-track album has been nominated for a 2021 Opus Klassik Award, one of the most prestigious German awards recognizing achievement in classical music performance. Caterina Lichtenberg Solo, Caterina’s tenth album release as a leader, has been nominated for awards in two of the Opus Klassik’s twenty-five categories: “Classical Without Limits” and “Solo Instrument Performance.” Also nominated for an award in these categories are artists such as Yo-Yo Ma & Kathryn Stott for Songs of Comfort and Hope, Pat Metheny for Road to the Sun, Sergey Malov for Bach – 6 Suites for Cello Solo, and more. The caliber of musicianship among all the nominees in these two categories is a true testament to the award’s prestige, and to Caterina’s mastery of the classical mandolin. In Caterina Lichtenberg Solo, Caterina performs solo works on three different types of mandolins: the Neapolitan mandolin, Baroque mandolin, and American mandola—each bringing a unique flavor to the album and emphasizing Caterina’s expansive musical palette. As indicated by Caterina’s instrument selection, the album features a repertoire spanning from Baroque to Neapolitan and 20th Century, including works from notable composers like Bach, Calace, Telemann, Kuwahara, and Abel. The album is a true “tour de force” of virtuosity and emotional depth that is rarely heard on Caterina’s chosen instrument. MORE ON THE ALBUM: [Learn more about “Caterina Lichtenberg Solo,” and order your copy today!](https://caterinalichtenberg.com/discography/caterina-lichtenberg-solo/) To further cement her prowess as one of modern music’s premier mandolinists, Caterina holds the only position in the world for classical mandolin at the Music Conservatory in Cologne, Germany. She has released and appeared on dozens of albums of duo and chamber music, and has toured the world as a soloist, with symphonies, and with her partner, fellow mandolin master [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall). In addition to holding her role as a professor at the Music Conservatory in Cologne, Caterina is also a master instructor here at ArtistWorks, teaching [online mandolin lessons](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) to students around the globe since 2016. LEARN MORE: Have you always wanted to learn how to play classical mandolin? Through our comprehensive [classical mandolin lessons online](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Caterina Lichtenberg](https://artistworks.com/classical-mandolin-lessons-caterina-lichtenberg), and get personal feedback on your playing. Caterina’s course starts with the basics and teaches everything from beginner mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolinists and musicians. Try out some [free sample mandolin lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Professor Caterina Lichtenberg: An In-Depth Interview](https://blog.artistworks.com/professor-caterina-lichtenberg-depth-interview) # [5 Interesting Facts About the Classical Mandolin](https://blog.artistworks.com/5-interesting-facts-about-classical-mandolin) # [Tune Your Mandolin: Our Top Expert Tips](https://blog.artistworks.com/tune-your-mandolin-our-top-expert-tips) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Bryan Sutton - Becoming a Confident Player](https://blog.artistworks.com/new-podcast-bryan-sutton-becoming-confident-player-0/) **Published:** June 9, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with master bluegrass acoustic guitar player and ArtistWorks instructor Bryan Sutton to discuss the concept of becoming a confident musician. Together, they explore the role that confidence plays in performance, what can bolster or erode your confidence, and the steps you can take to become a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with master [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) player and ArtistWorks instructor [Bryan Sutton ](https://artistworks.com/guitar-lessons-bryan-sutton)to discuss the concept of becoming a confident musician. Together, they explore the role that confidence plays in performance, what can bolster or erode your confidence, and the steps you can take to become a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). Master musicians radiate confidence when they’re performing. As an audience member, it quickly becomes apparent that you’re watching an undisputed master perform when every note, rest, passage, or shift in dynamics feels intentional, precise, and purposeful. Like experts in most crafts, however, master musicians don’t possess this self-assuredness innately. It takes years of hard work and commitment to develop. But, “how is it developed,” you may be wondering? As aspiring musicians, what can we focus our efforts and attention on in order to strengthen our confidence? “When I feel confident, it’s because I’m trusting something,” Bryan explains. “Confidence is the manifestation of a more internalized recognition that, ultimately, is competency—knowing that I’ve done the work, and what provides me with confidence is trusting that work.” Whether you’re a beginner, intermediate, or advanced player, Bryan provides specific techniques to help musicians of all levels grow their confidence, learn to trust in their work, and become rock-solid players. “We’re always students,” Bryan explains. “And, part of what ends up manifesting as confidence for me is knowing that I’m also a continued student and there’s always something to learn. So, in that sense, the confidence doesn’t turn into over-confidence or an ego trip. It’s all about finding the right balance.” To learn more about becoming a confident player, ways you can improve your success, and trust the work you’re putting in on your [acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton), or any other instrument, listen to the full podcast with [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Bryan Sutton - Becoming a Confident Player](https://blog.artistworks.com/new-podcast-bryan-sutton-becoming-confident-player/) **Published:** June 9, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with master [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) player and ArtistWorks instructor [Bryan Sutton ](https://artistworks.com/guitar-lessons-bryan-sutton)to discuss the concept of becoming a confident musician. Together, they explore the role that confidence plays in performance, what can bolster or erode your confidence, and the steps you can take to become a truly fearless player. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn acoustic guitar from a master musician like Bryan Sutton? Try a free bluegrass guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) Master musicians radiate confidence when they’re performing. As an audience member, it quickly becomes apparent that you’re watching an undisputed master perform when every note, rest, passage, or shift in dynamics feels intentional, precise, and purposeful. Like experts in most crafts, however, master musicians don’t possess this self-assuredness innately. It takes years of hard work and commitment to develop. But, “how is it developed,” you may be wondering? As aspiring musicians, what can we focus our efforts and attention on in order to strengthen our confidence? “When I feel confident, it’s because I’m trusting something,” Bryan explains. “Confidence is the manifestation of a more internalized recognition that, ultimately, is competency—knowing that I’ve done the work, and what provides me with confidence is trusting that work.” Whether you’re a beginner, intermediate, or advanced player, Bryan provides specific techniques to help musicians of all levels grow their confidence, learn to trust in their work, and become rock-solid players. “We’re always students,” Bryan explains. “And, part of what ends up manifesting as confidence for me is knowing that I’m also a continued student and there’s always something to learn. So, in that sense, the confidence doesn’t turn into over-confidence or an ego trip. It’s all about finding the right balance.” To learn more about becoming a confident player, ways you can improve your success, and trust the work you’re putting in on your [acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton), or any other instrument, listen to the full podcast with [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying bluegrass acoustic guitar and learning even more about Bryan’s approaches to growing as a musician, check out his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Live with Howard Levy, Bryan Sutton, & Béla Fleck](https://blog.artistworks.com/live-howard-levy-bryan-sutton-b%C3%A9la-fleck) [5 Tips on How To Tune an Acoustic Guitar](https://blog.artistworks.com/5-tips-how-tune-acoustic-guitar) [ArtistWorks Music Series Podcast: Nathan East – The Art of Recording for Film](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Howard Levy, Bryan Sutton, & Béla Fleck](https://blog.artistworks.com/live-howard-levy-bryan-sutton-béla-fleck-0/) **Published:** June 7, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and cofounder Patricia Butler will host ArtistWorks [harmonica](https://artistworks.com/harmonica-lessons-howard-levy) instructor [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) master teacher [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and special guest Béla Fleck (world-renowned banjo player and co-founder of Béla Fleck & The Flecktones) for an afternoon discussion on, “Becoming a Confident Player.” These three musical masters will be taking a deep dive into what it takes to become a confident player on any instrument and will be sharing their approaches and techniques to becoming fearless musicians. In addition to sharing their secrets, they’ll be demonstrating their ideas and rounding out the discussion with some amazing live musical performances. As a two-time Grammy Award-winning master musician and a founding member of Béla Fleck & The Flecktones, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) has truly expanded the capabilities of the harmonica. His pioneering “overblowing” and “overbending” techniques have made the diatonic harmonica a fully chromatic instrument, allowing for near limitless musical possibilities. In addition to sharing the stage with world-renowned banjoist Béla Fleck, Howard has recorded and performed across the globe with artists such as John Prine, Chuck Mangione, Dolly Parton, Donald Fagen, Paquito D’Rivera, and more. Howard will be joined by fellow ArtistWorks master instructor and bluegrass acoustic guitar virtuoso, Bryan Sutton. A three-time Grammy Award-winning guitarist and ten-time recipient of the International Bluegrass Music Associations’ ‘Guitarist of the Year’ award, Bryan is widely considered to be the best flatpick guitarists since the late great Doc Watson and has performed and recorded with countless musical greats including Dolly Parton, the Dixie Chicks, Rhonda Vincent, Béla Fleck, Tony Rice, Chris Thile, and more. Bryan will also be joined alongside Sam Bush, Béla Fleck, Edgar Meyer, and Stuart Duncan as the House Band for this year’s 48th Annual Telluride Bluegrass Festival. ArtistWorks master teachers, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) will also be performing with their groups, The Infamous Stringdusters and Punch Brothers respectively. Joining the conversation alongside ArtistWorks master instructors Howard Levy and Bryan Sutton will be special guest Béla Fleck. A fifteen-time Grammy Award-winning musician, Béla Fleck has been nominated in more categories than any other artist in Grammy history and is a powerful creative force in the worlds of bluegrass, jazz, classical, pop, rock, and worldbeat. Béla was a longtime member of the band New Grass Revival and founded his own critically acclaimed group, Béla Fleck & The Flecktones, in 1988 alongside Howard Levy, Victor Wooten, and Roy “Future Man” Wooten. In addition to playing with both Howard and Bryan a myriad of times, Béla has shared the stage with many bluegrass, rock, and jazz greats, including Doc Watson, Jerry Garcia, Edgar Meyer, and more. Béla has also appeared on dozens of recordings as both a bandleader and a guest. Join us for a great conversation on the role of confidence in music and learn how to become a rock-solid musician from three masters of the craft this Thursday, June 10, 2021, at 5:00 pm PST on our [Facebook page](https://www.facebook.com/ArtistWorks). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Live with Howard Levy, Bryan Sutton, & Béla Fleck](https://blog.artistworks.com/live-howard-levy-bryan-sutton-béla-fleck/) **Published:** June 7, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and cofounder Patricia Butler will host ArtistWorks harmonica instructor Howard Levy, bluegrass acoustic guitar master teacher Bryan Sutton, and special guest Béla Fleck (world-renowned banjo player and co-founder of Béla Fleck & The Flecktones) for an afternoon discussion on, “Becoming a Confident Player.” These three musical masters will be taking a deep dive into what it takes to become a confident player on any instrument and will be sharing their approaches and techniques to becoming fearless musicians. In addition to sharing their secrets, they’ll be demonstrating their ideas and rounding out the discussion with some amazing live musical performances.

**Content:** ![]() In this week’s installment of our live-streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and cofounder Patricia Butler will host ArtistWorks [harmonica](https://artistworks.com/harmonica-lessons-howard-levy) instructor [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy), [bluegrass acoustic guitar](https://artistworks.com/guitar-lessons-bryan-sutton) master teacher [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and special guest Béla Fleck (world-renowned banjo player and co-founder of Béla Fleck & The Flecktones) for an afternoon discussion on, “Becoming a Confident Player.” These three musical masters will be taking a deep dive into what it takes to become a confident player on any instrument and will be sharing their approaches and techniques to becoming fearless musicians. In addition to sharing their secrets, they’ll be demonstrating their ideas and rounding out the discussion with some amazing live musical performances. As a two-time Grammy Award-winning master musician and a founding member of Béla Fleck & The Flecktones, [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) has truly expanded the capabilities of the harmonica. His pioneering “overblowing” and “overbending” techniques have made the diatonic harmonica a fully chromatic instrument, allowing for near limitless musical possibilities. In addition to sharing the stage with world-renowned banjoist Béla Fleck, Howard has recorded and performed across the globe with artists such as John Prine, Chuck Mangione, Dolly Parton, Donald Fagen, Paquito D’Rivera, and more. **LEARN MORE:** [Want to learn harmonica from a master musician like Howard Levy? Try a free online harmonica lesson now!](https://go.artistworks.com/free-online-harmonica-lessons-howard-levy) Howard will be joined by fellow ArtistWorks master instructor and bluegrass acoustic guitar virtuoso, Bryan Sutton. A three-time Grammy Award-winning guitarist and ten-time recipient of the International Bluegrass Music Associations’ ‘Guitarist of the Year’ award, Bryan is widely considered to be the best flatpick guitarists since the late great Doc Watson and has performed and recorded with countless musical greats including Dolly Parton, the Dixie Chicks, Rhonda Vincent, Béla Fleck, Tony Rice, Chris Thile, and more. Bryan will also be joined alongside Sam Bush, Béla Fleck, Edgar Meyer, and Stuart Duncan as the House Band for this year’s 48th Annual Telluride Bluegrass Festival. ArtistWorks master teachers, [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall) and [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) will also be performing with their groups, The Infamous Stringdusters and Punch Brothers respectively. **LEARN MORE:** [Want to learn from a bluegrass guitar master like Bryan Sutton? Try a free online guitar lesson now!](https://go.artistworks.com/free-bluegrass-guitar-lessons) Joining the conversation alongside ArtistWorks master instructors Howard Levy and Bryan Sutton will be special guest Béla Fleck. A fifteen-time Grammy Award-winning musician, Béla Fleck has been nominated in more categories than any other artist in Grammy history and is a powerful creative force in the worlds of bluegrass, jazz, classical, pop, rock, and worldbeat. Béla was a longtime member of the band New Grass Revival and founded his own critically acclaimed group, Béla Fleck & The Flecktones, in 1988 alongside Howard Levy, Victor Wooten, and Roy “Future Man” Wooten. In addition to playing with both Howard and Bryan a myriad of times, Béla has shared the stage with many bluegrass, rock, and jazz greats, including Doc Watson, Jerry Garcia, Edgar Meyer, and more. Béla has also appeared on dozens of recordings as both a bandleader and a guest. Join us for a great conversation on the role of confidence in music and learn how to become a rock-solid musician from three masters of the craft this Thursday, June 10, 2021, at 5:00 pm PST on our [Facebook page](https://www.facebook.com/ArtistWorks). **LEARN MORE:** Have you always wanted to learn how to play the harmonica? Or maybe you’ve wanted to pick up an acoustic guitar and play bluegrass? Through our comprehensive [harmonica](https://artistworks.com/harmonica-lessons-howard-levy) and [guitar lessons online](https://artistworks.com/guitar-lessons-bryan-sutton) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Howard Levy](https://artistworks.com/harmonica-lessons-howard-levy) or [Bryan Sutton](https://artistworks.com/guitar-lessons-bryan-sutton), and get personalized feedback on your playing. Howard and Bryan’s courses start with the basics and teach everything from the introductory fundamentals to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as musicians. Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! **READ MORE:** [Live Dispatch from Home: “Exploring the Styles of Bluegrass”](https://blog.artistworks.com/exploring-styles-bluegrass) [ArtistWorks Music Series Podcast: “Why Playing Progress Stalls” with Bryan Sutton](https://blog.artistworks.com/why-playing-progress-stalls-bryan-sutton) [Harmonica Lesson: How to Hold the Harmonica with Howard Levy](https://blog.artistworks.com/how-hold-harmonica) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Paul Gilbert Releases 16th Solo Album, Werewolves of Portland](https://blog.artistworks.com/paul-gilbert-releases-16th-solo-album-werewolves-portland-0/) **Published:** June 4, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, rock guitar legend and ArtistWorks instructor, Paul Gilbert released his sixteenth solo studio album entitled, Werewolves of Portland.

**Content:** ![]() This morning, rock guitar legend and ArtistWorks instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) released his sixteenth solo studio album entitled, Werewolves of Portland. As with Paul’s previous record, Behold Electric Guitar, the musical inspiration for Werewolves of Portland stemmed greatly from Paul’s process of writing lyrics, playing simple guitar melodies, and then expanding on them. In addition to the technical shred licks sprinkled throughout the record, Paul’s melodic phrasing when playing with both slide and standard fingerstyle guitar techniques is staggeringly captivating. Since Paul began writing the material for this new album during the heart of the 2020 pandemic, it wasn’t possible to get a band in the studio to record with him. Fortunately, Paul didn’t let that hold him back. Unlike his previous albums, he plays all the instruments on Werewolves of Portland, including the drums, keyboards, bass, and, of course, guitar. “The process of writing lyrics, then melody, then guitar, then backing it all up with the other instruments is a wonderful discovery that really started coming together for me on Behold Electric Guitar,” Paul explains. Paul prefaced the much-anticipated ten-track album with three single releases, two of which were accompanied by music videos. The first single, “Argument About Pie,” was released on March 11, 2021, alongside a wonderfully whimsical animated music video featuring hand-drawings crafted by Paul himself. The second single, “A Thunderous Ovation Shook the Columns,” debuted on April 14, 2021, and was released independently of a music video. This rousing track harkens back to the timeless classic rock power anthems of the late 70s and early 80s, with one critical and unique addition—Paul’s virtuosic technical prowess. The third single and title track of the album was released on May 19, 2021, and was joined by an accompanying music video packed with Paul’s characteristic sense of humor. Through the technical syncopated melodies, fluctuating time signatures, and a double-tracked Alex Lifeson meets Eddie Van Halen guitar tone on “Werewolves of Portland,” Paul once again affirms his status as a virtuosic guitarist, consummate songwriter, and master musician. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Paul Gilbert Releases 16th Solo Album, "Werewolves of Portland"](https://blog.artistworks.com/paul-gilbert-releases-16th-solo-album-werewolves-portland/) **Published:** June 4, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, rock guitar legend and ArtistWorks instructor, Paul Gilbert released his sixteenth solo studio album entitled, Werewolves of Portland.

**Content:** ![]() This morning, rock guitar legend and ArtistWorks instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) released his sixteenth solo studio album entitled, Werewolves of Portland. As with Paul’s previous record, Behold Electric Guitar, the musical inspiration for Werewolves of Portland stemmed greatly from Paul’s process of writing lyrics, playing simple guitar melodies, and then expanding on them. In addition to the technical shred licks sprinkled throughout the record, Paul’s melodic phrasing when playing with both slide and standard fingerstyle guitar techniques is staggeringly captivating. Since Paul began writing the material for this new album during the heart of the 2020 pandemic, it wasn’t possible to get a band in the studio to record with him. Fortunately, Paul didn’t let that hold him back. Unlike his previous albums, he plays all the instruments on Werewolves of Portland, including the drums, keyboards, bass, and, of course, guitar. “The process of writing lyrics, then melody, then guitar, then backing it all up with the other instruments is a wonderful discovery that really started coming together for me on Behold Electric Guitar,” Paul explains. Paul prefaced the much-anticipated ten-track album with three single releases, two of which were accompanied by music videos. The first single, “Argument About Pie,” was released on March 11, 2021, alongside a wonderfully whimsical animated music video featuring hand-drawings crafted by Paul himself. The second single, “A Thunderous Ovation Shook the Columns,” debuted on April 14, 2021, and was released independently of a music video. This rousing track harkens back to the timeless classic rock power anthems of the late 70s and early 80s, with one critical and unique addition—Paul’s virtuosic technical prowess. The third single and title track of the album was released on May 19, 2021, and was joined by an accompanying music video packed with Paul’s characteristic sense of humor. Through the technical syncopated melodies, fluctuating time signatures, and a double-tracked Alex Lifeson meets Eddie Van Halen guitar tone on “Werewolves of Portland,” Paul once again affirms his status as a virtuosic guitarist, consummate songwriter, and master musician. Do you want to learn how to play the album’s title track, “Werewolves of Portland,” directly from the master himself? Check out Paul’s [online rock guitar lessons](https://artistworks.com/guitar-lessons-paul-gilbert) here at ArtistWorks. As part of the [Power Tools](https://blog.artistworks.com/paul-gilberts-power-tools) section of his course, Paul provides a step-by-step video lesson and associated tablature to teach you exactly how to play “Werewolves of Portland,” as well as 21 other prolific rock riffs. Sign up today, and begin studying with one of guitar’s fastest shredders of all time! LEARN MORE: Have you always wanted to learn how to shred on guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from rock guitar icon [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personalized feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner rock riffs to advanced shred techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Paul Gilbert’s Power Tools](https://blog.artistworks.com/paul-gilberts-power-tools) # [Paul Gilbert – Harmonies in Pentatonic](https://blog.artistworks.com/paul-gilbert-harmonies-pentatonic) # [Join The 5 Day Mr. Big Challenge](https://blog.artistworks.com/join-5-day-mrbig-challenge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 10 Years of Bluegrass](https://blog.artistworks.com/artistworks-celebrates-10-years-bluegrass-0/) **Published:** June 4, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited and proud to announce that we’re celebrating 10 years of bluegrass here at ArtistWorks!

In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our ArtistWorks “Academy of Bluegrass.”

**Content:** ![]() We’re excited and proud to announce that we’re celebrating 10 years of bluegrass here at ArtistWorks! In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our ArtistWorks “Academy of Bluegrass.” While we no longer use the “Academy of Bluegrass” name, every one of these world-class instructors still teaches bluegrass music lessons here at ArtistWorks. In fact, we’ve even continued to expand our roster of bluegrass master teachers to include: Andy Hall (prolific dobro and lap steel guitarist and co-founder of the Infamous Stringdusters), Michael Daves (Grammy-nominated vocalist), Noam Pikelny (Grammy Award-winning banjoist and co-founder of the Punch Brothers), and a few exciting new instructors coming soon… To celebrate this wonderful ten-year milestone, we’re going to be giving away weekly prizes, hosting live-stream events, and more! GIVEAWAYS: Week 1: Signed SWAG Pack (3 Winners) – Signed vinyl, CDs, and custom ArtistWorks pins/picks – ArtistWorks Bluegrass Hoodie – Digital/downloadable backing track bundle Week 2: VIP Membership (3 Winners) – 12 months, all-access with the artist of your choice – Lessons, Video Exchanges, backing tracks, PDFs, and community – PLUS, each winner receives an ArtistWorks Bluegrass Hoodie Week 3: Instrument Giveaway (3 Winners) – 1 x Deering Goodtime 2 Banjo – 1 x Martin X1AE Acoustic-Electric Guitar – 1 x Epiphone MM-40L “F” Style Vintage Sunburst Mandolin – PLUS, each winner receives an ArtistWorks Bluegrass Hoodie Week 4: Fall 2021 Big Getaway! (3 Winners) – Join us in-studio for jamming, in-person lessons, and performances – Watch these icons are they record and collaborate in Napa, CA, October 2021 – Airfare and hotel paid, plus VIP SWAG pack – PLUS, 12 months, all-access to the course of your choice [Click here and ENTER TO WIN!](https://go.artistworks.com/academy-bluegrass-aniversary) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [ArtistWorks Celebrates 10 Years of Bluegrass](https://blog.artistworks.com/artistworks-celebrates-10-years-bluegrass/) **Published:** June 4, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited and proud to announce that we’re celebrating 10 years of bluegrass here at ArtistWorks!

In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our ArtistWorks “Academy of Bluegrass.”

**Content:** ![]() We’re excited and proud to announce that we’re celebrating 10 years of bluegrass here at ArtistWorks! In 2011, we welcomed Grammy Award-winning guitarist Bryan Sutton, bluegrass mandolin icon Mike Marshall, upright bass virtuoso Missy Raines, and legendary fiddle player Darol Anger to our faculty of instructors. Alongside world-renowned banjo player Tony Trischka, this amazing group of master musicians made up our ArtistWorks “Academy of Bluegrass.” While we no longer use the “Academy of Bluegrass” name, every one of these world-class instructors still teaches bluegrass music lessons here at ArtistWorks. In fact, we’ve even continued to expand our roster of bluegrass master teachers to include: Andy Hall (prolific dobro and lap steel guitarist and co-founder of the Infamous Stringdusters), Michael Daves (Grammy-nominated vocalist), Noam Pikelny (Grammy Award-winning banjoist and co-founder of the Punch Brothers), and a few exciting new instructors coming soon… To celebrate this wonderful ten-year milestone, we’re going to be giving away weekly prizes, hosting live-stream events, and more! GIVEAWAYS: Week 1: Signed SWAG Pack (3 Winners) – Signed vinyl, CDs, and custom ArtistWorks pins/picks – ArtistWorks Bluegrass Hoodie – Digital/downloadable backing track bundle Week 2: VIP Membership (3 Winners) – 12 months, all-access with the artist of your choice – Lessons, Video Exchanges, backing tracks, PDFs, and community – PLUS, each winner receives an ArtistWorks Bluegrass Hoodie Week 3: Instrument Giveaway (3 Winners) – 1 x Deering Goodtime 2 Banjo – 1 x Martin X1AE Acoustic-Electric Guitar – 1 x Epiphone MM-40L “F” Style Vintage Sunburst Mandolin – PLUS, each winner receives an ArtistWorks Bluegrass Hoodie Week 4: Fall 2021 Big Getaway! (3 Winners) – Join us in-studio for jamming, in-person lessons, and performances – Watch these icons are they record and collaborate in Napa, CA, October 2021 – Airfare and hotel paid, plus VIP SWAG pack – PLUS, 12 months, all-access to the course of your choice [Click here and ENTER TO WIN!](https://go.artistworks.com/academy-bluegrass-aniversary) MEET OUR MASTER BLUEGRASS FACULTY: TONY TRISCHKA: For nearly 40 years, Tony Trischka has been an inspiration for countless bluegrass and acoustic musicians. Tony made his recording debut with the band Country Cooking in 1971. Since then, he’s recorded numerous solo albums, collaborated with artists like Peter Rowan and Stacy Phillips, and produced Steve Martin’s Grammy-nominated album Rare Bird Alert. His 2004 album Double Banjo Bluegrass Spectacular also received a Grammy nomination and multiple IBMA awards. He has continued to push boundaries as one of the world’s top banjo players, lending his expertise as music director for the documentary “Give Me the Banjo.” Tony has taught [online banjo lessons](https://artistworks.com/banjo-lessons-tony-trischka) at ArtistWorks since 2009, building a global learning community around his Video Exchange library. BRYAN SUTTON: Bryan Sutton is arguably the best flatpick guitarist since the late great Doc Watson. During his eclectic career, he has appeared as a leading session guitarist on albums from Dolly Parton, the Dixie Chicks, Rhonda Vincent, and more. He has also played in the legendary bluegrass bands Kentucky Thunder and Hot Rize. Bryan picked up the guitar from his dad at the age of 8 and won his first Grammy award in 2007. He’s received IBMA’s ‘Guitarist of the Year’ ten times. Bryan joined the ArtistWorks family in 2011, bring his [online guitar lessons](https://artistworks.com/guitar-lessons-bryan-sutton) to students around the globe. MIKE MARSHALL: For more than 35 years, Mike Marshall has set a new standard for American acoustic music, with a breadth of talent that spans mandolin, guitar, violin, and mandocello. At age 19, he left his native Florida to pursue music, eventually joining the David Grisman Quintet in the Bay Area. Since those early days, Mike’s historic career has spanned hundreds of recordings and taken him on tour around the globe. He has also received numerous credits as a composer, producer, and featured musician. You can hear his iconic mandolin playing on the theme for NPR’s ‘Car Talk’, as well as the San Francisco-based radio show ‘Forum’ on KQED Radio. Mike has been a member of our since 2011, and, today, he and his wife Caterina Lichtenberg both teach [online mandolin lessons](https://artistworks.com/mandolin-lessons-mike-marshall) at ArtistWorks. MISSY RAINES: Missy Raines is the most decorated bass player in the history of the International Bluegrass Music Association. A First Lady of Bluegrass, she is one of the most popular bluegrass figures and a trailblazer in her field. Missy has toured and performed extensively all over the world for the last 25 years and has given bass lessons at dozens of workshops and music camps. Her rich pedigree reaches from legends such as Mac Wiseman, Kenny Baker, and Eddie Adcock to contemporary artists like Peter Rowan, Laurie Lewis, and Don Rigsby. Missy plays with her own band, The New Hip, bridging the genres of newgrass and jazz in the spirit of David Grisman. Missy has been teaching [online bass lessons](https://artistworks.com/bass-lessons-missy-raines) at ArtistWorks since 2011. DAROL ANGER: For over 40 years, Darol Anger has played on and produced scores of important recordings, and is a noted composer. Darol helped drive the evolution of the contemporary string band through his founding of pathbreaking ensembles such as Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, Montreux, and The Duo. A MacDowell and UCross Fellow, he is a featured soloist on several recordings and motion picture soundtracks. Darol is also committed to string education and helped found the String Resource Board for the International Jazz Educators Association. Since 2011, Darol has extended his love of music education by offering [online fiddle lessons](https://artistworks.com/fiddle-lessons-darol-anger) at ArtistWorks. ANDY HALL: Andy Hall graduated from the Berklee College of Music in Boston, MA with a degree in Music Production and Engineering. Andy is a founding member of the acclaimed band, The Infamous Stringdusters, who in 2007 won 3 IBMA awards for their debut album, Fork In The Road. He has also released 3 albums of his own: Aquafier (2010), The Sound Of The Slide Guitar (2007), and Redwing (2004). Andy has played resophonic guitar with many legends in the studio and on stage with Dolly Parton, Earl Scruggs, Emmylou Harris, Zack Brown, Charlie Daniels, and more. Since 2012, Andy has brought forth a “new-generation” attitude with a remarkable passion for the traditional resophonic guitar in his [online dobro lessons](https://artistworks.com/dobro-lessons-andy-hall) at ArtistWorks. MICHAEL DAVES: Michael Daves is a great talent with a very classic approach to bluegrass vocals. He’s collaborated with legendary artists who include Chris Thile, Steve Martin, Rosanne Cash, Tony Trischka, and a whole lot more. His first album with Chris Thile (Sleep With One Eye Open) was recorded live to tape over the course of four days at Jack White’s famous Third Man Records in Nashville and was later nominated for a Grammy. The New York Times calls him “The leading light for the NY bluegrass scene.” Michael is also a talented guitar player and sought-after teacher, educating people of all vocal ranges and abilities on how to sing bluegrass. He has been teaching [online vocal lessons](https://artistworks.com/bluegrass-vocal-lessons-michael-daves) at ArtistWorks since 2016. NOAM PIKELNY: Noam Pikelny has emerged as the preeminent banjoist of his generation. Hailed by the Chicago Tribune as the “pros’ top banjo picker,” Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation” and The New Yorker describes as “wide-ranging and restlessly imaginative.” In September of 2010, Pikelny was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Noam’s 2013 recording, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, was described by the New York Times as “a token of reverence, a feat of translation and a show of dominion”. The album is widely considered a landmark recording in acoustic music and was named “Album of the Year” at the 2014 International Bluegrass Music Association Awards. Noam is a two-time International Bluegrass Music Association ‘Banjo Player of the Year’ and in 2019, Noam, along with his fellow Punch Brothers, was awarded the “Best Folk Album” Grammy® for their release, All Ashore. Noam makes his home in Nashville, TN, and has been teaching [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) at ArtistWorks since Spring, 2020. LEARN MORE: Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Block Releases Music Video for Single, “Fight or Flight”](https://blog.artistworks.com/mike-block-releases-music-video-single-“fight-or-flight”/) **Published:** June 3, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() On May 11, 2021, Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block) debuted the second single from his upcoming record release with tabla master Sandeep Das entitled, Where the Soul Never Dies, which will be available everywhere on June 11, 2021. The single, aptly named “Fight or Flight,” was joined by an accompanying music video on May 19. Both are packed with Mike’s percussive, dark cello melodies, Das’s driving tabla rhythms, and a beautiful and inventive interplay between the two instruments. “Where the Soul Never Dies is our duo’s debut album, exploring the uncharted musical space of tabla and cello,” the two artists explain. “The music comes from the joy that we experience from respecting and surrendering to each other’s musical heritages. The result crosses genres with a dialogue that’s raw, organic, eclectic, and soulful.” Their first partnered collaboration, Where the Soul Never Dies expands on the boundary-pushing history that both Mike and Das share on their respective instruments. While trained in the tabla methods of the classical Indian musical tradition, Das is always actively seeking a new context for his instrument and has recorded and shared the stage with artists ranging from Ravi Shankar to Yo-Yo Ma to Paquito D’Rivera and, now, Mike Block. Similarly, Mike’s approach to the cello, performance, composition, and arrangement has always focused on hybridizing genres. He has collaborated with artists ranging from The New York Philharmonic to Stevie Wonder, Julian Lage to Sierra Hull, incorporating a multitude of styles into his cello playing with every performance. Additionally, Mike’s albums consistently debut near the top of Billboard charts for a wide variety of genres, including classical, bluegrass, world music, and more. “We did not have an existing musical prescription to follow with our music, and that allowed us to follow our hearts and minds as we brought our two instruments together as conversing soloists,” both Mike and Das explain. “The experience has taught us a lot about each other’s cultures and personalities, while at the same time uncovering something new within ourselves.” ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Mike Block Releases Music Video for Single, "Fight or Flight"](https://blog.artistworks.com/mike-block-releases-music-video-single-fight-or-flight/) **Published:** June 3, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() On May 11, 2021, Grammy Award-winning cellist and ArtistWorks instructor, [Mike Block](https://artistworks.com/cello-lessons-mike-block) debuted the second single from his upcoming record release with tabla master Sandeep Das entitled, Where the Soul Never Dies, which will be available everywhere on June 11, 2021. The single, aptly named “Fight or Flight,” was joined by an accompanying music video on May 19. Both are packed with Mike’s percussive, dark cello melodies, Das’s driving tabla rhythms, and a beautiful and inventive interplay between the two instruments. “Where the Soul Never Dies is our duo’s debut album, exploring the uncharted musical space of tabla and cello,” the two artists explain. “The music comes from the joy that we experience from respecting and surrendering to each other’s musical heritages. The result crosses genres with a dialogue that’s raw, organic, eclectic, and soulful.” Their first partnered collaboration, Where the Soul Never Dies expands on the boundary-pushing history that both Mike and Das share on their respective instruments. While trained in the tabla methods of the classical Indian musical tradition, Das is always actively seeking a new context for his instrument and has recorded and shared the stage with artists ranging from Ravi Shankar to Yo-Yo Ma to Paquito D’Rivera and, now, Mike Block. Similarly, Mike’s approach to the cello, performance, composition, and arrangement has always focused on hybridizing genres. He has collaborated with artists ranging from The New York Philharmonic to Stevie Wonder, Julian Lage to Sierra Hull, incorporating a multitude of styles into his cello playing with every performance. Additionally, Mike’s albums consistently debut near the top of Billboard charts for a wide variety of genres, including classical, bluegrass, world music, and more. “We did not have an existing musical prescription to follow with our music, and that allowed us to follow our hearts and minds as we brought our two instruments together as conversing soloists,” both Mike and Das explain. “The experience has taught us a lot about each other’s cultures and personalities, while at the same time uncovering something new within ourselves.” Mike’s unique blend of styles is not only apparent in his performance, but in his teaching as well. His [online cello lessons](https://artistworks.com/cello-lessons-mike-block) here at ArtistWorks cover a vast array of genres and techniques to teach you how to be a well-rounded, dynamic, and worldly cellist. LEARN MORE: Have you always wanted to learn how to play the cello? Through our comprehensive [cello lessons online](https://artistworks.com/cello-lessons-mike-block) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Mike Block](https://artistworks.com/cello-lessons-mike-block), and get personalized feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner cello to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as cellists and musicians. Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [A True Musical ‘Guzo’: Mike Block Interview](https://blog.artistworks.com/true-musical-guzo-mike-block-interview) # [The Top Cello Exercises for Building Pinkie Strength](https://blog.artistworks.com/top-cello-exercises-building-pinkie-strength) # [ArtistWorks Music Series Podcast: Mike Block on Performance Anxiety](https://blog.artistworks.com/new-podcast-mike-block-performance-anxiety) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dave Stryker Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/dave-stryker-celebrates-1000-video-exchanges-0/) **Published:** May 28, 2021 **Author:** ArtistWorks **Excerpt:**

AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to "Teach the World Music," and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding.

**Content:** ![]() AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding. Award-winning master jazz guitarist and former member of the Stanley Turrentine Quintet, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) has been an instructor at ArtistWorks since 2018 and has played an integral role in helping us achieve, and continue to live up to, our mission and vision. Through his guided path of [online guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and the personalized feedback he’s shared with his students over the last 3 years, Dave has helped thousands of guitarists around the world grow and improve as jazz musicians. We’re excited and proud to announce that, on May 25, 2021, Dave completed his 1,000th Video Exchange. Congratulations Dave! What an amazing milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge. Thank you to all of Dave’s wonderful jazz guitar pupils for consistently submitting videos! When asked about how it felt to reach this landmark achievement, Dave stated, “As I hit my 1000th Video Exchange, I reflect on the great pleasure it’s been to be part of the ArtistWorks family and to work with so many inspiring students. The beauty of the Video Exchange is the one-on-one interaction I’m able to share with the student, where I can offer personal advice and give them things to work on. I’m smiling as I look forward to the next 1000 VE’s here at ArtistWorks!” Judging by this fantastic Video Exchange milestone, Dave has clearly had the opportunity to meet, mentor, and guide a vast array of jazz guitar players worldwide, and help guitarists of all levels grow as musicians. And, based on Dave’s performance of “Smile” by Charlie Chaplin, he seems pretty happy about it too. We’ll be celebrating this impressive achievement by giving away an exclusive prize package to the student who submitted Dave’s 1000th Video Exchange, Martin Beji. Congratulations Martin, and thanks for submitting your Video Exchange. We’re excited to see how you continue to progress. And, congratulations again, Dave, on reaching this wonderful milestone! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dave Stryker Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/dave-stryker-celebrates-1000-video-exchanges/) **Published:** May 28, 2021 **Author:** ArtistWorks **Excerpt:**

AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to "Teach the World Music," and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding.

**Content:** ![]() AritstWorks was founded in 2008 with a vision of providing anyone, anywhere in the world with affordable, interactive access to some of the greatest music teachers on the planet. Our mission is to “Teach the World Music,” and through our comprehensive online music lessons, patented Video Exchange Learning® platform, and faculty of master musicians, we believe we’re succeeding. Award-winning master jazz guitarist and former member of the Stanley Turrentine Quintet, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) has been an instructor at ArtistWorks since 2018 and has played an integral role in helping us achieve, and continue to live up to, our mission and vision. Through his guided path of [online guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and the personalized feedback he’s shared with his students over the last 3 years, Dave has helped thousands of guitarists around the world grow and improve as jazz musicians. We’re excited and proud to announce that, on May 25, 2021, Dave completed his 1,000th Video Exchange. Congratulations Dave! What an amazing milestone, and a true testament to your dedication to your students and commitment to sharing your knowledge. Thank you to all of Dave’s wonderful jazz guitar pupils for consistently submitting videos! When asked about how it felt to reach this landmark achievement, Dave stated, “As I hit my 1000th Video Exchange, I reflect on the great pleasure it’s been to be part of the ArtistWorks family and to work with so many inspiring students. The beauty of the Video Exchange is the one-on-one interaction I’m able to share with the student, where I can offer personal advice and give them things to work on. I’m smiling as I look forward to the next 1000 VE’s here at ArtistWorks!” Judging by this fantastic Video Exchange milestone, Dave has clearly had the opportunity to meet, mentor, and guide a vast array of jazz guitar players worldwide, and help guitarists of all levels grow as musicians. And, based on Dave’s performance of “Smile” by Charlie Chaplin, he seems pretty happy about it too. We’ll be celebrating this impressive achievement by giving away an exclusive prize package to the student who submitted Dave’s 1000th Video Exchange, Martin Beji. Congratulations Martin, and thanks for submitting your Video Exchange. We’re excited to see how you continue to progress. And, congratulations again, Dave, on reaching this wonderful milestone! Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below: LEARN MORE: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [online jazz guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personalized feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner guitar to advanced performance techniques and jazz standards. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians. Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around. READ MORE: [New Podcast: Dave Stryker – Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap) # [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker) # [Peering Into a ‘Blue Soul’ – Dave Stryker Interview](https://blog.artistworks.com/peering-blue-soul-dave-stryker-interview) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Celebrating One Year of “Beginner’s Guide to Acoustic Guitar”](https://blog.artistworks.com/celebrating-one-year-“beginner’s-guide-acoustic-guitar”-0/) **Published:** May 27, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that today officially marks one year since we launched one of our newest online music courses, “Beginner’s Guide to Acoustic Guitar,” taught by David Butler, a lifelong acoustic guitarist, educator, and the Chairman and Co-founder of ArtistWorks.

**Content:** ![]() We’re excited to announce that today officially marks one year since we launched one of our newest online music courses, “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons),” taught by [David Butler](https://artistworks.com/beginner-guitar-lessons), a lifelong acoustic guitarist, educator, and the Chairman and Co-founder of ArtistWorks. David’s comprehensive online lessons teach adult-beginner-musicians how to play acoustic guitar, and are specifically designed for those who are possibly picking up an instrument for the very first time. His carefully crafted, step-by-step [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons) guide students through essential fundamental techniques, introductory music theory, and best practicing habits by teaching them to play classic songs from the 60s and 70s that they know and love. “It gives me great pleasure to see students go from tentative, nervous beginners to competent players,” David explained. “I find playing acoustic guitar to be a satisfying way to express myself musically, so I made it my mission to help others learn to play. When a student enrolls, I am committed to helping them achieve their goal to learn acoustic guitar, and will do everything I can for them.” “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)” features hundreds of hands-on instructional videos, play-along tracks, progress video checkpoints, listening lists, an active online community of adult beginner players, and a vast catalog of Video Exchanges. We also recently debuted a new, all-inclusive plan to our “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)“ course that now includes Video Exchange. Previously, students had the option of purchasing a Video Exchange for $40, in addition to their $19.99 monthly membership. Now for $35.00 per month—a $59.99 monthly value—students are able to access all the course materials, engage with the online community, and participate in a monthly Video Exchange with the creator of the platform. “The Video Exchange approach is great because when I receive a video from a student, I can put my full attention on them,” David explains. “Then, in my response video, I can help them to correct any problems or bad habits that I see, and guide them on exactly what to do next and what to focus on. The Video Exchange approach ensures maximum progress for all students, and it’s great fun getting to know everyone in the community.” In the last year since launching “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons),” we’ve had thousands of students enroll in the course, begin their journey learning how to play acoustic guitar, and enjoy the pleasures of performing music. Additionally, this June, we’ll begin launching David’s new play-along guided practice sessions specifically designed for adult beginner guitar players. So, keep an eye out for those, and don’t miss them! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Celebrating One Year of “Beginner’s Guide to Acoustic Guitar”](https://blog.artistworks.com/celebrating-one-year-“beginner’s-guide-acoustic-guitar”/) **Published:** May 27, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that today officially marks one year since we launched one of our newest online music courses, “Beginner’s Guide to Acoustic Guitar,” taught by David Butler, a lifelong acoustic guitarist, educator, and the Chairman and Co-founder of ArtistWorks.

**Content:** ![]() We’re excited to announce that today officially marks one year since we launched one of our newest online music courses, “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons),” taught by [David Butler](https://artistworks.com/beginner-guitar-lessons), a lifelong acoustic guitarist, educator, and the Chairman and Co-founder of ArtistWorks. David’s comprehensive online lessons teach adult-beginner-musicians how to play acoustic guitar, and are specifically designed for those who are possibly picking up an instrument for the very first time. His carefully crafted, step-by-step [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons) guide students through the essential fundamental techniques, introductory music theory, and best practicing habits by teaching them to play classic songs from the 60s and 70s that they know and love. “It gives me great pleasure to see students go from tentative, nervous beginners to competent players,” David explained. “I find playing acoustic guitar to be a satisfying way to express myself musically, so I made it my mission to help others learn to play. When a student enrolls, I am committed to helping them achieve their goal to learn acoustic guitar, and will do everything I can for them.” “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)” features hundreds of hands-on instructional videos, play-along tracks, progress video checkpoints, listening lists, an active online community of adult beginner players, and a vast catalog of Video Exchanges. We also recently debuted a new, all-inclusive plan to our “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)“ course that now includes Video Exchange. Previously, students had the option of purchasing a Video Exchange for $40, in addition to their $19.99 monthly membership. Now for $35.00 per month—a $59.99 monthly value—students are able to access all the course materials, engage with the online community, and participate in a monthly Video Exchange with the creator of the platform. “The Video Exchange approach is great because when I receive a video from a student, I can put my full attention on them,” David explains. “Then, in my response video, I can help them to correct any problems or bad habits that I see, and guide them on exactly what to do next and what to focus on. The Video Exchange approach ensures maximum progress for all students, and it’s great fun getting to know everyone in the community.” In the last year since launching “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons),” we’ve had thousands of students enroll in the course, begin their journey learning how to play acoustic guitar, and enjoy the pleasures of performing music. Additionally, this June, we’ll begin launching David’s new play-along guided practice sessions specifically designed for adult beginner guitar players. So, keep an eye out for those, and don’t miss them! For more information on “[Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons)” with [David Butler](https://artistworks.com/beginner-guitar-lessons), check out the video below: WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! LEARN MORE: Have you always wanted to learn acoustic guitar? Through our [acoustic guitar lessons for beginners](https://artistworks.com/beginner-guitar-lessons) and Video Exchange Learning platform here at ArtistWorks, you can learn from lifelong guitarist and ArtistWorks co-founder [David Butler](https://artistworks.com/beginner-guitar-lessons), and get personalized feedback on your playing every step of the way. Try out some [free music lessons](https://go.artistworks.com/banjo-lessons-noam-pikelny) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Beginner’s Guide to Acoustic Guitar: All-Inclusive Plan Now Available!](https://blog.artistworks.com/beginners-guide-acoustic-guitar-all-inclusive-plan-now-available) # [Beginner Acoustic Guitar: Learning Guitar Basics](https://blog.artistworks.com/beginner-acoustic-guitar-learning-guitar-basics) # [Beginner Acoustic Guitar: Two Simple, but Important Tips](https://blog.artistworks.com/beginner-acoustic-guitar-two-simple-important-tips) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Podcast: Nathan East - The Art of Recording for Film](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film-0/) **Published:** May 26, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with recording and touring [bass guitar](https://artistworks.com/rock-bass-lessons-nathan-east) icon and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), to discuss the art of recording soundtracks for film. They examine the processes and techniques used to record a film score, and how those processes differ from recording a traditional album. Nathan also recounts his recent experience recording bass for the Oscar-winning soundtrack of the Pixar animated film, “Soul.” The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). With over 2,000 album credits to his name, Nathan East is one of the most recorded bass players of all time. In addition to performing on stages around the world with some of the biggest names in pop, rock, R&B, blues, and jazz, he has also co-written and recorded songs with the likes of Eric Clapton, Bobby Womack, Michael Jackson, Stevie Wonder, George Harrison, Phil Collins, Daft Punk, Chick Corea, and more. When Nathan’s in the studio, however, he isn’t always recording bass guitar for America’s next platinum-selling artist. Oftentimes, he can be found recording soundtracks for film—yet another musical endeavor for which Nathan has proven mastery. Most recently, he recorded acoustic upright and electric bass on the 2020 Oscar-winning soundtrack for the Pixar animated film, “Soul,” alongside R&B and jazz piano virtuoso, Jon Baptiste. Nine Inch Nails frontman, Trent Reznor, and Grammy-winning composer and producer Atticus Ross were also leading contributors to the soundtrack. “We strive to do our best every time we go into the studio,” Nathan explains when asked about the Oscar win. “You never really know what’s going to be on the other end of that, or how the music’s going to be received. But, when it generates a Grammy or better yet an Oscar, which is about as good as it gets in the entertainment business, it’s pretty exciting.” There are a few critical components that differentiate the methods used when recording soundtracks for film versus recording for an album. It’s no surprise that the added visual element is the primary factor driving these differences in approach. “There are TV screens all over the studio,” Nathan explains. “When you go into the control room, there’s a large video monitor that shows the scenes, and we actually play along to those scenes… \[As a musician,\] you’re greatly influenced by the visual, and, most of the time, the director allows you to be expressive and add to the equation.” To listen to the full podcast and hear more about Nathan’s experiences recording on the soundtrack for “Soul” and other films, click the link below: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Nathan East - The Art of Recording for Film](https://blog.artistworks.com/new-podcast-nathan-east-art-recording-film/) **Published:** May 26, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with recording and touring [bass guitar](https://artistworks.com/rock-bass-lessons-nathan-east) icon and ArtistWorks instructor, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), to discuss the art of recording soundtracks for film. They examine the processes and techniques used to record a film score, and how those processes differ from recording a traditional album. Nathan also recounts his recent experience recording bass for the Oscar-winning soundtrack of the Pixar animated film, “Soul.” The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn bass guitar from a master musician like Nathan East? Try a free bass guitar lesson now!](https://go.artistworks.com/free-online-bass-lessons-nathan-east) With over 2,000 album credits to his name, Nathan East is one of the most recorded bass players of all time. In addition to performing on stages around the world with some of the biggest names in pop, rock, R&B, blues, and jazz, he has also co-written and recorded songs with the likes of Eric Clapton, Bobby Womack, Michael Jackson, Stevie Wonder, George Harrison, Phil Collins, Daft Punk, Chick Corea, and more. When Nathan’s in the studio, however, he isn’t always recording bass guitar for America’s next platinum-selling artist. Oftentimes, he can be found recording soundtracks for film—yet another musical endeavor for which Nathan has proven mastery. Most recently, he recorded acoustic upright and electric bass on the 2020 Oscar-winning soundtrack for the Pixar animated film, “Soul,” alongside R&B and jazz piano virtuoso, Jon Baptiste. Nine Inch Nails frontman, Trent Reznor, and Grammy-winning composer and producer Atticus Ross were also leading contributors to the soundtrack. “We strive to do our best every time we go into the studio,” Nathan explains when asked about the Oscar win. “You never really know what’s going to be on the other end of that, or how the music’s going to be received. But, when it generates a Grammy or better yet an Oscar, which is about as good as it gets in the entertainment business, it’s pretty exciting.” There are a few critical components that differentiate the methods used when recording soundtracks for film versus recording for an album. It’s no surprise that the added visual element is the primary factor driving these differences in approach. “There are TV screens all over the studio,” Nathan explains. “When you go into the control room, there’s a large video monitor that shows the scenes, and we actually play along to those scenes… \[As a musician,\] you’re greatly influenced by the visual, and, most of the time, the director allows you to be expressive and add to the equation.” To listen to the full podcast and hear more about Nathan’s experiences recording on the soundtrack for “Soul” and other films, click the link below: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the bass guitar and gaining further insight into Nathan’s approaches to performance and recording, check out his [online bass lessons](https://artistworks.com/rock-bass-lessons-nathan-east) right here at ArtistWorks! Through our comprehensive lessons and Video Exchange Learning platform, you can learn from internationally renowned players, like [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), and get personalized feedback on your playing. Nathan’s course starts with the basics and teaches everything from beginner bass guitar to advanced grooves and performance techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as bass players and musicians. ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Nathan East: Creating a Bass Solo](https://blog.artistworks.com/nathan-east-creating-bass-solo-0) # [Nathan East’s Tips for Playing in the Pocket](https://blog.artistworks.com/nathan-easts-tips-playing-pocket) # [New Podcast: Dave Stryker – Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [June 2021 VE Deadline Dates](https://blog.artistworks.com/june-2021-ve-deadline-dates/) **Published:** May 25, 2021 **Author:** ArtistWorks **Excerpt:**

Dear Friends,

My apologies - I won't be able to make the last May 30 VE deadline date, due to a sudden ramp up in my schedule. The next VE deadline dates will be as follows in June:

As always, I will respond to VE's submitted in chronological order, so if you want to upload your videos ahead of the deadline dates and don't mind waiting a bit, you're more than welcome to do so.

Thanks as always for your patience in waiting for your VE responses! I'm so honored to work with such a wonderful group of piano-loving students from all over the world! Have a safe, healthy, and happy June 2021!

- Hugh

**Content:** Dear Friends, My apologies – I won’t be able to make the last May 30 VE deadline date, due to a sudden ramp up in my schedule. The next VE deadline dates will be as follows in June: - Sunday, June 6 - Sunday, June 20 - Sunday, June 27 As always, I will respond to VE’s submitted in chronological order, so if you want to upload your videos ahead of the deadline dates and don’t mind waiting a bit, you’re more than welcome to do so. Thanks as always for your patience in waiting for your VE responses! I’m so honored to work with such a wonderful group of piano-loving students from all over the world! Have a safe, healthy, and happy June 2021! – Hugh ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Classical Guitar Lesson: Combining the Right & Left Hand with Jason Vieaux](https://blog.artistworks.com/classical-guitar-lesson-combining-right-left-hand-jason-vieaux/) **Published:** May 21, 2021 **Author:** ArtistWorks **Excerpt:**

When it comes to hand positioning and the manner in which you pluck the strings, the methods employed in classical guitar playing are drastically different from those used in any other style. In this online classical guitar lesson, Grammy Award-winning guitarist and ArtistWorks instructor, Jason Vieaux, demonstrates proper right and left-hand technique and how to play with appropriate form.

**Content:** ![]() When it comes to hand positioning and the manner in which you pluck the strings, the methods employed in classical guitar playing are drastically different from those used in any other style. In this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux), Grammy Award-winning guitarist and ArtistWorks instructor, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), demonstrates proper right and left-hand technique and how to play with appropriate form. “Very simple exercises are the best way to start learning proper hand placement,” Jason explains. “At this early stage, we can avoid a lot of very common bad habits.” Through a series of carefully crafted exercises, Jason provides a unique, step-by-step method for mastering these fundamental skills. His alternating index and middle finger free stroke and rest stroke patterns are the heart of his right-hand technique. When combined with a relaxed, fluid left-hand approach, these practices become the critical launchpad from which any student can flourish as a player. “With your left hand, you really want to avoid hugging the neck,” Jason explains. “You commonly see a lot of electric guitarists do this, and it creates a hinge or fulcrum with the first finger. While this might work really well for things like bending, this does not work in classical guitar playing.” For classical guitar students of any level, mastering these technical skills is essential to crafting a strong foundation on which to build. Beginning players, take your time navigating these exercises. It may feel tedious at first, but taking it slow and perfecting the basics will pay off ten-fold as you expand into more complex compositions and performance methods. For intermediate and advanced players, it never hurts to revisit these fundamentals. Working out potential kinks in your technical approach might just be exactly what you need to take your playing to the next level! So, grab your guitar, file your nails, and begin tackling this important fundamental of classical guitar with virtuoso musician, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Classical Guitar Lesson: Combining the Right & Left Hand](https://blog.artistworks.com/classical-guitar-lesson-combining-right-left-hand/) **Published:** May 21, 2021 **Author:** ArtistWorks **Excerpt:**

When it comes to hand positioning and the manner in which you pluck the strings, the methods employed in classical guitar playing are drastically different from those used in any other style. In this online classical guitar lesson, Grammy Award-winning guitarist and ArtistWorks instructor, Jason Vieaux, demonstrates proper right and left-hand technique and how to play with appropriate form.

**Content:** ![]() When it comes to hand positioning and the manner in which you pluck the strings, the methods employed in classical guitar playing are drastically different from those used in any other style. In this [online classical guitar lesson](https://artistworks.com/guitar-lessons-jason-vieaux), Grammy Award-winning guitarist and ArtistWorks instructor, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), demonstrates proper right and left-hand technique and how to play with appropriate form. “Very simple exercises are the best way to start learning proper hand placement,” Jason explains. “At this early stage, we can avoid a lot of very common bad habits.” Through a series of carefully crafted exercises, Jason provides a unique, step-by-step method for mastering these fundamental skills. His alternating index and middle finger free stroke and rest stroke patterns are the heart of his right-hand technique. When combined with a relaxed, fluid left-hand approach, these practices become the critical launchpad from which any student can flourish as a player. “With your left hand, you really want to avoid hugging the neck,” Jason explains. “You commonly see a lot of electric guitarists do this, and it creates a hinge or fulcrum with the first finger. While this might work really well for things like bending, this does not work in classical guitar playing.” For classical guitar students of any level, mastering these technical skills is essential to crafting a strong foundation on which to build. Beginning players, take your time navigating these exercises. It may feel tedious at first, but taking it slow and perfecting the basics will pay off ten-fold as you expand into more complex compositions and performance methods. For intermediate and advanced players, it never hurts to revisit these fundamentals. Working out potential kinks in your technical approach might just be exactly what you need to take your playing to the next level! So, grab your guitar, file your nails, and begin tackling this important fundamental of classical guitar with virtuoso musician, [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux): If you’re interested in learning more about free stroke, rest stroke, and continuing to refine your classical guitar techniques, check out Jason’s full collection of [classical guitar lessons](https://artistworks.com/guitar-lessons-jason-vieaux) here at ArtistWorks! LEARN MORE: Have you always wanted to learn how to play classical guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-jason-vieaux) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally renowned players, like [Jason Vieaux](https://artistworks.com/guitar-lessons-jason-vieaux), and get personalized feedback on your playing. Jason’s course starts with the basics and teaches everything from beginner classical guitar to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: # [Pat Metheny’s “Road to The Sun”](https://blog.artistworks.com/pat-metheny-road-sun) # [Tárrega’s Right-Hand Exercises for Classical Guitar](https://blog.artistworks.com/t%C3%A1rregas-right-hand-exercises-classical-guitar) # [Should You Grow Your Fingernails to Play Classical Guitar?](https://blog.artistworks.com/should-you-grow-your-fingernails-play-classical-guitar) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Paul Gilbert Releases New Single, “Werewolves of Portland”](https://blog.artistworks.com/paul-gilbert-releases-new-single-“werewolves-portland”/) **Published:** May 19, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, rock guitar legend and ArtistWorks instructor, Paul Gilbert released the third single and title track from his upcoming record, “Werewolves of Portland.”

**Content:** ![]() This morning, rock guitar legend and ArtistWorks instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) released the third single and title track from his upcoming record, “Werewolves of Portland.” The single is joined by an accompanying music video, and both are packed with Paul’s signature shred-style guitar licks, gritty overdriven tone, and characteristic sense of humour. As with Paul’s previous record, “Behold Electric Guitar,” the musical inspiration for “Werewolves of Portland,” including the title track, stemmed greatly from the process of writing lyrics, playing simple guitar melodies, and then expanding on them. Since Paul began writing the material for this new album during the heart of the 2020 pandemic, it wasn’t possible to get a band in the studio to record with him. Fortunately, Paul didn’t let that hold him back. Unlike his previous albums, he plays all the instruments on “Werewolves of Portland,” including the drums, keyboards, bass, and, of course, guitar. “The process of writing lyrics, then melody, then guitar, then backing it all up with the other instruments is a wonderful discovery that really started coming together for me on ‘Behold Electric Guitar,’” Paul explains. Through the technical syncopated melodies, fluctuating time signatures, and a double-tracked Alex Lifeson meets Eddie Van Halen guitar tone on “Werewolves of Portland,” Paul once again affirms his status as a virtuosic guitarist, consummate songwriter, and master musician. Did you know you can learn how to play “Werewolves of Portland” directly from the master himself right here at ArtistWorks? As part of the Power Tools section of his course, Paul provides a step-by-step video lesson and associated tablature to teach you exactly how to play “Werewolves of Portland,” as well as 21 other prolific rock riffs. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Paul Gilbert Releases New Single](https://blog.artistworks.com/paul-gilbert-releases-new-single/) **Published:** May 19, 2021 **Author:** ArtistWorks **Excerpt:**

This morning, rock guitar legend and ArtistWorks instructor, Paul Gilbert released the third single and title track from his upcoming record, “Werewolves of Portland.”

**Content:** ![]() This morning, rock guitar legend and ArtistWorks instructor, [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert) released the third single and title track from his upcoming record, “Werewolves of Portland.” The single is joined by an accompanying music video, and both are packed with Paul’s signature shred-style guitar licks, gritty overdriven tone, and characteristic sense of humour. As with Paul’s previous record, “Behold Electric Guitar,” the musical inspiration for “Werewolves of Portland,” including the title track, stemmed greatly from the process of writing lyrics, playing simple guitar melodies, and then expanding on them. Since Paul began writing the material for this new album during the heart of the 2020 pandemic, it wasn’t possible to get a band in the studio to record with him. Fortunately, Paul didn’t let that hold him back. Unlike his previous albums, he plays all the instruments on “Werewolves of Portland,” including the drums, keyboards, bass, and, of course, guitar. “The process of writing lyrics, then melody, then guitar, then backing it all up with the other instruments is a wonderful discovery that really started coming together for me on ‘Behold Electric Guitar,’” Paul explains. Through the technical syncopated melodies, fluctuating time signatures, and a double-tracked Alex Lifeson meets Eddie Van Halen guitar tone on “Werewolves of Portland,” Paul once again affirms his status as a virtuosic guitarist, consummate songwriter, and master musician. Do you want to learn how to play “Werewolves of Portland” directly from the master himself? Check out Paul’s [online rock guitar lessons](https://artistworks.com/guitar-lessons-paul-gilbert) here at ArtistWorks. As part of the [Power Tools](https://blog.artistworks.com/paul-gilberts-power-tools) section of his course, Paul provides a step-by-step video lesson and associated tablature to teach you exactly how to play “Werewolves of Portland,” as well as 21 other prolific rock riffs. Sign up today, and begin studying with one of guitar’s fastest shredders of all time! LEARN MORE: Have you always wanted to learn how to shred on guitar? Through our comprehensive [guitar lessons online](https://artistworks.com/guitar-lessons-paul-gilbert) and Video Exchange Learning platform here at ArtistWorks, you can learn directly from rock guitar icon [Paul Gilbert](https://artistworks.com/guitar-lessons-paul-gilbert), and get personalized feedback on your playing. Paul’s course starts with the basics and teaches everything from beginner rock riffs to advanced shred techniques. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Paul Gilbert’s Power Tools](https://blog.artistworks.com/paul-gilberts-power-tools) [Paul Gilbert – Harmonies in Pentatonic](https://blog.artistworks.com/paul-gilbert-harmonies-pentatonic) [Join The 5 Day Mr. Big Challenge](https://blog.artistworks.com/join-5-day-mrbig-challenge) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Ukulele Festival Hawaii 2021 Video Collaboration](https://blog.artistworks.com/ukulele-festival-hawaii-2021-video-collaboration/) **Published:** May 15, 2021 **Author:** ArtistWorks **Excerpt:**

We are incredibly excited to be a part of Ukulele Festival Hawaii 2021! This year will be virtual, so we wanted to put together a collaboration video of our students to show on the big day, July 18, 2021! In order to do this, we have created a series of lessons in order for you to learn the arrangement and practice.

Make sure to go to LESSONS, then 30 DAY CHALLENEGES - and scroll all the way down to the bottom. You will see the Collaboration Video title - Ukulele Festival Hawaii 2021 Video Collaboration. There may be a lot of lessons listed, in order to go through the medley we will perform, but don't let that scare you! There are several parts to choose from, so we recommend watching all of the videos to see which part you'd enjoy the most.

The medley we will be performing is Route 66/ I Feel Good. There are two parts taught for Route 66 - one for Beginners, and one for Intermediate players. Feel free to choose which one you'd like, and remember, you do not have to sing if you do not want to. For I Feel Good, there are three parts - a Beginner version, the Horn Section, and the Intermediate Rhythm. The Horn Section could be performed by Advanced Beginners (folks who feel comfortable picking) or Intermediate. For both Route 66 and I Feel Good, the Intermediate Rhythm will utilize chords up the neck, so you will need to be comfortable with barring.

**Content:** We are incredibly excited to be a part of Ukulele Festival Hawaii 2021! This year will be virtual, so we wanted to put together a collaboration video of our students to show on the big day, July 18, 2021! In order to do this, we have created a series of lessons in order for you to learn the arrangement and practice. Make sure to go to LESSONS, then 30 DAY CHALLENEGES – and scroll all the way down to the bottom. You will see the Collaboration Video title – Ukulele Festival Hawaii 2021 Video Collaboration. There may be a lot of lessons listed, in order to go through the medley we will perform, but don’t let that scare you! There are several parts to choose from, so we recommend watching all of the videos to see which part you’d enjoy the most. The medley we will be performing is *Route 66/ I Feel Good*. There are two parts taught for *Route 66* – one for Beginners, and one for Intermediate players. Feel free to choose which one you’d like, and remember, you do not have to sing if you do not want to. *For I Feel Good*, there are three parts – a Beginner version, the Horn Section, and the Intermediate Rhythm. The Horn Section could be performed by Advanced Beginners (folks who feel comfortable picking) or Intermediate. For both *Route 66* and *I Feel Good*, the Intermediate Rhythm will utilize chords up the neck, so you will need to be comfortable with barring. We will have backing tracks soon – and eventually the track you will perform with! AND being a part of this Collaboration will give you an Ukulele Festival Hawaii BADGE, once the Festival Day has happened. Keep your eyes peeled, as we will make annoucements in the Forum and Welcome Videos. Have fun strumming and picking – we can’t wait to see your VEs on these before the final recordings. ![]() Sarah & Craig ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The 4 Most Common Types of Saxophones: What are the Differences?](https://blog.artistworks.com/4-most-common-types-saxophones-what-are-differences/) **Published:** May 14, 2021 **Author:** ArtistWorks **Excerpt:**

Developed by musical instrument designer Adolphe Sax in Belgium in the 1840s, saxophones were designed to combine the best qualities of brass instruments, such as the trumpet or trombone, with traditional woodwind instruments, such as the clarinet or oboe. Despite being made primarily out of brass, saxophones are categorized as woodwind instruments because, like clarinets, the predominant catalyst through which sound is generated when playing the saxophone is the reed.

**Content:** ![]() Developed by musical instrument designer Adolphe Sax in Belgium in the 1840s, saxophones were designed to combine the best qualities of brass instruments, such as the trumpet or trombone, with traditional woodwind instruments, such as the clarinet or oboe. Despite being made primarily out of brass, saxophones are categorized as woodwind instruments because, like clarinets, the predominant catalyst through which sound is generated when playing the saxophone is the reed. When Sax originally designed the saxophone, there were fourteen different variations of the instrument. However, today, that number has been distilled down greatly to six types of saxophones. From there, only four of those remaining six types are still commonly played in modern musical contexts. In pitch order from highest to lowest, they are the soprano, alto, tenor, and baritone saxophones. So, the natural question then arises—what are the unique characteristics of these four different saxophones, and what makes each type so special? Additionally, many aspiring saxophone players often wonder—which saxophone is right for me, and which should I learn to play? Today, we’re going to help answer those questions by diving into the differences between the four most common saxophone types: SOPRANO SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax1.jpg) The soprano saxophone is the smallest of the saxophone family, and is often confused with the clarinet by the undiscerning eye. Unlike its familial counterparts, most soprano saxophones feature a linear architecture, and lack the familiar bell curve that most saxophones are recognized as having. Despite often being visually mistaken for a clarinet, the soprano saxophone has a much fuller, louder, and more midrange-focused tonality by comparison. Tuned to B-flat, the soprano is one of the more difficult saxophone types to play, and is particularly arduous to intonate properly. Therefore, it is not necessarily the best instrument on which to begin your saxophone studies. Furthermore, because it is not typically a standard fixture in most concert, jazz, or swing big bands, the soprano saxophone is more commonly the secondary instrument of most seasoned sax players, rather than the primary. ALTO SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax2.jpg) Unlike the soprano, the alto is a great saxophone to pick up if you’re beginning your musical journey and learning to play for the first time. Tuned to E-flat and pitched slightly lower than the soprano, the alto is great for introductory players because, unlike some of the larger horns, it is small, lightweight, and easy to grip. Additionally, it is relatively easy to generate a pleasing, in-tune musical tone on the alto, unlike some of the more finicky horns like the soprano. Therefore, most first-time students are able to begin performing simple melodies and tunes after only a few short lessons, and often quickly gain confidence and experience positive results. Alto saxophone is also prevalent within concert and jazz bands, and can often be heard in styles ranging from jazz to blues, classical, pop, rock, and beyond! Famous alto saxophone players throughout history include Charlie Parker, Cannonball Adderley, Marcel Mule, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), as well as many others. While he’s skilled on many instruments, master [jazz saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) player and ArtistWorks instructor, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), primarily performs on the alto saxophone, and currently occupies the lead alto chair in Grammy-Award winning jazz/fusion big band, Gordon Goodwin’s Big Phat Band. TENOR SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax3.jpg) The tenor saxophone is slightly larger and deeper sounding than the alto; however, like the alto, it has become a prevalent instrument across a wide variety of popular musical genres. It features a deep, rich tonality that can easily fill a room while simultaneously projecting through a dense band mix. This unique blend of sonic elements is what makes the tenor saxophone so alluring. Due to its larger size and lower B-flat tuning, the tenor requires the player to push more air through the instrument in order to generate a smooth, clear note. As a result, it isn’t always the ideal instrument for first-time wind players or younger musicians with smaller lung capacities. That being said, it is certainly an instrument worth quickly graduating up to. The tenor has been the instrument of choice for many saxophone legends throughout history, including John Coltrane, Stan Goetz, Sonny Rollins, and Frederick Hemke, and, like the alto, has become a tonal staple across genres ranging from jazz to classical and beyond. BARITONE SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax4.jpg) The deepest and boldest of these four common horns, the baritone is the largest saxophone that you’ll come across in most modern ensembles. Tuned to low E-flat, the baritone has a raw, organic tone that will bring a thick, full low-end to any musical context in which it is featured. As the largest of the saxophones, the baritone requires a huge volume of air in order to produce a note, and, therefore, is one of the more difficult horns to play. Consequently, it is often not recommended for beginner saxophone players, who are typically encouraged to begin with the alto or tenor as an alternative. Nonetheless, there are countless fantastic musicians who have made their mark playing the baritone saxophone, including Cecil Payne, Pepper Adams, Serge Chaloff, and more! READ MORE: [Saxophone Exercise: Play for Control, Not Speed ](https://blog.artistworks.com/saxophone-exercise-play-control-not-speed) [Eric Marienthal: How to Play “Quiet Nights”](https://blog.artistworks.com/eric-marienthal-how-play-%E2%80%9Cquiet-nights%E2%80%9D) [ArtistWorks Music Series Podcast: 60s Music with Eric Marienthal](https://blog.artistworks.com/new-podcast-60s-music-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [The 4 Most Common Types of Saxophones](https://blog.artistworks.com/4-most-common-types-saxophones/) **Published:** May 14, 2021 **Author:** ArtistWorks **Excerpt:**

Developed by musical instrument designer Adolphe Sax in Belgium in the 1840s, saxophones were designed to combine the best qualities of brass instruments, such as the trumpet or trombone, with traditional woodwind instruments, such as the clarinet or oboe. Despite being made primarily out of brass, saxophones are categorized as woodwind instruments because, like clarinets, the predominant catalyst through which sound is generated when playing the saxophone is the reed.

**Content:** ![]() Developed by musical instrument designer Adolphe Sax in Belgium in the 1840s, saxophones were designed to combine the best qualities of brass instruments, such as the trumpet or trombone, with traditional woodwind instruments, such as the clarinet or oboe. Despite being made primarily out of brass, saxophones are categorized as woodwind instruments because, like clarinets, the predominant catalyst through which sound is generated when playing the saxophone is the reed. When Sax originally designed the saxophone, there were fourteen different variations of the instrument. However, today, that number has been distilled down greatly to six types of saxophones. From there, only four of those remaining six types are still commonly played in modern musical contexts. In pitch order from highest to lowest, they are the soprano, alto, tenor, and baritone saxophones. So, the natural question then arises—what are the unique characteristics of these four different saxophones, and what makes each type so special? Additionally, many aspiring saxophone players often wonder—which saxophone is right for me, and which should I learn to play? Today, we’re going to help answer those questions by diving into the differences between the four most common saxophone types: SOPRANO SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax1.jpg) The soprano saxophone is the smallest of the saxophone family, and is often confused with the clarinet by the undiscerning eye. Unlike its familial counterparts, most soprano saxophones feature a linear architecture, and lack the familiar bell curve that most saxophones are recognized as having. Despite often being visually mistaken for a clarinet, the soprano saxophone has a much fuller, louder, and more midrange-focused tonality by comparison. Tuned to B-flat, the soprano is one of the more difficult saxophone types to play, and is particularly arduous to intonate properly. Therefore, it is not necessarily the best instrument on which to begin your saxophone studies. Furthermore, because it is not typically a standard fixture in most concert, jazz, or swing big bands, the soprano saxophone is more commonly the secondary instrument of most seasoned sax players, rather than the primary. ALTO SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax2.jpg) Unlike the soprano, the alto is a great saxophone to pick up if you’re beginning your musical journey and learning to play for the first time. Tuned to E-flat and pitched slightly lower than the soprano, the alto is great for introductory players because, unlike some of the larger horns, it is small, lightweight, and easy to grip. Additionally, it is relatively easy to generate a pleasing, in-tune musical tone on the alto, unlike some of the more finicky horns like the soprano. Therefore, most first-time students are able to begin performing simple melodies and tunes after only a few short lessons, and often quickly gain confidence and experience positive results. Alto saxophone is also prevalent within concert and jazz bands, and can often be heard in styles ranging from jazz to blues, classical, pop, rock, and beyond! Famous alto saxophone players throughout history include Charlie Parker, Cannonball Adderley, Marcel Mule, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), as well as many others. While he’s skilled on many instruments, master [jazz saxophone](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) player and ArtistWorks instructor, [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), primarily performs on the alto saxophone, and currently occupies the lead alto chair in Grammy-Award winning jazz/fusion big band, Gordon Goodwin’s Big Phat Band. LEARN MORE: [Want to learn from a jazz saxophone master like Eric Marienthal? Try a free online saxophone lesson now!](https://go.artistworks.com/free-online-saxophone-lessons-eric-marienthal) TENOR SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax3.jpg) The tenor saxophone is slightly larger and deeper sounding than the alto; however, like the alto, it has become a prevalent instrument across a wide variety of popular musical genres. It features a deep, rich tonality that can easily fill a room while simultaneously projecting through a dense band mix. This unique blend of sonic elements is what makes the tenor saxophone so alluring. Due to its larger size and lower B-flat tuning, the tenor requires the player to push more air through the instrument in order to generate a smooth, clear note. As a result, it isn’t always the ideal instrument for first-time wind players or younger musicians with smaller lung capacities. That being said, it is certainly an instrument worth quickly graduating up to. The tenor has been the instrument of choice for many saxophone legends throughout history, including John Coltrane, Stan Goetz, Sonny Rollins, and Frederick Hemke, and, like the alto, has become a tonal staple across genres ranging from jazz to classical and beyond. BARITONE SAXOPHONE ![](https://blog.artistworks.com/wp-content/uploads/2021/01/sax4.jpg) The deepest and boldest of these four common horns, the baritone is the largest saxophone that you’ll come across in most modern ensembles. Tuned to low E-flat, the baritone has a raw, organic tone that will bring a thick, full low-end to any musical context in which it is featured. As the largest of the saxophones, the baritone requires a huge volume of air in order to produce a note, and, therefore, is one of the more difficult horns to play. Consequently, it is often not recommended for beginner saxophone players, who are typically encouraged to begin with the alto or tenor as an alternative. Nonetheless, there are countless fantastic musicians who have made their mark playing the baritone saxophone, including Cecil Payne, Pepper Adams, Serge Chaloff, and more! JAZZ SAXOPHONE LESSONS AT ARTISTWORKS: Have you always wanted to learn how to play jazz saxophone? Through our comprehensive [online saxophone lessons](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Eric Marienthal](https://artistworks.com/jazz-saxophone-lessons-eric-marienthal), and get personalized feedback on your playing. Eric’s course starts with the basics and teaches everything from beginner jazz saxophone to advanced performance techniques and jazz standards. So, whether you’re a beginner, intermediate, or advanced sax player, all levels are welcome and all students will grow and improve their skills as saxophonists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Saxophone Exercise: Play for Control, Not Speed ](https://blog.artistworks.com/saxophone-exercise-play-control-not-speed) [Eric Marienthal: How to Play “Quiet Nights”](https://blog.artistworks.com/eric-marienthal-how-play-%E2%80%9Cquiet-nights%E2%80%9D) [ArtistWorks Music Series Podcast: 60s Music with Eric Marienthal](https://blog.artistworks.com/new-podcast-60s-music-eric-marienthal) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Beginner Lesson: Bow Circle Stomp!](https://blog.artistworks.com/new-beginner-lesson-bow-circle-stomp/) **Published:** May 12, 2021 **Author:** ArtistWorks **Excerpt:**

We're happy to announce a new lesson was just added to the Beginner Fiddle lesson list. Darol teaches a new bow circle exercise and tune to practice with and the lesson includes a pdf to help you find the notes. You can find the lesson at the end of the list in Beginner, or to go straight there now CLICK HERE.

**Content:** ![]() We’re happy to announce a new lesson was just added to the Beginner Fiddle lesson list. Darol teaches a new bow circle exercise and tune to practice with and the lesson includes a pdf to help you find the notes. You can find the lesson at the end of the list in Beginner, or to go straight there now [CLICK HERE](https://my.artistworks.com/darol-anger/learning/180952). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Dave Stryker - Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap-0/) **Published:** May 12, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with master [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker) player and ArtistWorks instructor [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) to discuss the concept of building a practice roadmap, and the best approaches to making your practice time more efficient, productive, and successful. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). To become a master musician, especially in the jazz realm, you have to be committed to being a lifelong student. Practicing upwards of 8 hours per day is no rarity among dedicated jazz players. However, as with most things that require prolonged daily focus and attention, sometimes it can be difficult to stay motivated and inspired to pick up your instrument and practice. “Sometimes if you feel that practicing is drudgery and something you don’t want to do, you’re not alone,” Dave explains. “That’s common for a lot of us. But, there are so many ways to get over that hump.” Whether you’re a beginner, intermediate, or advanced player, Dave has specific techniques to help musicians of all levels stay motivated and inspired to pick up their instrument and practice. “The most important thing is that you’re consistent,” Dave explains. “If you only have a half hour or an hour a day to practice, make sure to use it. On a technical level, it’s important for us guitar players to keep our fingers moving.” To learn more about building a practice roadmap and ways you can improve your success and efficiency while practicing [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), listen to the full podcast with [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! READ MORE: [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker) [ArtistWorks Music Series Podcast: Building Your Practice Roadmap with Craig & Sarah](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap) [Dave Stryker Interview: Peering Into a “Blue Soul”](https://blog.artistworks.com/peering-blue-soul-dave-stryker-interview) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Dave Stryker - Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-dave-stryker-building-your-practice-roadmap/) **Published:** May 12, 2021 **Author:** ArtistWorks **Excerpt:**

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with master [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker) player and ArtistWorks instructor [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) to discuss the concept of building a practice roadmap, and the best approaches to making your practice time more efficient, productive, and successful. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn jazz guitar from a master musician like Dave Stryker? Try a free jazz guitar lesson now!](https://go.artistworks.com/free-music-lessons-dave-stryker) To become a master musician, especially in the jazz realm, you have to be committed to being a lifelong student. Practicing upwards of 8 hours per day is no rarity among dedicated jazz players. However, as with most things that require prolonged daily focus and attention, sometimes it can be difficult to stay motivated and inspired to pick up your instrument and practice. “Sometimes if you feel that practicing is drudgery and something you don’t want to do, you’re not alone,” Dave explains. “That’s common for a lot of us. But, there are so many ways to get over that hump.” Whether you’re a beginner, intermediate, or advanced player, Dave has specific techniques to help musicians of all levels stay motivated and inspired to pick up their instrument and practice. “The most important thing is that you’re consistent,” Dave explains. “If you only have a half hour or an hour a day to practice, make sure to use it. On a technical level, it’s important for us guitar players to keep our fingers moving.” To learn more about building a practice roadmap and ways you can improve your success and efficiency while practicing [jazz guitar](https://artistworks.com/jazz-guitar-lessons-dave-stryker), listen to the full podcast with [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker) here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the jazz guitar and learning even more about Dave’s approaches to growing as a musician, check out his [online guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) right here at ArtistWorks! “I’ve spent a long time playing, practicing, and teaching,” Dave explains. “I like to get right into the good stuff. I keep my students focused on the skills that I use everyday on the gig and on records.” ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker) [ArtistWorks Music Series Podcast: Building Your Practice Roadmap with Craig & Sarah](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap) [Dave Stryker Interview: Peering Into a “Blue Soul”](https://blog.artistworks.com/peering-blue-soul-dave-stryker-interview) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Darol Anger and Grant Gordy play "Spain"](https://blog.artistworks.com/darol-anger-and-grant-gordy-play-spain/) **Published:** May 11, 2021 **Author:** ArtistWorks **Excerpt:**

I'll be posting a special lesson on backing up the great Chick Corea standard "Spain" pretty soon.

Here's the Youtube video of my Mr Sun bandmate Grant Gordy and me playing that piece, complete with introduction. I'm playing a carbon-fiber octave violin made in Spain!

The URL is right here, just copy it and paste into your browser: https://youtu.be/eaIRHYdqTpU

In other news, I'm rigging up an overhead camera for the left hand, so we'll have some more informative lessons coming out of the old home studio soon.

**Content:** I’ll be posting a special lesson on backing up the great Chick Corea standard “**Spain**” pretty soon. Here’s the Youtube video of my **Mr Sun** bandmate Grant Gordy and me playing that piece, complete with introduction. I’m playing a carbon-fiber octave violin made in Spain! The URL is right here, just copy it and paste into your browser: https://youtu.be/eaIRHYdqTpU In other news, I’m rigging up an overhead camera for the left hand, so we’ll have some more informative lessons coming out of the old home studio soon. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Beginner's Guide to Acoustic Guitar: All-Inclusive Plan Now Available!](https://blog.artistworks.com/beginners-guide-acoustic-guitar-all-inclusive-plan-now-available-0/) **Published:** May 6, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce the addition of a new, all-inclusive plan to our Beginner’s Guide to Acoustic Guitar course that now includes Video Exchange!

**Content:** ![]() We’re excited to announce the addition of a new, all-inclusive plan to our [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) course that now includes Video Exchange! The course, taught by [David Butler](https://artistworks.com/beginner-guitar-lessons), ArtistWorks Chairman and Cofounder, features hundreds of hands-on instructional videos, play along tracks, progress video checkpoints, Listening Lists, an active online community of adult beginner players, and a vast catalog of Video Exchanges. Now for $35.00 per month, students in the Beginner’s Guide to Acoustic Guitar course will have access to David’s comprehensive collection of [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons), and they’ll also be able to participate in a monthly Video Exchange—the fundamental feature that makes the ArtistWorks learning platform so unique and valuable! Consistent feedback on your playing will help reinforce positive habits, eliminate bad practices, and promote confidence. Through this new all-inclusive plan, adult beginner guitarists are able to receive routine, personalized evaluations on their progress and monthly encouragement directly from David. The Video Exchange platform offers the most efficient and effective method for learning how to play the acoustic guitar online, and improving as a musician. Previously, Beginner’s Guide to Acoustic Guitar students had the option of purchasing a Video Exchange for $40, in addition to their $19.99 monthly membership. Now for $35.00 per month—a $59.99 monthly value—students are able to access all the course materials, engage with the online community, and receive the full benefits of the Video Exchange platform. Rather than purchasing a Video Exchange for $40 à la carte alongside your $19.99 monthly membership, put your playing in the fast lane with our new all-inclusive Beginner’s Guide to Acoustic Guitar plan. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Beginner's Guide to Acoustic Guitar: All-Inclusive Plan Now Available!](https://blog.artistworks.com/beginners-guide-acoustic-guitar-all-inclusive-plan-now-available/) **Published:** May 6, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce the addition of a new, all-inclusive plan to our Beginner’s Guide to Acoustic Guitar course that now includes Video Exchange!

**Content:** ![]() We’re excited to announce the addition of a new, all-inclusive plan to our [Beginner’s Guide to Acoustic Guitar](https://artistworks.com/beginner-guitar-lessons) course that now includes Video Exchange! The course, taught by [David Butler](https://artistworks.com/beginner-guitar-lessons), ArtistWorks Chairman and Cofounder, features hundreds of hands-on instructional videos, play along tracks, progress video checkpoints, Listening Lists, an active online community of adult beginner players, and a vast catalog of Video Exchanges. Now for $35.00 per month, students in the Beginner’s Guide to Acoustic Guitar course will have access to David’s comprehensive collection of [online acoustic guitar lessons](https://artistworks.com/beginner-guitar-lessons), and they’ll also be able to participate in a monthly Video Exchange—the fundamental feature that makes the ArtistWorks learning platform so unique and valuable! Consistent feedback on your playing will help reinforce positive habits, eliminate bad practices, and promote confidence. Through this new all-inclusive plan, adult beginner guitarists are able to receive routine, personalized evaluations on their progress and monthly encouragement directly from David. The Video Exchange platform offers the most efficient and effective method for learning how to play the acoustic guitar online, and improving as a musician. Previously, Beginner’s Guide to Acoustic Guitar students had the option of purchasing a Video Exchange for $40, in addition to their $19.99 monthly membership. Now for $35.00 per month—a $59.99 monthly value—students are able to access all the course materials, engage with the online community, and receive the full benefits of the Video Exchange platform. Rather than purchasing a Video Exchange for $40 à la carte alongside your $19.99 monthly membership, put your playing in the fast lane with our new all-inclusive Beginner’s Guide to Acoustic Guitar plan. WHAT IS A VIDEO EXCHANGE? Interested in learning more about our patented Video Exchange Learning® platform? Check out the video below! MORE ON OUR BEGINNER’S GUIDE TO ACOUSTIC GUITAR COURSE: [David Butler](https://artistworks.com/beginner-guitar-lessons) is the Chairman and Cofounder of ArtistWorks, a lifelong acoustic guitarist, and the creator of Video Exchange Learning®. He grew up listening to and playing the guitar-centric music of the 60’s, surrounded by the many musical influences of his hometown Memphis, Tennessee. Especially drawn to the sound of the acoustic guitar, he strived to master and teach its many styles and techniques including flat pick and fingerstyle (“Travis”) picking. In this online Beginner Acoustic Guitar course, David shares his lifetime of acoustic guitar knowledge. His goal is to provide comprehensive, step-by-step, deep instruction that fills in gaps that often cause first time players to get frustrated. Normally behind the camera at ArtistWorks, he now steps to the other side to teach all the adult beginners who wish to play and enjoy the acoustic guitar. Interested in learning how to play the acoustic guitar? Experience our acoustic guitar lessons online for yourself and try out some [free music lessons](https://artistworks.com/#freelessons) here. You’ll quickly see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Jazz Piano Lesson: Approach Patterns with George Whitty](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns-george-whitty-0/) **Published:** May 4, 2021 **Author:** ArtistWorks **Excerpt:**

Understanding scales, modes, and chord tone structure is critical to building a great jazz piano solo and learning how to improvise. However, restricting your playing to diatonic scale patterns is not the only method of improvisation. In fact, veering away from traditional scale structure and incorporating notes that are outside of a piece’s harmonic context will allow you to achieve that authentic “jazz sound” when performing a solo. Embracing chromaticism in your piano playing is crucial to developing your jazz vocabulary.

**Content:** ![]() Understanding scales, modes, and chord tone structure is critical to building a great jazz piano solo and learning how to improvise. However, restricting your playing to diatonic scale patterns is not the only method of improvisation. In fact, veering away from traditional scale structure and incorporating notes that are outside of a piece’s harmonic context will allow you to achieve that authentic “jazz sound” when performing a solo. Embracing chromaticism in your piano playing is crucial to developing your jazz vocabulary. In this [online piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) explains the concept of chromatic approach patterns and how to integrate them into your improvisation on the piano. “These approach patterns are very simple,” George explains. “They’re little three-note combinations that lead to a target note. When you hear them, you’ll probably recognize them if you listen to a lot of bebop. \[They’re present in\] a lot of great bebop solos.” George focuses not only on accurately performing the chromatic approach patterns themselves, but also on placing these approach patterns properly within a soloistic idea. “Part of what we like about these approach patterns is that they do, for a second, put tension on the beat,” George explains. “Then, on the very next beat, you resolve down to your target note, the chord tone. That little bit of tension and release is really a classic part of the jazz vocabulary.” The tonal characteristics of these approaches helped define the sounds of bebop piano greats like Horace Silver, Oscar Peterson, and Wynton Kelly, and they’re a key factor behind George’s improvisational brilliance. “These approaches are kind of like pivot points or hinges that lead us to a target note using a combination of chromatic passing tones and diatonic scale tones,” George explains. “In general, this target note is a chord tone, and, from there, you can proceed into your scale or whatever comes next.” For jazz piano students of any level, exploring and understanding these chromatic approach patterns is essential to mastering the jazz musical idiom. Beginning players, take your time analyzing and deconstructing these patterns. For intermediate and advanced players, it never hurts to revisit this fundamental concept. It might just inspire the breakthrough you need to take your improvisational skills to the next level! In this introductory online piano lesson, George outlines the first of four chromatic approach patterns commonly found in jazz improvisation. So, hop over to your keyboard and begin tackling this important improvisational concept with master pianist [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Jazz Piano Lesson: Approach Patterns](https://blog.artistworks.com/jazz-piano-lesson-approach-patterns/) **Published:** May 4, 2021 **Author:** ArtistWorks **Excerpt:**

Understanding scales, modes, and chord tone structure is critical to building a great jazz piano solo and learning how to improvise. However, restricting your playing to diatonic scale patterns is not the only method of improvisation. In fact, veering away from traditional scale structure and incorporating notes that are outside of a piece’s harmonic context will allow you to achieve that authentic “jazz sound” when performing a solo. Embracing chromaticism in your piano playing is crucial to developing your jazz vocabulary.

**Content:** ![]() Understanding scales, modes, and chord tone structure is critical to building a great jazz piano solo and learning how to improvise. However, restricting your playing to diatonic scale patterns is not the only method of improvisation. In fact, veering away from traditional scale structure and incorporating notes that are outside of a piece’s harmonic context will allow you to achieve that authentic “jazz sound” when performing a solo. Embracing chromaticism in your piano playing is crucial to developing your jazz vocabulary. In this [online piano lesson](https://artistworks.com/jazz-piano-lessons-george-whitty), master jazz pianist and ArtistWorks instructor, [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty) explains the concept of chromatic approach patterns and how to integrate them into your improvisation on the piano. “These approach patterns are very simple,” George explains. “They’re little three-note combinations that lead to a target note. When you hear them, you’ll probably recognize them if you listen to a lot of bebop. \[They’re present in\] a lot of great bebop solos.” George focuses not only on accurately performing the chromatic approach patterns themselves, but also on placing these approach patterns properly within a soloistic idea. “Part of what we like about these approach patterns is that they do, for a second, put tension on the beat,” George explains. “Then, on the very next beat, you resolve down to your target note, the chord tone. That little bit of tension and release is really a classic part of the jazz vocabulary.” The tonal characteristics of these approaches helped define the sounds of bebop piano greats like Horace Silver, Oscar Peterson, and Wynton Kelly, and they’re a key factor behind George’s improvisational brilliance. “These approaches are kind of like pivot points or hinges that lead us to a target note using a combination of chromatic passing tones and diatonic scale tones,” George explains. “In general, this target note is a chord tone, and, from there, you can proceed into your scale or whatever comes next.” For jazz piano students of any level, exploring and understanding these chromatic approach patterns is essential to mastering the jazz musical idiom. Beginning players, take your time analyzing and deconstructing these patterns. For intermediate and advanced players, it never hurts to revisit this fundamental concept. It might just inspire the breakthrough you need to take your improvisational skills to the next level! In this introductory online piano lesson, George outlines the first of four chromatic approach patterns commonly found in jazz improvisation. So, hop over to your keyboard and begin tackling this important improvisational concept with master pianist [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty): If you’re interested in learning the other three chromatic approach patterns and continuing your improvisation studies, check out George’s full collection of [jazz piano lessons](https://artistworks.com/jazz-piano-lessons-george-whitty) here at ArtistWorks! LEARN MORE: Have you always wanted to learn how to play jazz piano? Through our comprehensive [piano lessons online](https://artistworks.com/jazz-piano-lessons-george-whitty) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [George Whitty](https://artistworks.com/jazz-piano-lessons-george-whitty), and get personalized feedback on your playing. George’s course starts with the basics and teaches everything from beginner jazz piano to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as pianists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [New Podcast: George Whitty – Exploring the Styles of Jazz](https://blog.artistworks.com/new-podcast-george-whitty-exploring-styles-jazz) [George Whitty – Tapping into Time & Feel](https://blog.artistworks.com/george-whitty-tapping-time-feel) [This is ArtistWorks: Behind the Scenes with Our Artists](https://blog.artistworks.com/artistworks-behind-scenes-our-artists) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Piano --- ### [Mandolin Lesson: How to Hold the Mandolin](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin-0/) **Published:** April 30, 2021 **Author:** ArtistWorks **Excerpt:**

It’s often easy to forget that performing on a musical instrument is as much a physical endeavor as it is a mental one. As such, employing proper posture and holding the instrument correctly is critical to playing with excellent technique, performing in a relaxed manner with minimal tension, and reducing the risk of physical injury. So players of all levels will want to get this mandolin fundamental right.

**Content:** ![]() It’s often easy to forget that performing on a musical instrument is as much a physical endeavor as it is a mental one. As such, employing proper posture and holding the instrument correctly is critical to playing with excellent technique, performing in a relaxed manner with minimal tension, and reducing the risk of physical injury. So players of all levels will want to get this mandolin fundamental right. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons-mike-marshall), world-renowned bluegrass mandolin master and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) explains exactly how to hold the mandolin for optimized tone, technique, and playability. He also outlines the proper methods for holding the mandolin while seated and standing for the best performance consistency, a hallmark of Mike’s virtuosity. “I use a footstool whenever I’m \[playing seated\],” Mike explains. “I get the left leg up so that the mandolin is resting at an angle in between my legs.” Mike’s goal is to prevent the mandolin from shifting during play and simply allow the instrument to resonate properly. “I’ve noticed at workshops that players often need to lengthen their straps a little bit,” Mike explains. “\[this is necessary\] in order to get the mandolin to sit properly between their legs.” Just as Mike focuses on keeping the mandolin stationary when seated, his goals for standing performance are very similar—it’s all about consistency. “The main thing I like to make sure of when I go \[from a seated\] to a standing position, is that things aren’t changing that much in terms of \[where the mandolin is placed\],” Mike explains. “You want to make sure that where the mandolin sits in relation to your chest is about the same when you’re in the seated position as when you come up to the standing position.” Mike rounds out the lesson by showcasing his “tone-guard,” which is a device that attaches to the back of the mandolin and prevents the instrument from pressing completely against one’s body when performing in a standing position. He explains why using a “tone-guard” is critical to playing while standing. Ensemble players will want to learn this important tip. Regardless of your playing level, analyzing the manner in which you hold your mandolin is critical. If you’re a beginner, establishing Mike’s fundamental best practices early will help you advance quickly. If you’re an intermediate or advanced level player, a plateau in your progress can often stem from incorrectly performing a foundational skill, like how you’re holding your instrument. Remember, it never hurts to revisit the basics. So, grab your mandolin, your pick, a footstool, and a strap, and practice your standing and seated performance posture with the help of master mandolinist [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) in this [online mandolin lesson](https://artistworks.com/mandolin-lessons-mike-marshall): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [Mandolin Lesson: How to Hold the Mandolin](https://blog.artistworks.com/mandolin-lesson-how-hold-mandolin/) **Published:** April 30, 2021 **Author:** ArtistWorks **Excerpt:**

It’s often easy to forget that performing on a musical instrument is as much a physical endeavor as it is a mental one. As such, employing proper posture and holding the instrument correctly is critical to playing with excellent technique, performing in a relaxed manner with minimal tension, and reducing the risk of physical injury. So players of all levels will want to get this mandolin fundamental right.

**Content:** ![]() It’s often easy to forget that performing on a musical instrument is as much a physical endeavor as it is a mental one. As such, employing proper posture and holding the instrument correctly is critical to playing with excellent technique, performing in a relaxed manner with minimal tension, and reducing the risk of physical injury. So players of all levels will want to get this mandolin fundamental right. In this [online mandolin lesson](https://artistworks.com/mandolin-lessons-mike-marshall), world-renowned bluegrass mandolin master and ArtistWorks instructor, [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) explains exactly how to hold the mandolin for optimized tone, technique, and playability. He also outlines the proper methods for holding the mandolin while seated and standing for the best performance consistency, a hallmark of Mike’s virtuosity. “I use a footstool whenever I’m \[playing seated\],” Mike explains. “I get the left leg up so that the mandolin is resting at an angle in between my legs.” Mike’s goal is to prevent the mandolin from shifting during play and simply allow the instrument to resonate properly. “I’ve noticed at workshops that players often need to lengthen their straps a little bit,” Mike explains. “\[this is necessary\] in order to get the mandolin to sit properly between their legs.” Just as Mike focuses on keeping the mandolin stationary when seated, his goals for standing performance are very similar—it’s all about consistency. “The main thing I like to make sure of when I go \[from a seated\] to a standing position, is that things aren’t changing that much in terms of \[where the mandolin is placed\],” Mike explains. “You want to make sure that where the mandolin sits in relation to your chest is about the same when you’re in the seated position as when you come up to the standing position.” Mike rounds out the lesson by showcasing his “tone-guard,” which is a device that attaches to the back of the mandolin and prevents the instrument from pressing completely against one’s body when performing in a standing position. He explains why using a “tone-guard” is critical to playing while standing. Ensemble players will want to learn this important tip. Regardless of your playing level, analyzing the manner in which you hold your mandolin is critical. If you’re a beginner, establishing Mike’s fundamental best practices early will help you advance quickly. If you’re an intermediate or advanced level player, a plateau in your progress can often stem from incorrectly performing a foundational skill, like how you’re holding your instrument. Remember, it never hurts to revisit the basics. So, grab your mandolin, your pick, a footstool, and a strap, and practice your standing and seated performance posture with the help of master mandolinist [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall) in this [online mandolin lesson](https://artistworks.com/mandolin-lessons-mike-marshall): Have you always wanted to learn how to play the mandolin? Through our comprehensive [mandolin lessons online](https://artistworks.com/mandolin-lessons-mike-marshall) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Mike Marshall](https://artistworks.com/mandolin-lessons-mike-marshall), and get personalized feedback on your playing. Mike’s course starts with the basics and teaches everything from beginner bluegrass mandolin to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as mandolin players and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Professor Caterina Lichtenberg: An In-Depth Interview](https://blog.artistworks.com/professor-caterina-lichtenberg-depth-interview) [New Podcast! “Why Playing Progress Stalls” with Mike Marshall](https://blog.artistworks.com/new-podcast-why-playing-progress-stalls-mike-marshall) [Essential Bluegrass Mandolin Chords: Chop Chords](https://blog.artistworks.com/essential-bluegrass-mandolin-chords-chop-chords) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Mandolin --- ### [New Podcast: Craig & Sarah - Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap-0/) **Published:** April 28, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with world-renowned ukulele players and ArtistWorks instructors Craig Chee and Sarah Maisel to discuss the concept of building a practice roadmap, and the best approaches to making your practice time efficient, successful, and fun! The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with world-renowned [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah) players and ArtistWorks instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) to discuss the concept of building a practice roadmap, and the best approaches to making your practice time efficient, successful, and fun! The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). To become a master musician, you have to be committed to being a lifelong student. Music’s beauty lies in the fact that the artistic journey is unending. Room for growth and improvement is always present whether you’re a seasoned professional or you’re picking up an instrument for the first time. As a result, dedicating time to practice is critical for musicians of all levels. Craig and Sarah’s fundamental philosophy behind practicing, and lifelong growth on the ukulele, is founded in setting small, reachable goals and building upon those goals with each practice session. “Breaking down your practice session into the finer points is always going to make your overall practice sessions more successful,” Sarah explains. “We find that if you really break things down, you’ll have a much higher rate of success than trying to work on multiple skills at once.” Craig and Sarah outline why establishing small, focused, and attainable goals is critical for success. It creates stepping stones for improvement and boosts morale and confidence as you succeed at reaching those goals. However, they also express the importance of crafting a long-term vision for your musical journey. “Typically, Sarah and I love to set long-term goals and then we have a bunch of short-term goals that we can do even on a day-to-day basis to help us reach the larger goal,” Craig explains. “Having little successes is so important to drive you and have an inspired session where you do feel accomplished.” To learn more about building a practice roadmap and ways you can improve your success and efficiency while practicing ukulele, listen to the full podcast with Craig and Sarah here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Craig & Sarah - Building Your Practice Roadmap](https://blog.artistworks.com/new-podcast-craig-sarah-building-your-practice-roadmap/) **Published:** April 28, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with world-renowned ukulele players and ArtistWorks instructors Craig Chee and Sarah Maisel to discuss the concept of building a practice roadmap, and the best approaches to making your practice time efficient, successful, and fun! The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with world-renowned [ukulele](https://artistworks.com/ukulele-lessons-craig-sarah) players and ArtistWorks instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) to discuss the concept of building a practice roadmap, and the best approaches to making your practice time efficient, successful, and fun! The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn ukulele from master musicians like Craig Chee & Sarah Maisel? Try a free ukulele lesson now!](https://go.artistworks.com/free-online-ukulele-lessons) To become a master musician, you have to be committed to being a lifelong student. Music’s beauty lies in the fact that the artistic journey is unending. Room for growth and improvement is always present whether you’re a seasoned professional or you’re picking up an instrument for the first time. As a result, dedicating time to practice is critical for musicians of all levels. Craig and Sarah’s fundamental philosophy behind practicing, and lifelong growth on the ukulele, is founded in setting small, reachable goals and building upon those goals with each practice session. “Breaking down your practice session into the finer points is always going to make your overall practice sessions more successful,” Sarah explains. “We find that if you really break things down, you’ll have a much higher rate of success than trying to work on multiple skills at once.” Craig and Sarah outline why establishing small, focused, and attainable goals is critical for success. It creates stepping stones for improvement and boosts morale and confidence as you succeed at reaching those goals. However, they also express the importance of crafting a long-term vision for your musical journey. “Typically, Sarah and I love to set long-term goals and then we have a bunch of short-term goals that we can do even on a day-to-day basis to help us reach the larger goal,” Craig explains. “Having little successes is so important to drive you and have an inspired session where you do feel accomplished.” To learn more about building a practice roadmap and ways you can improve your success and efficiency while practicing ukulele, listen to the full podcast with Craig and Sarah here: [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in studying the ukulele and learning even more about Craig and Sarah’s approaches to growing as a musician, check out their [online ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah) right here at ArtistWorks! ABOUT THE ARTISTWORKS MUSIC SERIES: On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected, and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! READ MORE: [Craig & Sarah: 51st Annual Ukulele Festival Hawaii Kick Off!](https://blog.artistworks.com/craig-sarah-51st-annual-ukulele-festival-hawaii-kick) [This is ArtistWorks: Behind the Scenes with Our Artists](https://blog.artistworks.com/artistworks-behind-scenes-our-artists) [New Podcast: Darol Anger – Building Your Practice Roadmap](https://blog.artistworks.com/tips-better-practice-routine-darol-anger) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Fiddle Lesson: Bow Speed, Pressure, & Placement with Darol Anger](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement-darol-anger/) **Published:** April 26, 2021 **Author:** ArtistWorks **Excerpt:**

There are three critical elements that define proper bowing technique that require close monitoring when learning to play the fiddle—bow speed, pressure, and placement. In this online fiddle lesson, master fiddler, ArtistWorks instructor, and founding member of the David Grisman Quintet, Darol Anger outlines the vast array of rich, complex tones that can be achieved on the fiddle by employing subtle nuances to the speed of the bow’s stroke, pressure of the bow on the strings, and the placement of the bow on the strings in relation to the bridge.

**Content:** ![]() There are three critical elements that define proper bowing technique that require close monitoring when learning to play the fiddle—bow speed, pressure, and placement. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger), master fiddler, ArtistWorks instructor, and founding member of the David Grisman Quintet, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) outlines the vast array of rich, complex tones that can be achieved on the fiddle by employing subtle nuances to the speed of the bow’s stroke, pressure of the bow on the strings, and the placement of the bow on the strings in relation to the bridge. Anger begins the [fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger) by showcasing the tone created when performing a down and up stroke using the entirety of the bow very quickly, with minimal pressure applied to the strings and the bow placed about equidistant between the bridge and the beginning of the fingerboard. “\[When we take this approach,\] we get this very airy, almost singing sound,” explains Angers. “It almost makes the violin jump a little bit.” To provide contrast, Anger goes on to showcase the ghastly tone that’s achieved when bowing slowly while putting quite a bit of pressure on the strings. However, he then illustrates that, if the bow is moved back toward the bridge slightly and the same slow, high pressure stroke is performed, a beautiful, musical tone can be accomplished. “\[Through this technique\] you can achieve a very strong, very bright sound,” Anger exclaims. “But, if we’re \[playing slowly with a lot of bow pressure\], we’re going to need to play closer to the bridge.” He then showcases the tonality of the fiddle when utilizing a high speed, high pressure stroke close to the bridge. “That is your festival tone there,” Anger explains. “That’s the tone you want when you’re at the parking lot and it’s late at night, and there’s ten banjos out there and you have to be heard.” Anger then rounds out the initial demonstration by showcasing the melancholic tonality of a bow stroke using a slow speed and light pressure played closer to the fingerboard. “Now that’s actually rather beautiful,” explains Anger. “You might use that approach in a waltz or some kind of ballad, or if you’re just feeling a little sad about things.” After showcasing the different sounds, Anger explains why it’s important to be able to access these different tonalities on the fiddle using these different bowing techniques. “These are all techniques that are going to give you all different types of tones on your instrument,” Anger explains. “And, because music is very much like life, you’re going to be in all kinds of situations and expressing all different kinds of emotions, so you’re going to want to get comfortable with all \[these approaches\].” So, grab your fiddle and your bow, and dive into the vast array of tones outlined in this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger) from [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger): ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Fiddle Lesson: Bow Speed, Pressure, & Placement](https://blog.artistworks.com/fiddle-lesson-bow-speed-pressure-placement/) **Published:** April 26, 2021 **Author:** ArtistWorks **Excerpt:**

There are three critical elements that define proper bowing technique that require close monitoring when learning to play the fiddle—bow speed, pressure, and placement. In this online fiddle lesson, master fiddler, ArtistWorks instructor, and founding member of the David Grisman Quintet, Darol Anger outlines the vast array of rich, complex tones that can be achieved on the fiddle by employing subtle nuances to the speed of the bow’s stroke, pressure of the bow on the strings, and the placement of the bow on the strings in relation to the bridge.

**Content:** ![]() There are three critical elements that define proper bowing technique that require close monitoring when learning to play the fiddle—bow speed, pressure, and placement. In this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger), master fiddler, ArtistWorks instructor, and founding member of the David Grisman Quintet, [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger) outlines the vast array of rich, complex tones that can be achieved on the fiddle by employing subtle nuances to the speed of the bow’s stroke, pressure of the bow on the strings, and the placement of the bow on the strings in relation to the bridge. Anger begins the [fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger) by showcasing the tone created when performing a down and up stroke using the entirety of the bow very quickly, with minimal pressure applied to the strings and the bow placed about equidistant between the bridge and the beginning of the fingerboard. “\[When we take this approach,\] we get this very airy, almost singing sound,” explains Angers. “It almost makes the violin jump a little bit.” To provide contrast, Anger goes on to showcase the ghastly tone that’s achieved when bowing slowly while putting quite a bit of pressure on the strings. However, he then illustrates that, if the bow is moved back toward the bridge slightly and the same slow, high pressure stroke is performed, a beautiful, musical tone can be accomplished. “\[Through this technique\] you can achieve a very strong, very bright sound,” Anger exclaims. “But, if we’re \[playing slowly with a lot of bow pressure\], we’re going to need to play closer to the bridge.” He then showcases the tonality of the fiddle when utilizing a high speed, high pressure stroke close to the bridge. “That is your festival tone there,” Anger explains. “That’s the tone you want when you’re at the parking lot and it’s late at night, and there’s ten banjos out there and you have to be heard.” Anger then rounds out the initial demonstration by showcasing the melancholic tonality of a bow stroke using a slow speed and light pressure played closer to the fingerboard. “Now that’s actually rather beautiful,” explains Anger. “You might use that approach in a waltz or some kind of ballad, or if you’re just feeling a little sad about things.” After showcasing the different sounds, Anger explains why it’s important to be able to access these different tonalities on the fiddle using these different bowing techniques. “These are all techniques that are going to give you all different types of tones on your instrument,” Anger explains. “And, because music is very much like life, you’re going to be in all kinds of situations and expressing all different kinds of emotions, so you’re going to want to get comfortable with all \[these approaches\].” So, grab your fiddle and your bow, and dive into the vast array of tones outlined in this [online fiddle lesson](https://artistworks.com/fiddle-lessons-darol-anger) from [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger): Have you always wanted to learn how to play the fiddle? Through our comprehensive [fiddle lessons online](https://artistworks.com/fiddle-lessons-darol-anger) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Darol Anger](https://artistworks.com/fiddle-lessons-darol-anger), and get personalized feedback on your playing. Darol’s course starts with the basics and teaches everything from beginner fiddle to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as fiddlers and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Live: St. Patrick’s Day Celtic Fiddle Special! ](https://blog.artistworks.com/live-st-patrick%E2%80%99s-day-celtic-fiddle-special) [Tips for a Better Practice Routine: Darol Anger](https://blog.artistworks.com/tips-better-practice-routine-darol-anger) [Violin for Beginners: Chromatic Scales](https://blog.artistworks.com/violin-beginners-chromatic-scales) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Fiddle --- ### [Guthrie Trapp Joins Billy Gibbons Tribute Show Lineup](https://blog.artistworks.com/guthrie-trapp-joins-billy-gibbons-tribute-show-lineup-0/) **Published:** April 23, 2021 **Author:** ArtistWorks **Excerpt:**

After decades of hard work, commitment, passion, and perseverance, there may come a time for a small handful of musicians when they’re called upon to perform by one of their lifelong musical heros. For master country guitarist and ArtistWorks instructor, Guthrie Trapp, this very experience just recently occurred.

**Content:** ![]() After decades of hard work, commitment, passion, and perseverance, there may come a time for a small handful of musicians when they’re called upon to perform by one of their lifelong musical heros. For master country guitarist and ArtistWorks instructor, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), this very experience just recently occurred. “Every once in a while you get a phone call or an email that changes your life and reminds you why you’re doing it, working hard and living in a town like Nashville,” Trapp explains. “A few weeks ago, I got one of those emails.” A few short weeks ago, Trapp was invited, alongside the likes of country superstars Eric Church, Lucinda Williams, and Brad Paisley, to perform in a tribute show celebrating the life and career of legendary guitarist and one of the founding members of the iconic rock group ZZ Top, Billy F. Gibbons, who extended the invitation to join the concert lineup to Trapp personally. “Billy Gibbons personally asked me to be a guest at his lifetime achievement award ceremony at the Grand Ole Opry,” explains Trapp. “Of course, I was absolutely flattered and totally surprised as we have only met one time.” The concert and ceremony, “A Tribute to Billy Gibbons,” will be hosted at the world-renowned Grand Ole Opry theater and music venue in the heart of Nashville, TN on May 16, 2021. The performance will be hosted in front of a live, socially distanced audience, and concert donations will benefit first-responders and military nonprofit groups including the USO and ThanksUSA. “When I talked with \[Billy\] on the phone for about 45 minutes last Sunday, he sure solidified the fact that he’s one of the coolest cats walking the planet,” Trapp expressed. “I can’t wait to play the show with him and hope that some of y’all can make it out!” ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Guthrie Trapp Joins Billy Gibbons Tribute Show Lineup](https://blog.artistworks.com/guthrie-trapp-joins-billy-gibbons-tribute-show-lineup/) **Published:** April 23, 2021 **Author:** ArtistWorks **Excerpt:**

After decades of hard work, commitment, passion, and perseverance, there may come a time for a small handful of musicians when they’re called upon to perform by one of their lifelong musical heros. For master country guitarist and ArtistWorks instructor, Guthrie Trapp, this very experience just recently occurred.

**Content:** ![]() After decades of hard work, commitment, passion, and perseverance, there may come a time for a small handful of musicians when they’re called upon to perform by one of their lifelong musical heros. For master country guitarist and ArtistWorks instructor, [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), this very experience just recently occurred. “Every once in a while you get a phone call or an email that changes your life and reminds you why you’re doing it, working hard and living in a town like Nashville,” Trapp explains. “A few weeks ago, I got one of those emails.” A few short weeks ago, Trapp was invited, alongside the likes of country superstars Eric Church, Lucinda Williams, and Brad Paisley, to perform in a tribute show celebrating the life and career of legendary guitarist and one of the founding members of the iconic rock group ZZ Top, Billy F. Gibbons, who extended the invitation to join the concert lineup to Trapp personally. “Billy Gibbons personally asked me to be a guest at his lifetime achievement award ceremony at the Grand Ole Opry,” explains Trapp. “Of course, I was absolutely flattered and totally surprised as we have only met one time.” The concert and ceremony, “A Tribute to Billy Gibbons,” will be hosted at the world-renowned Grand Ole Opry theater and music venue in the heart of Nashville, TN on May 16, 2021. The performance will be hosted in front of a live, socially distanced audience, and concert donations will benefit first-responders and military nonprofit groups including the USO and ThanksUSA. “When I talked with \[Billy\] on the phone for about 45 minutes last Sunday, he sure solidified the fact that he’s one of the coolest cats walking the planet,” Trapp expressed. “I can’t wait to play the show with him and hope that some of y’all can make it out!” RELATED: Have you always wanted to learn how to play electric country guitar? Through our comprehensive [online guitar lessons](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Guthrie Trapp](https://artistworks.com/electric-country-guitar-lessons-guthrie-trapp), and get personalized feedback on your playing. Guthrie’s course starts with the basics and teaches everything from beginner guitar to advanced country performance techniques and tunes. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [May 2021 VE Deadline Dates](https://blog.artistworks.com/may-2021-ve-deadline-dates/) **Published:** April 22, 2021 **Author:** ArtistWorks **Excerpt:**

Hello Everyone! Here are the next VE submission deadline dates for May 2021:

Sunday, May 2
Sunday, May 16
Thanks for your patience as I spread out my VE responses in chronological order!
**Content:** Hello Everyone! Here are the next VE submission deadline dates for May 2021: Sunday, May 2 Sunday, May 16 Thanks for your patience as I spread out my VE responses in chronological order! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Drum Lesson: How to Hold the Drumsticks with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-how-hold-drumsticks-peter-erskine-0/) **Published:** April 21, 2021 **Author:** ArtistWorks **Excerpt:**

We’ve all heard the timeless idiom, “you have to learn to walk before you can run.” It’s a brilliant metaphor that can be applied to so many different facets of education and life. However, when it comes to learning to play the drums and developing the proper technique for holding a pair of drumsticks, 2-time Grammy Award-winning drummer and ArtistWorks master instructor, Peter Erskine, could not have applied a more literal meaning to the phrase.

**Content:** ![]() We’ve all heard the timeless idiom, “you have to learn to walk before you can run.” It’s a brilliant metaphor that can be applied to so many different facets of education and life. However, when it comes to learning to play the drums and developing the proper technique for holding a pair of drumsticks, 2-time Grammy Award-winning drummer and ArtistWorks master instructor, [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), could not have applied a more literal meaning to the phrase. “Whether you’re an experienced drummer or just starting out, I’d like to ask you all to do the following,” Erskine begins. “Please get up from your chair or drum stool. Stand up, and walk with me.” Erskine goes on to explain that the foundation of a proper grip on the drumsticks stems directly from a relaxed walking form, with one’s arms slightly bent and free of tension in order to make fluid, even movements. “Imagine we’re walking down the street, and we stop and we bend our arms at the elbows,” Erksine continues. “We don’t want to play with our arms at right angles. Right angles are not a good thing when drumming. The stick is the continuation of the arm, and we need to allow the weight of the stick to help guide it toward its destination.” In this video from Erskine’s curriculum of [jazz drum lessons](https://artistworks.com/jazz-drum-lessons-peter-erskine) offered here at ArtistWorks, Erskine outlines the proper method for balancing the drumsticks, how they should lay in the player’s hand, and the difference between “matched grip” and “traditional grip.” “Tradition has informed us that the fulcrum is between the thumb and the index finger,” Erskine explains. “But, experience has pointed out that the fulcrum \[utilizes\] the middle finger \[as much as the index\]—the point where the thumb pressing down on the stick makes contact with the rest of the hand.” Erskine goes on to detail the manner in which the stick should rest gently between the fulcrum created by the thumb, index and middle fingers, and how they should merely act as an usher to lead the stick to the point of contact against the drum head or cymbal. He then illustrates the difference between the two most common techniques, or “grips,” for holding the drumsticks—matched grip and traditional grip. Matched Grip As one might assume, the Matched Grip is a technique in which both the left and right hand are holding the drumsticks in an identical, or “matched,” manner. The sticks both rest gently between each hand’s three-finger fulcrum with palms facing down toward the face of the drum head. From there, as Erskine pointed out earlier in his lesson, you let the weight of the stick be your guide. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Matched_Grip-BLOG.png) “For drummers who take a more ambidextrous approach to drumming, matched grip makes a lot of sense,” Erskine explains. “And for power, it’s terrific!” Traditional Grip Unlike Matched Grip, when employing the Traditional Grip technique, the left and right hand are not holding the drumsticks in an identical fashion. The right hand grips the stick in a similar manner to that of the Matched Grip—with the stick balanced lightly between the thumb, index and middle fingers with the palm facing down toward the drum. The left hand, however, utilizes a completely unique grip style in the Traditional Grip technique. The left hand palm faces upward toward the sky, and the stick balances delicately between the crease of the thumb and rests across the tops of the index and middle fingers. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Traditional_Grip-BLOG.png) “Many years ago, when drums were used on the field of battle,” Erskine describes, “the drum would be suspended around the drummer’s neck by a shoulder strap or piece of rope, and the drum would hang at an angle. The Traditional Grip technique was developed to accommodate that angle.” Regardless of which grip technique you prefer, it is critical when holding the drumsticks to keep a relaxed, light grasp on the sticks and allow the stick to vibrate freely in your palm. “I hold the sticks in a very relaxed manner,” Erskine explains. “The wood is free to vibrate, which does a couple things. I get a better sound out of the instrument, and I minimize the risk of causing myself any physical injury.” So, grab your fresh pair of Peter Erskine Signature Vic Firth Ride Sticks, your practice pad, and a drum stool, and dive into this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine). But, remember, before you begin, it doesn’t hurt to warm up with a quick walk. READ MORE: [Peter Erskine: Creative Practicing with Drum Fills](https://blog.artistworks.com/peter-erskine-creative-practicing-drum-fills) [Luis Conte: How to Play Clave on Congas](https://blog.artistworks.com/luis-conte-how-play-clave-congas) [New Podcast: “Why Playing Progress Stalls: Peter Erskine”](https://blog.artistworks.com/new-podcast-why-playing-progress-stalls-peter-erskine) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Drum Lesson: How to Hold the Drumsticks with Peter Erskine](https://blog.artistworks.com/jazz-drum-lesson-how-hold-drumsticks-peter-erskine/) **Published:** April 21, 2021 **Author:** ArtistWorks **Excerpt:**

We’ve all heard the timeless idiom, “you have to learn to walk before you can run.” It’s a brilliant metaphor that can be applied to so many different facets of education and life. However, when it comes to learning to play the drums and developing the proper technique for holding a pair of drumsticks, 2-time Grammy Award-winning drummer and ArtistWorks master instructor, Peter Erskine, could not have applied a more literal meaning to the phrase.

**Content:** ![]() We’ve all heard the timeless idiom, “you have to learn to walk before you can run.” It’s a brilliant metaphor that can be applied to so many different facets of education and life. However, when it comes to learning to play the drums and developing the proper technique for holding a pair of drumsticks, 2-time Grammy Award-winning drummer and ArtistWorks master instructor, [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), could not have applied a more literal meaning to the phrase. “Whether you’re an experienced drummer or just starting out, I’d like to ask you all to do the following,” Erskine begins. “Please get up from your chair or drum stool. Stand up, and walk with me.” Erskine goes on to explain that the foundation of a proper grip on the drumsticks stems directly from a relaxed walking form, with one’s arms slightly bent and free of tension in order to make fluid, even movements. “Imagine we’re walking down the street, and we stop and we bend our arms at the elbows,” Erksine continues. “We don’t want to play with our arms at right angles. Right angles are not a good thing when drumming. The stick is the continuation of the arm, and we need to allow the weight of the stick to help guide it toward its destination.” In this video from Erskine’s curriculum of [jazz drum lessons](https://artistworks.com/jazz-drum-lessons-peter-erskine) offered here at ArtistWorks, Erskine outlines the proper method for balancing the drumsticks, how they should lay in the player’s hand, and the difference between “matched grip” and “traditional grip.” “Tradition has informed us that the fulcrum is between the thumb and the index finger,” Erskine explains. “But, experience has pointed out that the fulcrum \[utilizes\] the middle finger \[as much as the index\]—the point where the thumb pressing down on the stick makes contact with the rest of the hand.” Erskine goes on to detail the manner in which the stick should rest gently between the fulcrum created by the thumb, index and middle fingers, and how they should merely act as an usher to lead the stick to the point of contact against the drum head or cymbal. He then illustrates the difference between the two most common techniques, or “grips,” for holding the drumsticks—matched grip and traditional grip. Matched Grip As one might assume, the Matched Grip is a technique in which both the left and right hand are holding the drumsticks in an identical, or “matched,” manner. The sticks both rest gently between each hand’s three-finger fulcrum with palms facing down toward the face of the drum head. From there, as Erskine pointed out earlier in his lesson, you let the weight of the stick be your guide. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Matched_Grip-BLOG.png) “For drummers who take a more ambidextrous approach to drumming, matched grip makes a lot of sense,” Erskine explains. “And for power, it’s terrific!” Traditional Grip Unlike Matched Grip, when employing the Traditional Grip technique, the left and right hand are not holding the drumsticks in an identical fashion. The right hand grips the stick in a similar manner to that of the Matched Grip—with the stick balanced lightly between the thumb, index and middle fingers with the palm facing down toward the drum. The left hand, however, utilizes a completely unique grip style in the Traditional Grip technique. The left hand palm faces upward toward the sky, and the stick balances delicately between the crease of the thumb and rests across the tops of the index and middle fingers. ![](https://blog.artistworks.com/wp-content/uploads/2021/01/Traditional_Grip-BLOG.png) “Many years ago, when drums were used on the field of battle,” Erskine describes, “the drum would be suspended around the drummer’s neck by a shoulder strap or piece of rope, and the drum would hang at an angle. The Traditional Grip technique was developed to accommodate that angle.” Regardless of which grip technique you prefer, it is critical when holding the drumsticks to keep a relaxed, light grasp on the sticks and allow the stick to vibrate freely in your palm. “I hold the sticks in a very relaxed manner,” Erskine explains. “The wood is free to vibrate, which does a couple things. I get a better sound out of the instrument, and I minimize the risk of causing myself any physical injury.” So, grab your fresh pair of Peter Erskine Signature Vic Firth Ride Sticks, your practice pad, and a drum stool, and dive into this [online drum lesson](https://artistworks.com/jazz-drum-lessons-peter-erskine). But, remember, before you begin, it doesn’t hurt to warm up with a quick walk. Have you always wanted to learn how to play jazz drums? Through our comprehensive [online drum lessons](https://artistworks.com/jazz-drum-lessons-peter-erskine) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Peter Erskine](https://artistworks.com/jazz-drum-lessons-peter-erskine), and get personalized feedback on your playing. Peter’s course starts with the basics and teaches everything from beginner jazz drums to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as drummers and musicians! Try out some [free music lessons](https://artistworks.com/#freelessons) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! READ MORE: [Peter Erskine: Creative Practicing with Drum Fills](https://blog.artistworks.com/peter-erskine-creative-practicing-drum-fills) [Luis Conte: How to Play Clave on Congas](https://blog.artistworks.com/luis-conte-how-play-clave-congas) [New Podcast: “Why Playing Progress Stalls: Peter Erskine”](https://blog.artistworks.com/new-podcast-why-playing-progress-stalls-peter-erskine) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker-0/) **Published:** April 19, 2021 **Author:** ArtistWorks **Excerpt:**

Finger Patterns—not only do they help improve your dexterity, strength, and technique when playing jazz guitar, they’re also one of the best practice methods to utilize when mapping out the fretboard and learning the subtle nuances of hand-positioning.

**Content:** ![]() Finger Patterns—not only do they help improve your dexterity, strength, and technique when playing jazz guitar, they’re also one of the best practice methods to utilize when mapping out the fretboard and learning the subtle nuances of hand-positioning. As part of his collection of [jazz guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker), award-winning master guitarist and former member of the Stanley Turrentine Quintet, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), walks us through a series of his favorite finger patterns that are both great warmups and helpful tools to assist in learning the layout of the fingerboard. “Finger patterns are great because you can make different combinations,” Stryker explains. “They’re a perfect way to practice our rudiments and alternate picking, and a great way to get our time together when playing with a metronome.” By alternating between your various fingers, whether you begin the pattern with your index, middle, ring, or pinky in the left hand, you’re able to build your finger strength and increase your physical comfort level while navigating the fingerboard. “This is a great way to warm up,” Stryker goes on to explain. “Already, I’m feeling more connected. It’s a great technique to help get your sound and finger placement together.” So, grab your six-string and check out Dave Strykers’ full lesson on using finger patterns to learn the neck below: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [Jazz Guitar Lesson: Learning the Neck with Dave Stryker](https://blog.artistworks.com/jazz-guitar-lesson-learning-neck-dave-stryker/) **Published:** April 19, 2021 **Author:** ArtistWorks **Excerpt:**

Finger Patterns—not only do they help improve your dexterity, strength, and technique when playing jazz guitar, they’re also one of the best practice methods to utilize when mapping out the fretboard and learning the subtle nuances of hand-positioning.

**Content:** ![]() Finger Patterns—not only do they help improve your dexterity, strength, and technique when playing jazz guitar, they’re also one of the best practice methods to utilize when mapping out the fretboard and learning the subtle nuances of hand-positioning. As part of his collection of [jazz guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker), award-winning master guitarist and former member of the Stanley Turrentine Quintet, [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), walks us through a series of his favorite finger patterns that are both great warmups and helpful tools to assist in learning the layout of the fingerboard. “Finger patterns are great because you can make different combinations,” Stryker explains. “They’re a perfect way to practice our rudiments and alternate picking, and a great way to get our time together when playing with a metronome.” By alternating between your various fingers, whether you begin the pattern with your index, middle, ring, or pinky in the left hand, you’re able to build your finger strength and increase your physical comfort level while navigating the fingerboard. “This is a great way to warm up,” Stryker goes on to explain. “Already, I’m feeling more connected. It’s a great technique to help get your sound and finger placement together.” So, grab your six-string and check out Dave Strykers’ full lesson on using finger patterns to learn the neck below: Have you always wanted to learn how to play jazz guitar? Through our comprehensive [online guitar lessons](https://artistworks.com/jazz-guitar-lessons-dave-stryker) and Video Exchange Learning platform here at ArtistWorks, you can learn from internationally-renowned players, like [Dave Stryker](https://artistworks.com/jazz-guitar-lessons-dave-stryker), and get personalized feedback on your playing. Dave’s course starts with the basics and teaches everything from beginner jazz guitar to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as guitarists and musicians! Try out some [free music lessons](https://go.artistworks.com/free-online-jazz-guitar-lessons-dave-stryker) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Guitar --- ### [New Lesson Added: Little Sunflower](https://blog.artistworks.com/new-lesson-added-little-sunflower/) **Published:** April 16, 2021 **Author:** ArtistWorks **Excerpt:**

We're pleased to announce the addition of a new lesson from Howard just filmed this week! In this new lesson Howard takes you through the tune Little Sunflower. He gives his tips and insight on how to approach the tune and then demonstrates over a backing track, switching between multiple harps to contrast the ideas he setup. You can find the lesson with the backing track attached as a study material near the end of the list in the Advanced section of the lessons. To go directly there now CLICK HERE. Have a great weekend and enjoy!

**Content:** ![]() We’re pleased to announce the addition of a new lesson from Howard just filmed this week! In this new lesson Howard takes you through the tune Little Sunflower. He gives his tips and insight on how to approach the tune and then demonstrates over a backing track, switching between multiple harps to contrast the ideas he setup. You can find the lesson with the backing track attached as a study material near the end of the list in the Advanced section of the lessons. To go directly there now [CLICK HERE](https://my.artistworks.com/howard-levy/learning/179904). Have a great weekend and enjoy! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Celebrating One Year of “Banjo with Noam Pikelny!”](https://blog.artistworks.com/celebrating-one-year-“banjo-noam-pikelny”-0/) **Published:** April 16, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that this past Thursday, April 15, 2021, marked one year since we launched one of our newest online music courses, “Banjo with Noam Pikelny,” with 3-time Grammy-nominated banjo player and founding member of the Punch Brothers, Noam Pikelny.

**Content:** ![]() We’re excited to announce that this past Thursday, April 15, 2021, marked one year since we launched one of our newest online music courses, “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny),” with 3-time Grammy-nominated banjo player and founding member of the Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). The comprehensive curriculum in Noam’s [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) covers a vast array of styles, ranging from traditional, straight-ahead bluegrass banjo to the more boundary- pushing approaches that Noam employs with both the Punch Brothers and as a solo artist. “It has been a thrill and an honor over the last year to create this online community hand-in-hand with over a thousand banjo players of every level from all over the world,” Noam explained. “I’ve now witnessed firsthand how the Artistworks platform uniquely enables and encourages students to learn not just from their instructor, but also from their fellow classmates. I’m incredibly grateful to all who have participated and I’m excited to meet the folks who are only now just walking in the door.” Bringing this course to the public in the midst of 2020 was no easy task. We managed to craft, shoot, and edit the entire course catalog, which features hundreds of detailed videos as well as dozens of supplemental written materials, sheet music, and backing trackings, with Noam just before the pandemic-response “shelter in place” mandate was issued in mid-March 2020. Additionally, on March 3, 2020, while we were deep into the process of filming for the course, Noam’s current hometown of Nashville, TN was tragically impacted by a devastating tornado, which further added to the stress and pressure to complete and launch Noam’s new course. In the last year since launching “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny),” we’ve had thousands of students enroll in the course and begin their journey to learning bluegrass banjo and beyond. Noam also recently completed his 1,000th Video Exchange, a testament to his commitment to offering personalized instruction and feedback to each of his students enrolled in his course. Read More: [Noam Pikelny Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/noam-pikelny-celebrates-1000-video-exchanges) [New Podcast: Tony Trischka – Styles of Bluegrass](https://blog.artistworks.com/new-podcast-tony-trischka-styles-bluegrass) [The Virtual Bluegrass Masterclass](https://blog.artistworks.com/virtual-bluegrass-masterclass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Celebrating One Year of “Banjo with Noam Pikelny!”](https://blog.artistworks.com/celebrating-one-year-“banjo-noam-pikelny”/) **Published:** April 16, 2021 **Author:** ArtistWorks **Excerpt:**

We’re excited to announce that this past Thursday, April 15, 2021, marked one year since we launched one of our newest online music courses, “Banjo with Noam Pikelny,” with 3-time Grammy-nominated banjo player and founding member of the Punch Brothers, Noam Pikelny.

**Content:** ![]() We’re excited to announce that this past Thursday, April 15, 2021, marked one year since we launched one of our newest online music courses, “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny),” with 3-time Grammy-nominated banjo player and founding member of the Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny). The comprehensive curriculum in Noam’s [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) covers a vast array of styles, ranging from traditional, straight-ahead bluegrass banjo to the more boundary-pushing approaches that Noam employs with both the Punch Brothers and as a solo artist. “It has been a thrill and an honor over the last year to create this online community hand-in-hand with over a thousand banjo players of every level from all over the world,” Noam explained. “I’ve now witnessed firsthand how the Artistworks platform uniquely enables and encourages students to learn not just from their instructor, but also from their fellow classmates. I’m incredibly grateful to all who have participated and I’m excited to meet the folks who are only now just walking in the door.” Bringing this course to the public in the midst of 2020 was no easy task. We managed to craft, shoot, and edit the entire course catalog, which features hundreds of detailed videos as well as dozens of supplemental written materials, sheet music, and backing trackings, with Noam just before the pandemic-response “shelter in place” mandate was issued in mid-March 2020. Additionally, on March 3, 2020, while we were deep into the process of filming for the course, Noam’s current hometown of Nashville, TN was tragically impacted by a devastating tornado, which further added to the stress and pressure to complete and launch Noam’s new course. In the last year since launching “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny),” we’ve had thousands of students enroll in the course and begin their journey to learning bluegrass banjo and beyond. Noam also recently completed his 1,000th Video Exchange, a testament to his commitment to offering personalized instruction and feedback to each of his students enrolled in his course. For more information on “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny),” check out the video below: Have you always wanted to learn how to play the banjo? Through our comprehensive [online banjo lessons](https://artistworks.com/banjo-lessons-noam-pikelny) and Video Exchange Learning platform here at ArtistWorks, you can learn from master banjoists [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny) and [Tony Trischka](https://artistworks.com/banjo-lessons-tony-trischka), and get personalized feedback on your playing. Their courses start with the basics and teach everything from beginner banjo to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as banjo players and musicians! Try out some [free music lessons](https://go.artistworks.com/banjo-lessons-noam-pikelny) here and see what makes ArtistWorks courses some of the best [online music lessons](https://artistworks.com/) around! Read More: [Noam Pikelny Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/noam-pikelny-celebrates-1000-video-exchanges) [New Podcast: Tony Trischka – Styles of Bluegrass](https://blog.artistworks.com/new-podcast-tony-trischka-styles-bluegrass) [The Virtual Bluegrass Masterclass](https://blog.artistworks.com/virtual-bluegrass-masterclass) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) **Categories:** Banjo --- ### [Craig & Sarah: 51st Annual Ukulele Festival Hawaii Kick Off!](https://blog.artistworks.com/craig-sarah-51st-annual-ukulele-festival-hawaii-kick-0/) **Published:** April 15, 2021 **Author:** ArtistWorks **Excerpt:**

On April 11, 2021, world-renowned ukulele strummers and ArtistWorks master instructors Craig Chee and Sarah Maisel helped kick off the 51st Annual Ukulele Festival Hawaii, celebrating the rich culture of the instrument, and its music and heritage.

**Content:** ![]() On April 11, 2021, world-renowned ukulele strummers and ArtistWorks master instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) helped kick off the 51st Annual Ukulele Festival Hawaii, celebrating the rich culture of the instrument, and its music and heritage. This multi-day festival typically consists of a handful of events celebrated across the islands of Oahu, the Big Island of Hawaii, Kauaii, and Maui. This year, however, the festival will be celebrated virtually. Founded in 1971 by Roy Sakuma, the [Ukulele Festival Hawaii](https://www.ukulelefesthawaii.org/) began simply as a manifestation of Sakuma’s “dream to present a free concert to show people that the ukulele could be played as a solo instrument of sophistication and virtuosity and not just a rhythm instrument for background music.” Today, the festival has become so much more. It is the Ukulele Festival Hawaii’s mission to spread the joy of the ukulele and its music by providing not just hours of wonderful free musical performances, but also free [ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah), community events, college scholarships, and instruments to the underprivileged. Last Sunday’s event kicked off the first of four, and focused specifically on ukulele artists local to Hawaii, including Honoka Katayama, Kelly Boy Delima, Bryan Tolentino, and more. It also featured performances from Craig Chee and Sarah Maisel, Jake Shimabukuro, Herb Ohta Jr., and others! If you missed the event on April 11, fear not! The entire virtual festival is available for your viewing pleasure here: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Craig & Sarah: 51st Annual Ukulele Festival Hawaii Kick Off!](https://blog.artistworks.com/craig-sarah-51st-annual-ukulele-festival-hawaii-kick/) **Published:** April 15, 2021 **Author:** ArtistWorks **Excerpt:**

On April 11, 2021, world-renowned ukulele strummers and ArtistWorks master instructors Craig Chee and Sarah Maisel helped kick off the 51st Annual Ukulele Festival Hawaii, celebrating the rich culture of the instrument, and its music and heritage.

**Content:** ![]() On April 11, 2021, world-renowned ukulele strummers and ArtistWorks master instructors [Craig Chee and Sarah Maisel](https://artistworks.com/ukulele-lessons-craig-sarah) helped kick off the 51st Annual Ukulele Festival Hawaii, celebrating the rich culture of the instrument, and its music and heritage. This multi-day festival typically consists of a handful of events celebrated across the islands of Oahu, the Big Island of Hawaii, Kauaii, and Maui. This year, however, the festival will be celebrated virtually. Founded in 1971 by Roy Sakuma, the [Ukulele Festival Hawaii](https://www.ukulelefesthawaii.org/) began simply as a manifestation of Sakuma’s “dream to present a free concert to show people that the ukulele could be played as a solo instrument of sophistication and virtuosity and not just a rhythm instrument for background music.” Today, the festival has become so much more. It is the Ukulele Festival Hawaii’s mission to spread the joy of the ukulele and its music by providing not just hours of wonderful free musical performances, but also free [ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah), community events, college scholarships, and instruments to the underprivileged. Last Sunday’s event kicked off the first of four, and focused specifically on ukulele artists local to Hawaii, including Honoka Katayama, Kelly Boy Delima, Bryan Tolentino, and more. It also featured performances from Craig Chee and Sarah Maisel, Jake Shimabukuro, Herb Ohta Jr., and others! If you missed the event on April 11, fear not! The entire virtual festival is available for your viewing pleasure here: Have you always wanted to learn how to play the ukulele? Through our comprehensive [online ukulele lessons](https://artistworks.com/ukulele-lessons-craig-sarah) and Video Exchange Learning platform here at ArtistWorks, you can learn from master ukulele players Craig Chee and Sarah Maisel, and get personalized feedback on your playing. Their course starts with the basics and teaches everything from beginner ukulele to advanced performance techniques and compositions. So, whether you’re a beginner, intermediate, or advanced player, all levels are welcome and all students will grow and improve their skills as ukulele players and musicians! Try out some [free music lessons](https://go.artistworks.com/free-music-lessons-craig-and-sarah) here and see what makes ArtistWorks courses some of the best[ online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Keith Wyatt - Exploring the Styles of Blues](https://blog.artistworks.com/new-podcast-keith-wyatt-exploring-styles-blues-0/) **Published:** April 14, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with blues guitar master and ArtistWorks instructor Keith Wyatt to dive into the complex history of the blues. They discuss how the genre has grown and evolved into multiple classic and modern styles since its inception, and explore some of the innovative artists (both in and outside of the genre) that were influenced by the blues. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) master and ArtistWorks instructor [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) to dive into the complex history of the blues. They discuss how the genre has grown and evolved into multiple classic and modern styles since its inception, and explore some of the innovative artists (both in and outside of the genre) that were influenced by the blues. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). In this episode, Keith begins by describing the history of the blues, and how it evolved early on from African American spirituals and work songs. “Blues kind of evolved post-civil war, post-emancipation,” Keith explains. “Freed slaves were then able to own instruments, like guitars, pianos, horns, and that led to the birth of African American musical traditions. This progressed further in the church, where English hymns were combined with elements of African music to become spirituals. And, blues sort of developed out of, and in parallel with, that.” Keith then goes on to outline some of the early flavors of the blues, highlighting some of the distinguishing characteristics of each of the style’s sub-genres throughout the podcast. It’s interesting listening. “Blues as we think of it today was born in Juke Joints. From there, classic blues rose in popularity. These \[performers\] were mostly female singers, really classy women with big voices that wore furs and jewels,” Keith explains. “That’s when the music started to become less segregated and more commercialized.” Keith rounds out the episode by discussing the critical ways in which blues influenced other American musical genres, such as rock ‘n’ roll, R&B, and country. “In the beginning, they were all coming from the same place,” Keith explains. “Country has sort of a twang, certain mannerisms, but country and blues are more alike than they are different when you strip them down… Rock ‘n’ roll emerged out of this sort of synthesis of jump blues and hillbilly music. You had this sort of fusion of the African American musical style with the white musical style, and all the permutations in between.” [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) NOTE: Join Keith Wyatt, Nathan East, Scott Henderson, Josh Smith and Mike Clark on April 14th at 4:30 PM PST for a live stream event where they’ll be discussing the different styles of blues music in more detail and, of course, playing a lot as well! Join us on [Facebook.com/artistworks](https://www.facebook.com/ArtistWorks/videos/462707388490684) On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Read more: [Virtual Jazz Roundtable: New Guests Announced!](https://blog.artistworks.com/virtual-jazz-roundtable-new-guests-announced) [This is ArtistWorks: Behind the Scenes with Our Artists](https://blog.artistworks.com/artistworks-behind-scenes-our-artists) [5 DIY Soundproofing Tips for Your Practice Space](https://blog.artistworks.com/5-diy-soundproofing-tips-your-practice-space) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [New Podcast: Keith Wyatt - Exploring the Styles of Blues](https://blog.artistworks.com/new-podcast-keith-wyatt-exploring-styles-blues/) **Published:** April 14, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with blues guitar master and ArtistWorks instructor Keith Wyatt to dive into the complex history of the blues. They discuss how the genre has grown and evolved into multiple classic and modern styles since its inception, and explore some of the innovative artists (both in and outside of the genre) that were influenced by the blues. The show is available wherever you listen to podcasts, or you can listen here at ArtistWorks.

**Content:** ![]() In this week’s episode of the ArtistWorks Music Series podcast, ArtistWorks CEO Patricia Butler sits down with [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) master and ArtistWorks instructor [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) to dive into the complex history of the blues. They discuss how the genre has grown and evolved into multiple classic and modern styles since its inception, and explore some of the innovative artists (both in and outside of the genre) that were influenced by the blues. The show is available wherever you listen to podcasts, or you can listen here at [ArtistWorks](https://artistworks.com/podcasts). LEARN MORE: [Want to learn from a guitar master like Keith Wyatt? Try a free blues guitar lesson now!](https://go.artistworks.com/free-online-blues-guitar-lessons) In this episode, Keith begins by describing the history of the blues, and how it evolved early on from African American spirituals and work songs. “Blues kind of evolved post-civil war, post-emancipation,” Keith explains. “Freed slaves were then able to own instruments, like guitars, pianos, horns, and that led to the birth of African American musical traditions. This progressed further in the church, where English hymns were combined with elements of African music to become spirituals. And, blues sort of developed out of, and in parallel with, that.” Keith then goes on to outline some of the early flavors of the blues, highlighting some of the distinguishing characteristics of each of the style’s sub-genres throughout the podcast. It’s interesting listening. “Blues as we think of it today was born in Juke Joints. From there, classic blues rose in popularity. These \[performers\] were mostly female singers, really classy women with big voices that wore furs and jewels,” Keith explains. “That’s when the music started to become less segregated and more commercialized.” Keith rounds out the episode by discussing the critical ways in which blues influenced other American musical genres, such as rock ‘n’ roll, R&B, and country. “In the beginning, they were all coming from the same place,” Keith explains. “Country has sort of a twang, certain mannerisms, but country and blues are more alike than they are different when you strip them down… Rock ‘n’ roll emerged out of this sort of synthesis of jump blues and hillbilly music. You had this sort of fusion of the African American musical style with the white musical style, and all the permutations in between.” [LISTEN TO THE PODCAST HERE](https://artistworks.com/podcasts) If you’re interested in learning more about the history of blues music, the unique characteristics that define the genre, and the other musical styles that have been influenced by the blues, check out Keith’s [online guitar lessons](https://artistworks.com/guitar-lessons-keith-wyatt) right here at ArtistWorks! NOTE: Join Keith Wyatt, Nathan East, Scott Henderson, Josh Smith and Mike Clark on April 14th at 4:30 PM PST for a live stream event where they’ll be discussing the different styles of blues music in more detail and, of course, playing a lot as well! Join us on [Facebook.com/artistworks](https://www.facebook.com/ArtistWorks/videos/462707388490684) On the ArtistWorks Music Series, CEO Patricia Butler speaks with master musicians across all genres who teach at ArtistWorks. Join them as they dive deep into topics like becoming a musician, playing at all skill levels, and the journey of learning music. Looking to dive into more[ music podcasts](https://artistworks.com/podcasts)? You’ve come to the right place. Investigate previous episodes where plenty of topics are explored with fantastic, hand-selected and knowledgeable guests. Tune in for new episodes released every other Wednesday on all platforms, and don’t forget to subscribe, rate, and review the show! Want to get started on overcoming the roadblock on your musical journey with our[ online music lessons](https://artistworks.com/)? Try out some[ free music lessons](https://artistworks.com/#freelessons) with any of our master musicians and learn from the best! Read more: [Virtual Jazz Roundtable: New Guests Announced!](https://blog.artistworks.com/virtual-jazz-roundtable-new-guests-announced) [This is ArtistWorks: Behind the Scenes with Our Artists](https://blog.artistworks.com/artistworks-behind-scenes-our-artists) [5 DIY Soundproofing Tips for Your Practice Space](https://blog.artistworks.com/5-diy-soundproofing-tips-your-practice-space) ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dobro Lesson: Learn “Angeline the Baker” with Andy Hall](https://blog.artistworks.com/dobro-lesson-learn-“angeline-baker”-andy-hall-0/) **Published:** April 13, 2021 **Author:** ArtistWorks **Excerpt:**

As we all eagerly await the return of live music and the joy of meeting up with friends and family to play some tunes, why not prepare for that first open jam session of 2021 by tackling a new dobro lesson from master musician Andy Hall?

**Content:** ![]() As we all eagerly await the return of live music and the joy of meeting up with friends and family to play some tunes, why not prepare for that first open jam session of 2021 by tackling a new [dobro lesson](https://artistworks.com/dobro-lessons-andy-hall) from master musician [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall)? In this lesson, Andy dives into the classic bluegrass fiddle tune, “Angeline the Baker,” and provides a step-by-step breakdown of each phrase within the song’s two parts. “‘Angeline the Baker’ is a pretty well-known fiddle tune and stands alone as a really nice instrumental in D,” Andy explains, “If you go to any jam session, this is a tune that certainly might get called.” Through the process of teaching the tune, Andy also highlights 3 critical concepts that will help improve your dobro playing: the forward roll, string jumping, and pull-offs. He also explains the importance of understanding a song’s form, and specifically highlights the common AABB bluegrass form structure used in “Angeline the Baker.” “When I’m discussing these songs, a lot of times there will be an ‘A’ part and a ‘B’ part,” explains Andy. “So, the songs will often be divided into two sections. That’s the way this song is.” So, take a seat, grab your dobro, and check out Andy Hall’s lesson below: ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Dobro Lesson: Learn “Angeline the Baker” with Andy Hall](https://blog.artistworks.com/dobro-lesson-learn-“angeline-baker”-andy-hall/) **Published:** April 13, 2021 **Author:** ArtistWorks **Excerpt:**

As we all eagerly await the return of live music and the joy of meeting up with friends and family to play some tunes, why not prepare for that first open jam session of 2021 by tackling a new dobro lesson from master musician Andy Hall?

**Content:** ![]() As we all eagerly await the return of live music and the joy of meeting up with friends and family to play some tunes, why not prepare for that first open jam session of 2021 by tackling a new [dobro lesson](https://artistworks.com/dobro-lessons-andy-hall) from master musician [Andy Hall](https://artistworks.com/dobro-lessons-andy-hall)? In this lesson, Andy dives into the classic bluegrass fiddle tune, “Angeline the Baker,” and provides a step-by-step breakdown of each phrase within the song’s two parts. “‘Angeline the Baker’ is a pretty well-known fiddle tune and stands alone as a really nice instrumental in D,” Andy explains, “If you go to any jam session, this is a tune that certainly might get called.” Through the process of teaching the tune, Andy also highlights 3 critical concepts that will help improve your dobro playing: the forward roll, string jumping, and pull-offs. He also explains the importance of understanding a song’s form, and specifically highlights the common AABB bluegrass form structure used in “Angeline the Baker.” “When I’m discussing these songs, a lot of times there will be an ‘A’ part and a ‘B’ part,” explains Andy. “So, the songs will often be divided into two sections. That’s the way this song is.” So, take a seat, grab your dobro, and check out Andy Hall’s lesson below: Have you always wanted to learn how to play dobro or lap steel guitar? Try out some [free music lessons](https://go.artistworks.com/free-online-dobro-lessons-andy-hall) here and see what makes ArtistWorks courses some of the best[ online music lessons](https://artistworks.com/) around! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### ["Live Dispatch from Home:" Exploring the Styles of Blues](https://blog.artistworks.com/live-dispatch-home-exploring-styles-blues-0/) **Published:** April 9, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and Co-founder Patricia Butler will host ArtistWorks blues guitar instructor, Keith Wyatt, and electric bass teacher, Nathan East, for an evening discussion, “Exploring the Styles of Blues,” on Wednesday, April 14 at 4:30 PM PST.

**Content:** ![]() In this week’s installment of our live streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and Co-founder Patricia Butler will host ArtistWorks [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and [electric bass](https://artistworks.com/rock-bass-lessons-nathan-east) teacher, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), for an evening discussion, “Exploring the Styles of Blues,” on Wednesday, April 14 at 4:30 PM PST. Joining them will be special guests Scott Henderson, Josh Smith, and Mike Clark. Together, these five master musicians will be diving into the complex history of the blues, discussing how the genre has grown and evolved since its inception, and outlining the intricacies of its various sub-genres. Plus, they’ll be rounding out the discussion with some amazing live musical performances that you won’t want to miss! Master guitarist and our premiere [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) instructor here at ArtistWorks, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) has had an extensive 40+ year career as both a performing guitarist and educator. After graduating from the Guitar Institute of Technology (GIT—now the Musician’s Institute) in Hollywood in the early 1980s, Wyatt quickly went on to become the Director of GIT and eventually the Director of Programs at the Musician’s Institute, a position he held until 2014. Shortly after departing from MI, Wyatt decided to bring his decades of experience as a performer and educator to ArtistWorks. Wyatt will be joined by ArtistWorks master teacher and [bass guitar](https://artistworks.com/rock-bass-lessons-nathan-east) virtuoso, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east). A Grammy nominee and recipient of the 31st Ivor Novello Award, East has performed worldwide and written and recorded on the record-breaking albums of some of the most prolific artists of all time, such as Eric Clapton, George Harrison, Michael Jackson, Phil Collins, Whitney Houston, Beyoncé, Quincy Jones, Barry White, Barbara Streisand, Stevie Wonder, and more! Joining the conversation alongside ArtistWorks master teachers Keith Wyatt and Nathan East will be special guests Scott Henderson, Josh Smith, and Mike Clark. Henderson, one of the most prolific blues/rock fusion guitarists performing today, has toured the globe with some of the biggest names in blues and jazz, including Chick Corea, and was named Jazz Guitarist of the year by Guitar World and Guitar Player magazines in 1991 and 1992, respectively. Henderson is also a member of the respected guitar faculty at Musician’s Institute, the leader of progressive fusion band “Tribal Tech” with bassist Gary Willis, and has released many critically acclaimed solo records. Born in 1979, Josh Smith has been playing guitar since the age of six, and was recently named the 16th best living blues guitarist by Guitar World magazine. As a guitarist, singer-songwriter, and producer, Smith’s style bridges the gap between traditional blues, rock, and jazz. He’s performed around the world and shared the stage with legends like Mick Jagger, Eric Johnson, Joe Bonamassa, and others, has been featured as a guest artist and producer on countless records, and has released five amazing solo records under his name as well. Often referred to as the “Tony Williams of funk,” Mike Clark gained initial notoriety as the drummer for Herbie Hancock & The Headhunters in the early 1970s. Since then, Clark has performed and shared the stage with countless musical greats, from John Scofield to Robben Ford, to Gil Evans, to Tony Bennett and beyond. And, a fun fact—along with James Brown’s drummers Clyde Stubblefield and Jabo Stark, Clark’s funk beats with The Headhunters (most notably “God Make Me Funky”) include some of the most sampled in hip-hop history! Join us for a great conversation on all things blues and, of course, fantastic musical performances this Wednesday, April 14, 2021 at 4:30 PM PST on our [Facebook page](https://www.facebook.com/ArtistWorks). ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### ["Live Dispatch from Home:" Exploring the Styles of Blues](https://blog.artistworks.com/live-dispatch-home-exploring-styles-blues/) **Published:** April 9, 2021 **Author:** ArtistWorks **Excerpt:**

In this week’s installment of our live streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and Co-founder Patricia Butler will host ArtistWorks blues guitar instructor, Keith Wyatt, and electric bass teacher, Nathan East, for an evening discussion, “Exploring the Styles of Blues,” on Wednesday, April 14 at 4:30 PM PST.

**Content:** ![]() In this week’s installment of our live streamed series “Live Dispatch from Home,” ArtistWorks’ CEO and Co-founder Patricia Butler will host ArtistWorks [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) instructor, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt), and [electric bass](https://artistworks.com/rock-bass-lessons-nathan-east) teacher, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east), for an evening discussion, “Exploring the Styles of Blues,” on Wednesday, April 14 at 4:30 PM PST. Joining them will be special guests Scott Henderson, Josh Smith, and Mike Clark. Together, these five master musicians will be diving into the complex history of the blues, discussing how the genre has grown and evolved since its inception, and outlining the intricacies of its various sub-genres. Plus, they’ll be rounding out the discussion with some amazing live musical performances that you won’t want to miss! Master guitarist and our premiere [blues guitar](https://artistworks.com/guitar-lessons-keith-wyatt) instructor here at ArtistWorks, [Keith Wyatt](https://artistworks.com/guitar-lessons-keith-wyatt) has had an extensive 40+ year career as both a performing guitarist and educator. After graduating from the Guitar Institute of Technology (GIT—now the Musician’s Institute) in Hollywood in the early 1980s, Wyatt quickly went on to become the Director of GIT and eventually the Director of Programs at the Musician’s Institute, a position he held until 2014. Shortly after departing from MI, Wyatt decided to bring his decades of experience as a performer and educator to ArtistWorks. RELATED: [Want to learn guitar from a master like Keith Wyatt? Try a free blues guitar lesson now!](https://go.artistworks.com/free-online-blues-guitar-lessons) Wyatt will be joined by ArtistWorks master teacher and [bass guitar](https://artistworks.com/rock-bass-lessons-nathan-east) virtuoso, [Nathan East](https://artistworks.com/rock-bass-lessons-nathan-east). A Grammy nominee and recipient of the 31st Ivor Novello Award, East has performed worldwide and written and recorded on the record-breaking albums of some of the most prolific artists of all time, such as Eric Clapton, George Harrison, Michael Jackson, Phil Collins, Whitney Houston, Beyoncé, Quincy Jones, Barry White, Barbara Streisand, Stevie Wonder, and more! RELATED: [Want to learn bass from a master musician like Nathan East? Try a free online electric bass lesson now!](https://go.artistworks.com/free-online-bass-lessons-nathan-east) Joining the conversation alongside ArtistWorks master teachers Keith Wyatt and Nathan East will be special guests Scott Henderson, Josh Smith, and Mike Clark. Henderson, one of the most prolific blues/rock fusion guitarists performing today, has toured the globe with some of the biggest names in blues and jazz, including Chick Corea, and was named Jazz Guitarist of the year by Guitar World and Guitar Player magazines in 1991 and 1992, respectively. Henderson is also a member of the respected guitar faculty at Musician’s Institute, the leader of progressive fusion band “Tribal Tech” with bassist Gary Willis, and has released many critically acclaimed solo records. Born in 1979, Josh Smith has been playing guitar since the age of six, and was recently named the 16th best living blues guitarist by Guitar World magazine. As a guitarist, singer-songwriter, and producer, Smith’s style bridges the gap between traditional blues, rock, and jazz. He’s performed around the world and shared the stage with legends like Mick Jagger, Eric Johnson, Joe Bonamassa, and others, has been featured as a guest artist and producer on countless records, and has released five amazing solo records under his name as well. Often referred to as the “Tony Williams of funk,” Mike Clark gained initial notoriety as the drummer for Herbie Hancock & The Headhunters in the early 1970s. Since then, Clark has performed and shared the stage with countless musical greats, from John Scofield to Robben Ford, to Gil Evans, to Tony Bennett and beyond. And, a fun fact—along with James Brown’s drummers Clyde Stubblefield and Jabo Stark, Clark’s funk beats with The Headhunters (most notably “God Make Me Funky”) include some of the most sampled in hip-hop history! Join us for a great conversation on all things blues and, of course, fantastic musical performances this Wednesday, April 14, 2021 at 4:30 PM PST on our [Facebook page](https://www.facebook.com/ArtistWorks). Have you ever wanted to learn how to play music? Try out a [free music lesson](https://artistworks.com/#freelessons) from an ArtistWorks online teacher and get started on the right path. You’ll quickly see what makes ArtistWorks courses some of the best[ online music lessons](https://artistworks.com/) around. ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Noam Pikelny Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/noam-pikelny-celebrates-1000-video-exchanges-0/) **Published:** April 9, 2021 **Author:** ArtistWorks **Excerpt:**

On April 15, 2020, it was with great excitement that we welcomed master banjoist, 3-time Grammy-nominee, and founding member of the Punch Brothers, Noam Pikelny, to our amazing faculty roster here at ArtistWorks with the launch of his comprehensive course of online banjo lessons, “Banjo with Noam Pikelny.”

**Content:** ![]() On April 15, 2020, it was with great excitement that we welcomed master banjoist, 3-time Grammy-nominee, and founding member of the Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), to our amazing faculty roster here at ArtistWorks with the launch of his comprehensive course of online banjo lessons, “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny).” We’re excited to announce that, after less than a year instructing his course, Noam has just completed his 1,000th Video Exchange. Congratulations Noam, and thank you to all of his wonderful banjo students for consistently submitting videos! As Noam stated in 2020 when his course launched, “I feel like this could be a course where you can get started from scratch, but I also feel like there would be an on-ramp for a lot of people who are advanced players. All of those people are welcome here, and I just can’t wait to meet whoever signs up.” Judging by this fantastic Video Exchange milestone, Noam has clearly had the opportunity to meet, mentor, and guide a vast array of banjo players worldwide, and help banjoists of all levels grow as musicians and pickers! We’ll be celebrating this impressive achievement by giving away an exclusive prize package to the student who submitted Noam’s 1000th Video Exchange, Sam Messina. Congratulations Sam, and thanks for submitting your Video Exchange! We’re excited to see how you continue to progress. And, congratulations again, Noam, on reaching this wonderful milestone! ![author avatar](http://blog.artistworks.com/wp-content/uploads/2025/07/apple-touch-icon.png) ArtistWorks [See Full Bio](https://blog.artistworks.com/author/wp_aw_admin/) [ ](https://blog.artistworks.com/author/wp_aw_admin/) --- ### [Noam Pikelny Celebrates 1000 Video Exchanges!](https://blog.artistworks.com/noam-pikelny-celebrates-1000-video-exchanges/) **Published:** April 9, 2021 **Author:** ArtistWorks **Excerpt:**

On April 15, 2020, it was with great excitement that we welcomed master banjoist, 3-time Grammy-nominee, and founding member of the Punch Brothers, Noam Pikelny, to our amazing faculty roster here at ArtistWorks with the launch of his comprehensive course of online banjo lessons, “Banjo with Noam Pikelny.”

**Content:** ![]() On April 15, 2020, it was with great excitement that we welcomed master banjoist, 3-time Grammy-nominee, and founding member of the Punch Brothers, [Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny), to our amazing faculty roster here at ArtistWorks with the launch of his comprehensive course of online banjo lessons, “[Banjo with Noam Pikelny](https://artistworks.com/banjo-lessons-noam-pikelny).” We’re excited to announce that, after less than a year instructing his course, Noam has just completed his 1,000th Video Exchange. Congratulations Noam, and thank you to all of his wonderful banjo students for consistently submitting videos! As Noam stated in 2020 when his course launched, “I feel like this could be a course where you can get started from scratch, but I also feel like there would be an on-ramp for a lot of people who are advanced players. All of those people are welcome here, and I just can’t wait to meet whoever signs up.” Judging by this fantastic Video Exchange milestone, Noam has clearly had the opport