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Over 13 hours of video for demonstrated close up, slowly by measure then rehearsed by section. Includes printable PDF arrangements and worksheets in tab, standard notation and chord grids plus Mp3 play along practice tracks
all on one convenient USB drive.

This course originally started as a fingerstyle arranging course however so many students suggested it should be titled "How to arrange and play fingerstyle" that we renamed it.  With these lessons you’ll gain the tools to create and play fingerstyle arrangements of your favorite songs. Fingerstyle guitar is a big subject, but Rich breaks it down, measure by measure, piece by piece, lesson by lesson.  He’ll thoroughly explain the concepts that arrangers, like himself, use to create memorable arrangements. 
No matter what style you play now, this course will benefit you for years to come.

Fingerstyle is a fulfilling and rewarding idiom because it’s all you, no accompaniment needed.  It takes time to conquer but you can do it with consist effort.  Fingerstyle arranging can be a challenging task as well.  Writing an impressive arrangement can take years of experience and knowledge.
"This course is the result of my 50 years of experience.  It’s my pleasure to pass on to you in a concise and systematic way what I have spent years learning to hasten the time needed for you to gain that same knowledge and experience.  By acquiring this knowledge and these tools to play and write satisfying and impressive arrangements of your favorite songs, it’s my wish that you'll find the same enjoyment I have found in fingerstyle guitar." ….Rich      

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** Harmonizing Scales and Chromatic Tones over major, minor and dominant7th sounds
       Every melody is derived from a scale and interacts with the underlying harmony, learn most of the possibilities
** Diatonic Harmony presented in many string groups and in closed and open voicings
       The guitar is an instrument of endless chord possibilities! Begin to organize and categorize the fretboard
** Jazz Chords with extended and altered chords + stacked 4ths and tight harmony
       Jazz interpretations is the next logical step in guitar playing.  Learn the vocabulary of a jazz guitarist
** Counter Lines and Contrary Motion
      Learn to harmonize the melody & fill the spaces of a melody to make your arrangement interesting & your own
** Tritone Substitutions and Reharmonization
       Learn to breathe new life into the 2nd or 3rd verses to make them fresh and interesting rather than redundant
 ** Tonality and Cadences

       Mastering these principles will give you the confidence to arrange melodies in interesting musical ways
**  Developing the Bass Line
       Set your arrangement apart from just a chord melody.  Learn how, when & where to use this infectious device
**  Intros and Endings & Turnarounds
       Start with a great set up, bring it back with an interesting turnaround, close with a memorable ending.
** A Wealth of Chords Voicings
     Chords & inversions organized by both string groups and closed & open voicings. Useful for all guitar playing
** Actual Fingerstyle Arrangements

     Some complete, as well as partial arrangements that are used to illustrate the presented concepts              



  Chapter 1, part 1- INTRODUCTION Explore different methods and theories of fingerstyle playing and arranging.  Learn how to harmonize the major scale with chord voicings of just the tonic chord.  Study 3 string groups that produce 30 different voicings.  34 minutes

Chapter 1, part B - MINOR CHORD VOICINGSMost songs are written in major keys so you need to learn to voice minor chords with the home key scale moving above it.  Use the Dorian mode to voice it over minor chords in 3 different string groups. 32 minutes

Chapter 1, part C-CHROMATIC OVER DOMINANT More chromatic melody is found over dominant chords than over any other chords.  Using 3 shapes learn to generate 44 different chord voicings to use over dominant chords.   46 minutes.

1D THE WAY YOU LOOK TONIGHT CHORD MELODY  Learn and examine the chord melody to this ever popular standard. 37 minutes plus MP3 track

Chapter 2, part 1- DIATONIC HARMONY IN TRIADS   Diatonic harmony encompasses a vast percentage of guitar playing that is essential to chord melody and fingerstyle.  Begin by studying triads in three string groups, each group voiced with the root, 3rd then the 5th in the soprano voice.  An understanding of music theory is helpful for grasping diatonic harmony.  31 minutes

2B- HERE, THERE & EVERYWHERE CHORD MELODY Learn the chord melody to the popular Beatles' tune, "Here, There & Everywhere."  This original arrangement was written to specifically demonstrate diatonic harmony.   37 minutes plus MP3 track.

Chapter 2, part 3- TRIADS & 7thsContinuing diatonic harmony working through triads with open voicings and 7th chords with open and closed voicings.  38 minutes 

Chapter 2, part 4- JAZZ VOICINGS  Study voicings unique to jazz and useful for fingerstyle arranging.   A total of 15 different illustrations include quadrants (4 note chords) of stacked 4ths, triads of stacked 4ths and 5ths plus tight harmony 2nds with 3rds and 4ths.  51 minutes

Chapter 2, part E- ELEANOR RIGBY  Harmonize this popular Beatles classic in quadrants of 4ths giving the tune a modern jazz sound . 26 minutes plus Mp3 track

Chapter 3, part 1- COUNTER LINES  Discover lines other than the melody that are within the chords and also connect the chords.  Used in chord melody and fingerstyle to fill in the dead air when the melody is suspended, counter lines make your arrangements more interesting because there is more going on.  34 minutes

3B- CONTRARY MOTION   Examples of harmonizing a melody using contrary motion to more interesting and professional sounding.  Includes a new arrangement of the intro and verse of The Way You Look Tonight demonstrating counter lines and contrary motion.  34 minutes.

3C- AUTUMN LEAVES JAZZ COUNTER LINES   Turn off your metronome for this lesson!  Play in a rubato style and using jazz counter lines in answer to the melody.  Joe Pass was the master of this technique.  Adding jazz lines in between the melody gives your arrangements more of a pro jazz sound.  32 minute video.

 4A- TRITONE SUBSTITUTIONS  Reharmonization helps you utilize jazz harmonies in your arrangements.  Discussion on using ii V tritone substitutions. 36 minutes

4B - TONALITY AND CADENCES  Tonality and how it can be delayed or reaffirmed to add a new dimension and a new set of chords to your arrangements.  Discussion on back cycling through the cycle of 4ths and how it can be used to change the harmony and make the arrangement more interesting.  Many Illustrations of resolving and deceptive cadences, delayed resolutions plus more tritone substitutions.  50 minutes

5A- INTRODUCING THE BASS LINE  A variety of bass line treatments demonstrated with explanation how they work under the support of the harmony.  44 minutes 

5B- WALKING BASS LINE EXAMPLESStudy walking bass lines with examples from tunes to help you see the interaction between the bass and the melody.  56 minutes.

5C-THE WAY YOU LOOK TONIGHT Incorporate walking bass lines to complete the fingerstyle arrangement of this tune.  45 minutes

5D-TURNAROUNDS  The chord progressions found in the last two bars of the first verse are typically used to lead the listener back into the next verse.  They’re also used to start through the song form again. 16 examples of the most common types of turnarounds and embellishments that can lead you to 100's more playing possibilities.   52 minutes

6- INTROS  Explore how to find key parts of a song that can serve as an intro or as an ending.  Learn to improvise on those key parts to use as an intro or an interlude as well.  Learn to transpose those sections to add interest to the arrangement.  Some intro chord progressions to establish the tonality and mood of the song.  49 minutes

7- ENDINGS How to create endings for arrangements and demonstration of several actual endings. Discussion using creating deceptive cadences, chords moving around the cycle of 4ths, jazz substitutions, restating key phrases, resolving cadences then moving to new tonalities, and using intros as endings.   26 minutes