Copyright @ Jamie Harrison Guitar, a subsidiary of Jamie Harrison Media Ltd. 

All Rights Reserved

My lawyer told me to say that. Look at me sounding all fancy and official…


Chapter Number 1


Me and my hope for you

Thank you so much for buying my Guitar Course! My name is Jamie Harrison and I'll be guiding you through the various elements of this course to try and help you get the most from it.

Most people who find me, find me through a video on Youtube or somewhere else where I'm playing guitar in a way that they like and want to learn. Well, although I am the teacher in this particular case, I am also that guy. Every day I see so many people who I want to learn from and so many people who inspire me too. So many people who push me to be better and so many others who excel at things I dream of. I say this to let you know that despite the tens of millions of views or hundreds of thousands of followers, I'm just a regular dude who loves music and guitar and simply wants to help others who are similar to me, in a way that I would feel happy with myself. I want to remove any 'distance' you might feel between us, and on the off-chance that you have me on a pedestal from my somewhat 'mysterious', headless guitar videos, let you know that you can plant me firmly back down to earth. I also wanted to remind you that I am here to help you, and to do that in as effective and efficient a way as I possibly can. Sure, I get paid for this, but this is not about money - money is simply the vehicle to allow me to keep doing this while living comfortably, and I want you to feel like your money was absolutely well spent. You and I are the same, and even though we may be at different points in our journey, I more than likely understand every struggle you have with the guitar, as I've likely been through it at some point. If not, I've likely taught someone who has. I don't see myself as particularly 'talented', or 'special', but I do know that I have worked as hard, if not harder, than anyone I know to be in the position I am. And there's nothing in the world to stop you from doing the same, and much, much more.


Chapter Number 2

The Course

My approach to helping you

While the course is primarily centered around video lessons, I have also included some extra resources to supplement them. This book is one of those resources and is designed as a quick “Go To” for this course. It is basically a primer to get started with learning this song. Over the next few pages, I want to share everything I can about this song, the gear that will help you get the best sound for this song, and the techniques you should be aware of before getting started. That doesn't mean everything will be explained within the book, but it is just designed to give a high-level overview of what is required, and also give you a good groundwork of the psychology I feel is important to not only learning the guitar, but also just learning in general. The rest of the teaching material will be found within the videos themselves.


Please note: I am Irish. Us Irish people tend to be very informal and pretty easy going. I myself very much dislike scripted videos and lessons, and this is reflected in my teaching style. I have planned every lesson in great detail, but speak freely as I go, without a line by line script of what I will say. This will give a more informal feel to my lessons (some would say 'friendly' or 'personal' - if we're to be 'glass half full' about it) than others that you might have taken, but I feel this is a more effective way to learn, and is the way I like to consume and learn myself. While 99% of my previous students have also felt this to be a much more enjoyable way to learn, I know that it is not for everyone (nothing really is), so please, as with everything in my work, if it's not for you, please let me know. I only want to take money from those who have a completely positive and satisfactory experience with me. It's not in my nature to do otherwise 🙂

So without further a do, let’s get started, and the very best of luck!

Chapter Number 3

The Videos

My intention for this course was to provide you with enough instruction in as efficient a time as possible, so the task of learning this song is not too daunting for you. Despite the fact that I include some very comprehensive tabs in the course, I don't want to put a whole lot of emphasis on tabs for learning this style. I get asked for tabs so often that I felt it was sensible to include them in the course, but it is the last thing I want you to prioritize when learning this style. I want to try and get you to learn this song (and other songs in this style) without tabs and start using your ears more. You will also have the benefit of video and my instruction, but even then, it's not a bad idea to try and listen as much as you can. I’m pretty sure Jimi Hendrix, John Mayer, or Stevie Ray Vaughan didn’t use tabs, and that’s good enough for me!


As a quick disclaimer, I am not necessarily against tabs (you may get that impression from this course), but for this style of playing, I don’t think
tabs are a good idea. For learning a riff, for example, that has definite
notes and is MEANT to be played a certain way, tabs are irreplaceable, but this style is a very improvisational style, and hits notes all over the
place, different every single time. It is not meant to be ‘perfect’, it is just meant to feel good. On the topic of 'feeling', one of the biggest things to help you to achieve that is practicing with and working on your right hand (or your strumming hand, whichever that is), which I will speak about in more detail later in the course. But for now, let me also remind you that tab completely neglects the right hand and has absolutely no instruction for it. Some highly detailed tabs have up and down strums included, but even then, trying to follow patterns like this can sometimes do more to tense you up and play with less feeling rather than allow you to play with more freedom. All in all, tabs are a tool and should be used as such. They are not a means to learn songs or pieces of music, in my opinion, and should be only used as a tool (while staying very aware of their limitations) and not as an exclusive way to learn something.


The course is divided up into two main sections, Course Material and Video Lessons. You've obviously already found the course material section if you're reading this book, and the video course can be found alongside that. Within the video course, each video lesson is referred to as a 'Topic' and it's named based on whatever is focused on on that particular video.  It's all very straightforward, but for those of you who don't like figuring out new systems (let's face it, we already have enough tech platforms and systems to figure out), I wanted to spell it out for you.

Chapter Number 4

A Note on Gear

Aren’t we all just a little obsessed??


Oh gear.. gear, gear, gear.

What a beautifully seductive layer of everyone's guitar journey that can be so good, but yet so bad...

I have seen more guitarists waste time obsessing over tiny aspects of their rigs than I've seen them actually play, and I've seen more money spent on gear than actual education time after time. I love it, you love it, we all love it, but let's not forget about this fact: Gear will not make you sound good.

I am also part of the photography/film community and the prevalence of gear envy and gear lust there is probably even worse than it is here, but I've noticed that the pattern is similar. The amount of time and money that is spent on this topic is truly mindboggling. Now if you love talking about this and breaking it down, please know that this is not an attempt to guilt you or delegitimize how you spend your time, but please also know that if the money and time that's spent talking about/analyzing/obsessing over gear was spent on actually shooting, practicing, playing... whatever it is you ACTUALLY want to do, we'd have a lot more amazing films in the world, a lot more incredible guitarists, and honestly, a lot fewer options for gear (so many companies wouldn't have come out of the 'guitarists woodwork' to try and cash in on this phenomenon).

I'd say improvements in gear (even big ones) represent about 5% of the actual improvement and development of you as a guitar player. The remaining 95% comes from actually PLAYING. Spending the time on practicing, spending the money on education, and spending the brainpower on setting up the systems needed to make the most out of your practice time. This all may sound stupidly obvious, but I've been punched in the gut by this reality time and time again. Please try not to get sucked into the trap of only thinking about gear as your means to become better.

I want to make one thing very clear here, and this is not really a guitar (or even a music) principle, but more of an approach to life and to your business (if you have one, or plan to have one). Time is money. In fact, in my world, I use a slightly altered version of that old cliche: Time >Money. But over and over again, I see people who place more value on money than time. The reality is that money can always come back into your life, but time cannot. The reason I mention this is not because I'm simultaneously trying to tick the box of being your guitar teacher AND financial advisor, but because I've seen a sort of one-dimensional approach to this concept by far too many people. And I want to plant the following thought process in your head:

Let's say you don't have much money but you know you want to play guitar. So you say, ok, I'll get what I can afford for now. You don't try to work harder or longer to save that money up in the first place (or even get a loan of it) and just get the best equipment and call it a day. You continue playing, but you can't shake this feeling that something is 'missing' no matter what you do. So you spend hours breaking it down and trying to figure out why. You read online forums about 'whats better, X or Y' or 'how do I sound like Z'. Each hour that you spend on this, you could have spent practicing, and making your future hours worth so much more. You resell the gear at a loss and get something slightly more expensive, that you think will fill the gap. After a while, you get that same feeling and the process repeats itself over and over again. By the time you've finally spent the money on the thing you really wanted in the first place, you've spent so much time discussing and worrying about the equipment, that you are a worse guitar player and have ultimately ended up spending more money (due to the losses you made every time you resold). Sure, you might learn a lot about crafting sound than you would have if you had not gone through this process, but for the majority of people, this is simply unnecessary information that does not make any significant difference to their music career (for those who want to get into sound engineering, mixing, mastering, etc this obviously does not apply).

I always liked the phrase 'buy cheap, buy twice' mostly because when I first heard it, it was such a 'punch in the gut' lesson for me, which completely contrasted with the way I had been approaching everything. For so many years, my google searches were always initiated with the word 'cheapest' (cheapest amp, cheapest guitar, cheapest lights, cheapest camera, etc) until I realized the above. In the end, you WILL spend more if you skimp out and get the cheaper thing to try and save a buck. Whether that's in time, skill or money, I've never actually found it to be of any real benefit. There is one exception to this, and that is that if you are going to take so long getting that money together that you won't be able to just get started, then I would say get the cheapest you can and buy second-hand with the intention of reselling for the same price soon after and then just get the best you can. 

If it is stopping you from getting started, then I always say to prioritize that, but in general, you should use this as a guiding principle. The only other exceptions are the obvious ones - don't prioritise this over your food, rent or health money, and if you are not actually sure if you want to commit to being a guitar player and are just trying it out, then obviously don't just go out and buy the best of the best. Remember, the higher the price you pay, the harder it can be to resell, so please don't be completely careless and buy the most expensive thing either. So be sensible about this of course, I'm not telling everyone to blindy go out and buy the most expensive of everything, but my point is simply to remember that in the long run, by buying 'cheap', you may not actually be saving money. You may be actually losing money.

All this being said, I have included a mini-course on my gear with this song, but it is very simple, there are no tricks, just good quality equipment that I worked hard to save up for and buy, so I could just sound good and forget about the endless gear trap. To reiterate, there is a lot to be said for working as hard as you possibly can to save up the money to buy the 'ultimate' guitar, amp, or whatever so that you don't have to resell later and rebuy later on, however, I do understand that not everyone has thousands of dollars/pounds/euros to spend on gear, so I have decided to include a simple guide on what I would suggest is the best route to go for your gear, with three different budget types included. This guide is included in Chapter 6 of this eBook.

Chapter Number 5

Repetition & Right Hand

Technique no. 1


The style of Hendrix, Mayer and SRV won’t come quick to you, that I can almost guarantee, but once you 'get' it, you are going to see that it is very repetitive and actually very simple. The same “types” of licks are used over and over again, and the same basic structure is followed in almost every song. There are many techniques and tricks in the left hand that we will go through and discuss throughout the course, but I would say that probably the most important thing
in making the difference between those who play SRV, and those who
PLAY SRV, is that right hand. Right hand, Right hand, right hand.

There is a concept in guitar playing that is based on the idea that the left hand (or the fretting hand) brings the 'brain' of the music, and the right hand brings the 'soul'. And this makes a lot of sense. Your right hand (or your strumming hand), is probably the biggest and most effective tool that you have, and has probably been used throughout your life more than any other limb. Aside from maybe sleeping and breathing, is probably the most integral 'physical' part of you (aside from your brain, of course). As you play, the right hand is likely moving the most (in a strumming situation) and it is in 'motion' that you find 'emotion'. Your right hand 'represents' your physical being and how you do things better than any other body part, and let's not forget that it is your closest companion in your most... <cough>... ahem... 'intimate' moments 😛

The point is that while every other guitarist (and guitar teacher for that matter) is off drilling themselves with exercises, scales and practice routines that solely focuse on the left hand, you can spend your practice time concentrating on both. And honestly, once that right hand 'clicks into place', you won't even need to think about it. Only at that point should you start to focus on your left hand. I would MUCH prefer to hear a well strummed two chord pattern than a note perfect, but rhytymically questionable guitar solo, no matter how flash or impressive it was.

Don't neglect that right hand. It is responsible for so much more than you realise. Hold the pick correctly from the start when it's easy to develop good habbits. Learn to relax the fingers, wrist and arm to get good movement, and most importantly, once you have a part of a song down, try to let your right hand 'transmit' the music into your body so you can really 'feel' what you're doing. A little but cliche, and 'woo woo' I know, but believe me, I'm a pragmatic guy, and if I say this, it's because I've realised that the cliche is is actually true.


I talk a bit about the difference between 'impressive' and 'good' and from my experience I have found that people respond infinitely better to a really solid rhythm (right hand) that makes them move involuntarily than an impressive display of 'flash' on the left hand

Chapter Number 6

The Rake

Technique no. 2


There is one more technique that I should mention to you before you get started on the videos, and that is the 'Rake' technique. This is a technique that is used almost excessively in this style. It is a difficult technique to explain, but I'll try to give you a brief overview here and develop on that throughout the videos themselves.

Usually, the way we think about guitar is that we use our pick to play a chord, or else we use our pick to play a note. When we play a chord, we obviously play multiple strings, but when we pick a note, we're aiming for ONLY the string that note is on. So if we have our finger on the 10th fret of the 2nd string, for example, then we will do our best to cleanly pick that second string and avoid all the other strings. This is a very valid approach to most styles of guitar, but the 'Rake' adds a 'Layer of Mayer' (Sorry, I had to...) to that approach. Basically, the way it would work in this scenario is that instead of hitting the 2nd string only, you would strum all the strings above the 2nd string (so strings 6, 5, 4, and 3), but the side of your palm (and parts of your left hand which we'll get to later) would mute those strings. So in the end all you hear is the note that you are aiming for. Now, you might ask why would one do such a complicated thing to just hit the same damn note, which in the end gives will give the same result? Well, even though the note that rings out is the same, the overall sound is actually quite different. The sound feels much fuller, much heavier and feels like it can stand on it's own without a band. It almost sounds like a chord in terms of it's 'fullness', and so can sometimes confuse people because it doesn't sound like one note is being played, but it also does... if that makes sense.

The more traditional approach of playing a note by hitting only that string that the note is on, tends to need a band to take up the slack in the low-end (bass) sounds. With the rake, you can almost sound like a drummer and a guitarist all in one. It adds a sort of depth and a rhythmic element that playing a single note simply can't achieve. Playing in this way also allows you to make bigger movements of the right hand (because you don't have to be really specific with where you are strumming like the more traditional way), and as we've established in the previous chapter, the bigger movements allow you to 'feel' the music and the rhythm with a little more ease.

There are two main applications of the Rake, or more accurately two different types of Rake. They are what I call the 'Stabbed Rake' and the 'Domino Rake' (These names are completely made up in my mind by the way, so don't go trying to search them on Google or you might end up in some strange dark hole of the internet full of overly-adventurous gardeners). The Stabbed Rake is a much faster version of the Rake and it involves strumming all the strings in one quick strum. The pick moves over the string in one quick movement and it sounds like one thick, strong note.  The Domino rake, on the other hand, is a much slower movement over the strings, where you can actually hear each individual muted string being played, prior to the ringing out of the targeted note. This is often used in slower songs and is more of an effect to make the note feel like it was 'fallen into' rather than an attempt to thicken the note itself. Both have their own sound and purpose and can be used interchangeably. The biggest deciding factor in choosing which one to use is simply the energy that you feel is required at any given time. And I know, if you're only starting out this probably feels a little overwhelming, but don't worry, it will become much easier as time goes on.

In my opinion, no one does the rake better than SRV. Have a look at this video of the SRV song 'Tightrope' to see it in action. Notice at 5:33 how his right hand, for the most part, is using big wide strums for the solo, even on single notes. Another good example of the Rake being used is in the song 'Who Did You Think I Was' by John Mayer. Here's a link to the live performance of the song if you're not familiar with it. But in reality, almost everything SRV plays has a certain level of 'thickness' to it. The rake is used so much in his playing that you almost don't notice it, and it only registers in your brain subliminally. This is another thing that a lot of people get misled by. They almost lose the ability to hear it, and therefore don't actually implement it in their own playing and then wonder why they don't sound like SRV.

Note: It is also worth noting that SRV was famous for using gauge 13 strings and bass frets on his electric guitar, which gives us an insight into what he was trying to achieve with his sound. He was clearly going for a sound that was as thick and heavy as possible. And he obviously didn't care if his fingers got torn up in the process trying to do big bends. Just gives you an idea of the dedication!


Then compare it to this video, which an entirely different playing style. Eric Johnson, another very well known guitarist uses many more notes, but look at the difference in the movement of his right hand and how much more still it stays than the previous video of SRV. You might have noticed that Johnson is also using his other fingers to pick certain strings. This is known as 'Hybrid Picking' and is used for speed and for certain stylistic traits. Hybrid picking is not something that comes into this style really, but it's just good to be aware what it is.

It’s also highly likely that Eric Johnson is using a smaller and much heavier pick, so he can really get into the strings, and pick very precise notes. SRV, on the other hand (no pun intended), likely uses a larger and softer pick, so there is more ‘slack’ on the strings, and this gives more ‘rhythm’ from the guitar alone.

Chapter Number 7

Suggested Gear

For low, medium and high budgets

Unfortunately, you're not in a cheap game playing the guitar, so even the lower budget gear is not ‘cheap’ per se, but this is a guideline on what direction to go in your setup. Each setup includes options for a guitar, amplifier (you will be aiming to buy a tube amp, if you can’t afford this, then you will have to play around with some of the solid-state amps available to you. I am not familiar with the range of solid state amps available on the market, but there really isn’t that much BAD gear on the market (just don’t buy in a toy store :D).

In order to prepare a list for you, I traveled many miles to Europe's biggest music store where I stayed for several days to try out anything I could get my hands on. This place is based in the middle of nowhere, in a small town in Germany, and is like Disneyland for musicians, with an entire campus of Accommodation, Food, and of course the actual shop. There are thousands of the most popular guitars, amps, keyboards, speakers, studio equipment, etc. lining the walls, and basically, anything you want is further stocked in the nearby warehouse. I spent several days trying out every different guitar and amp and combination that I could get my hands on. The reality is that there are a huge number of perfectly legitimate options that sound great, but I know that is not much help, so I boiled it down to my favorite.

One thing to note when buying gear is that nowadays, there are many 'modern day' features that may be very important to you and not so important to others. In my analysis of all the gear I tried, I didn't take this into account. I was purely focusing my attention on which rigs provided the best tone. If I took the other features into account, it would be a never-ending list with far too many variables and I feel this list would become diluted. It's like the old adage "try to please everyone, and you'll end up pleasing no one". So if there is something that is very important to you that is an actual 'feature' (eg. an attenuator if you need to play quietly in an apartment, Bluetooth connectivity, a built-in tuner etc - and there are many cool amps with lots of features like the Spark amps, Yamaha THR, Lava guitars - but I would not say that they are at the same level as my recommendations purely on the tone front) and not purely a sound characteristic, you will need to decide yourself what your priority is. I am making the below recommendations based on the assumption that you are aiming for the very best tone, period. Everything else depends on you and your specific situation.

When I was searching for my setup, for a low to medium budget, many people said ‘it all depends what you like – everyone’s different’ and it made it very difficult because I had no idea what direction to go. What I want to do here, is give you an idea of what to buy, and then you go out and play these setups, and then play around with whatever else is available to you in the shop, with this simple foundation in mind.

Bear in mind that when you get to the point of higher budget gear, things can really get overwhelming, so I would see what is available to you (you may need to travel – I did, a lot) and see what you feel is the best, what feels like something you would play a lot (that’s the golden rule really – the gear that is the best, is the gear that you feel you enjoy playing the most – don’t listen to the guitar shop guy telling you how awesome it is, and how special the tubes are in it), and then just get it, instead of waiting around to make sure its right.

You can drive yourself crazy looking for the perfect tone, and I think a lot of guitar players have a somewhat unhealthy relationship with finding ‘THE ONE”, that all your playing problems will be fixed once you find it (sound familiar? – it did to me). You will find something to improve and tweak on EVERY single sound once you get used to it, so no matter what you buy, it’s unlikely to be ‘beaten’ by anything else – as long as you followed the golden rule I mentioned previously.


“The Frying Pan” - The World’s first electric guitar, built in 1931 by George Breed, and further developed by George Beauchamp. Why do Leo and Les get ALL the credit? 😉

1) Lower Budget:

  • Fender Squier Strat
  • Fender Blues Junior Series (I understand that this is still a little expensive, but the most expensive amp you will buy is the wrong one) OR I personally Really like the Ibanez TS15. This was demoed in My “5 Don’t Need To Knows” Video. Try both of these and decide for yourself which one you prefer. Both have a very different character.
  • Medium Picks
  • Ernie Ball regular Strings 00.10

2) Medium Budget:

  • Fender Standard Mexican Strat
  • Fender Squier Classic Vibe
  • Fender Hot Rod Deluxe Series
  • Medium Picks
  • Ernie Ball regular Strings 00.10

Now this is where it gets very personal, and below is just a simple guide on what to try first, if you are not sure of what to buy. This is by no means the be all and end all of gear, but may be a good starting place if you have some fuller pockets than the two previously mentioned setups.


The world's largest Amplifier by Full Sail University… Yes this is real, and yes, you can
play through this… though I’m not sure I’d be recording with this!!

3) Higher Budget:
  • Fender American Standard Strat
  • Fender American Deluxe Strat
  • Fender Custom Shop Strat Series (This is what I am playing, a 1956 CS Strat)
  • Fender Strat Signature Series – This will depend on what your local music store has, try them all.

This all depends on what you prefer, but try these amps if you can:

  • Fender Super-Sonic (This amp is very versatile, but I felt it does several jobs very well, and none extremely well. But THAT’S JUST ME. I opted for an amp that had a killer clean tone.
  • Fender Bassman
  • Fender Twin
  • Toneking Imperial
  • Toneking Galaxy
  • If possible, try out some Dumble amps, and Two Rock amps, both of which are great amps, but can get very expensive.
  • Medium Picks
  • Ernie Ball regular Strings 00.10 or 00.11’s for slightly thicker sound
Again, this is just a guide, but hopefully you will have some idea of what you should start to look at when going tone shopping! But in the end of the day, I do believe the tone is mostly in the fingers.


You’d certainly turn a lot of guitarists heads if you turned up to a gig with this old
Premier amplifier!

Chapter Number 8

"Pain, No Gain"

You read that wrong. Read it again

Depending on where you are in your guitar journey, you are very likely to experience pain at some point. The first introduction to this is the callouses, or areas of hardened skin, that build up on the tips of your fingers. These, from a medical perspective, occur when the body part is exposed to repeated 'injury' and it needs to protect itself. In order to do that, it starts to create areas of hardened skin around the affected area. These are called callouses and most of us who've been playing for a while know that they are super helpful for playing guitar and that the pain in the tips of the fingers goes away after a couple of days.


If you watch my video of Slow Dancing in a Burning Room, you will see that I had a band aim on my thumb. There was a poor fret job done on the guitar not long before and the frets had sliced open my thumb as I was practicing this song.


Note: The pain 'going away' is not permanent, and the callouses that you develop can and will soften back to normal, and pain will reoccur if you don't regularly practice. I've been playing guitar for many years and still get pain in my fingertips and have to redevelop my callouses when I stop playing for a while.

When creating the callouses for the first time or, more accurately, when you're allowing your body to create the callouses for the first time), if you feel pain, you shouldn't rest until it feels completely better, but you also shouldn't keep playing and not give it time to develop at all. There's a balance you have to find between being able to bear the pain and letting the skin on your fingers recover and build up stronger. When you are more experienced but have just taken a break, you can take the same approach, but your callouses are likely to build up faster so you can take fewer breaks in between.

However, when we start playing in a new way we might experience pain elsewhere in our fingers, wrists, arms, or even shoulders. This is not something that should be happening and we should address the issue and try our best to eliminate it and not push through. A common issue that occurs in people who take on this new style is tension or pain in the thumb. Because this style is one of the few styles that require the player to grip with the thumb over the top of the neck rather than at the back of the neck like most other traditional styles of playing, you tend to use the thumb in a way that you haven't before. This use of the thumb in a way that it is not familiar with can lead to issues and pain in the thumb. There are certain physical stretches and exercises that can be done to help this slightly, but my experience with hundreds of students who go through something like this is that they are trying to push with the thumb against the fretboard too much or they are twisting it in some unnatural way that is causing unnecessary amounts of stress on the joints and muscles in the thumb. I have a mini-course called 'Mastering the Thumb' where I go over the proper way to use your thumb, but suffice it to say that if you are experiencing excessive pain, you are likely doing something wrong. The best course of action is to simply let your thumb rest for a little time and then come back and try it again in multiple different positions and see which one causes the least amount of stress.

On a much more positive note, this method of using your thumb to play standard barre chords significantly reduces the amount of pressure that would be placed on your wrists. In order to play barre chords in the traditional way, you need to squeeze your thumb and fingers against both sides of the neck and this can often lead to wrist injury or fatigue. The thumb-over approach, while it has a slight possibility of causing some slight thumb pain if done incorrectly, is an absolute godsend for decreasing this pain and fatigue. And trust me, if you had to to choose between a lot of wrist pain or a little thumb pain, you would choose the latter every time.

So while 'no pain, no gain' can be useful to your guitar playing, sometimes pain can be absolutely no gain and should be addressed as soon as possible.

Chapter Number 9

Closing Statements

To conclude…

I truly hope this video course and guide helps you reach your goals in learning this song and this style, I’ve given everything I have in terms of how I think about it, play it, and approach the style overall. I hope you feel that it was worth paying for. I know most things are available for free online today, but I don’t think there is anyone online giving away this amount of info for free. I really do wish someone had done this when I was trying to learn this song, but I couldn’t find anything.

Finally, I am an artist, and want to keep making music, so I am reaching out to ask you not to share this freely online. You could, there really is nothing to stop you, I have no protection on this course – I couldn’t afford any big company to monitor it as I’m really just a guy in his bedroom, but I am asking you from one musician/artist to another, to please respect that I put a lot of work and lots of money into this and I need the support to keep making quality music and products. If my stuff starts getting shared, I lose my ability to keep making the best stuff I can make as I need the income to live.

So please don’t give this away for free, I don’t have the support of any company or business behind me.

Thank you so much, and best wishes in all your musical endeavours, Remember; “People don’t fail… they just stop trying.”



If you enjoyed your time on this course, and you felt 100% satisfied with the course and all the content that I provided, please consider leaving a review on, by going to the website and searching for You won’t need to create an account or any of that, so it will only take minutes to do 🙂 If you do not feel fully satisfied with my courses and there is something that was not 10/10 or 5 stars with your experience, please, reach out to me. I am not trying to take money from anyone who is not 100% satisfied, and I will do whatever I can to make sure you are feeling your experience was worthwhile.

There have been some amazing reviews of my courses left on Trustpilot and they have helped me so much to continue making music and gave others the confidence to also pull the trigger and learn from me. Thank you so much in advance to anyone who decides to leave a review. You have no idea how much it helps! I am truly, truly grateful for the time it took to write the review and it also really means the world to me to hear back that my lessons have helped people.


After completing the course, some people have told me they would like the facility to donate a tip to show their appreciation of the lessons. I have calculated what I feel is a fair price for my work, but there have been some people who have felt that what I do has helped them more than that amount. If you are one of those people and you love what I do and want to support it, you can now leave a donation using the button below.

Thank you so much for your continued support! It truly means everything to


Chapter Number 10

What next?

Want to learn more…? Pick Up Some of my Other Courses

**Contact me within 14 days of purchase to request an upgrade to a bundle and I’ll give you the appropriate discount on that bundle


The Everything Bundle is the best selling product I’ve ever released, and has every course I’ve ever made and is essentially an ‘Access All Areas’ pass into the world of this style. The Everything Bundle is constantly changing and evolving, with new courses and sections being added. This should keep you busy for a long time, and by the time you’ve made it through the Everything Bundle, you likely won’t need me (or likely any other teacher) anymore.