The lesson videos themselves each contain a highly detailed study
and lesson on how to play
each of these pieces.

  • The videos are shot in our innovative 'over-the-shoulder-vision' 
So you don't have to mentally or visually translate what is on the screen
  • There is also a video for each piece called the playthrough which is obviously the 'performance' version
Means you can see exactly how the piece should be played in performance
  • Printable tabs are included in .pdf format.
Print them out and get away from your computer for a while
until you 'perfect' each piece
  • Tabs are also included in Powertab format
This means you can select small sections and listen carefully note-for-note for each
section until they are burned into your memory (well that's how I do it anyway)

  • You can email Jerry or myself if you have any questions about the instruction videos.
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1. All around my hat
The song "All Around my Hat"  is of nineteenth-century English origin. In an early version,dating from the 1820s, a Cockney costermonger vowed to be true to his fiancée, who had been sentenced to seven years 'transportation to Australia for theft and to mourn his loss of her by wearing green willow sprigs in his hatband for "a twelve-month and a day," the willow being a traditional symbol of mourning. The song was made famous by Steeleye Span in 1975.A more traditional version is available on a release sung by John Langstaff

2. Amazing Grace
Amazing Grace" is a Christian hymn published in 1779, with words written by the English poet and Anglican clergyman John Newton (1725–1807).

Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by his recalcitrant insubordination. He was pressed (conscripted) into service in the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County DonegalIreland, so severely that he called out to God for mercy, a moment that marked his spiritual conversion. He continued his slave trading career until 1754 or 1755, when he ended his seafaring altogether and began studying Christian theology.

3. Barbara Allen

"Barbara Allen" is a traditional Scottish ballad, it later travelled to America both orally and in print, where it became a popular folk song. Ethnomusicologists Steve Roud and Julia Bishop described it as "far and away the most widely collected song in the English language — equally popular in England, Scotland and Ireland, and with hundreds of versions collected over the years in North America."

The ballad generally follows a standard plot, although narrative details vary between versions. Barbara Allen visits the bedside of a heartbroken young man, who pleads for her love. She refuses, claiming that he had slighted her at a prior affair; he dies soon thereafter. Barbara Allen later hears his funeral bells tolling; stricken with grief, she dies as well.

4. Black Waterside

Down by Blackwaterside (also known as Blackwaterside, Blackwater Side and Black Waterside), are traditional folk songs, provenance and author unknown, although they are likely to have originated near the River Blackwater Ulster 

The song tells the story of a woman who has her heart broken "down by Black waterside" when a suitor breaks his promise of marriage that he made to trick her into having sex with him. The morning after her suitor mocks her for believing that he would marry her and tells her to go back to her father. He tells her she has only herself to blame for having sex before marriage. She realizes he will never return and berates herself for believing his lies. 

5. Carrickfergus

"Carrickfergus" is an Irish folk song, named after the town of Carrickfergus in County Antrim, Northern Ireland.
The origins of the song are unclear, but it has been traced to an Irish-language song, "Do bhí bean uasal" ("There Was a Noblewoman"), which is attributed to the poet Cathal Buí Mac Giolla Ghunna, who died in 1745 in County Clare
The song appears on a ballad sheet in Cork City in the mid nineteenth century in macaronic form. The Irish lyrics were about a man being cuckolded, a bawdy and humorous ditty. By contrast, the English lyrics are nostalgic.
With the Industrial Revolution, a linen-trade developed between County Antrim (where Carrickfergus is situated), and County Cork. It is possible the English lyrics came from snatches picked up in interactions between the Cork men and the Antrim men.
Robert Gogan[2] suggests Carrickfergus may have evolved from at least two separate songs, which would explain why it does not have a consistent narrative. For example, the Ancient Music of Ireland, published by George Petrie in 1855, contained a song called "The Young Lady" which featured many but not all of the lyrics used in Carrickfergus. Gogan also refers to a recording of a song called "Sweet Maggie Gordon" which is kept in the Music for the Nation section of the US Library of Congress. It was published by Mrs Pauline Lieder in New York in 1880. It contains verses which are similar to Carrickfergus, but the chorus is closer to another Irish/Scottish folk song called "Peggy Gordon".
In modern times, "Carrickfergus" became known after actor Peter O'Toole related it to Dominic Behan, who put it in print and made a recording in the mid-1960s. The middle verse was allegedly written by Behan.
The song has been recorded by many well known performers including Ryan Kelly, Celtic Thunder, Paddy Reilly, Declan Affley, Joan Baez, Bryan Ferry, Dominic Behan, Charlotte Church, The Clancy Brothers and Tommy Makem, Brian Dunphy, De Dannan, Subway to Sally, Joe Dassin (as Mon village du bout du monde), The Dubliners, Garnet Rogers, Brian Kennedy, Declan Galbraith, Irish Stew of Sindidun, Lisa Kelly, Cedric Smith, with Loreena McKennitt on harp (as Carrighfergus), Órla Fallon, Van Morrison, Bryn Terfel, the Chieftains, Ronan Keating, Katherine Jenkins, Allison Moorer and Dexys. It was also adapted in Scooter's song "Where the Beats...". The song is a popular request at folk festivals and concerts, and was played at the 1999 funeral of John F. Kennedy, Jr. The song was more recently performed by Loudon Wainwright III over the closing credits of HBO's series Boardwalk Empire. Furthermore, the Russian singer-songwriter Aleksandr Karpov (a.k.a. "Aleksandr O'Karpov") translated the lyrics into Russian, recording a Russian version of "Carrickfergus", also titled  "Beyond the blue sea, beyond the ocean").
Closely related is the song "The Water is Wide", which has a similar tune and very similar lyrics in some lines. Recordings have been made by many people including Bob Dylan, Pete Seeger, The Seekers and two former members of The Byrds, Roger Mcguinn and Chris Hillman, who both did solo versions.

6. Danny Boy

"Danny Boy" is a ballad written by English songwriter Frederic Weatherly and usually set to the Irish tune of the "Londonderry Air".It is most closely associated with Irish communities.
Initially written to a tune other than "Londonderry Air", the words to "Danny Boy" were penned by English lawyer and lyricist Frederic Weatherly in Bath, Somerset in 1910. After his Irish-born sister-in-law Margaret (known as Jess) in the United States sent him a copy of "Londonderry Air" in 1913 (an alternative version has her singing the air to him in 1912 with different lyrics), Weatherly modified the lyrics of "Danny Boy" to fit the rhyme and meter of "Londonderry Air".
Weatherly gave the song to the vocalist Elsie Griffin, who made it one of the most popular songs in the new century; and, in 1915, Ernestine Schumann-Heink produced the first recording of "Danny Boy".
Jane Ross of Limavady is credited with collecting the melody of "Londonderry Air" in the mid-19th century from a musician she encountered.

7. Dirty Old Town

"Dirty Old Town" is an English song written by Ewan MacColl in 1949 that was made popular by The Dubliners and has been recorded by many others.
The song was written about Salford, Greater Manchester, England, the city where MacColl was born and brought up. It was originally composed for an interlude to cover an awkward scene change in his 1949 play Landscape with Chimneys, set in a North of England industrial town,[1] but with the growing popularity of folk music the song became a standard. The first verse refers to the Gasworks croft, which was a piece of open land adjacent to the Gasworks , and then speaks of the old canal, which was the Manchester Bolton & Bury Canal. The line in the original version about smelling a spring on “the Salford wind” is sometimes sung as “the sulphured wind”. But in any case, most singers tend to drop the Salford reference altogether, in favour of calling the wind “smoky”.

8. I once Loved a Lass

"I Once Loved a Lass", also known in Scotland as The False Bride,[1] is a folk song of the British Isles.[2] The age of the song is uncertain, but versions of it date at least as far back as the 1680s.[3] Although widely believed to be a Scottish song, the earliest record of it is from Newcastle upon Tyne.

The song has been widely recorded since being popularised by Ewan MacColl. His rendition of the song began:

I once loved a lass and I loved her so well, I hated all others [that] spoke of her ill, [And] now she's rewarded me well for my love, She's gone to be wed to another

The song's theme is of unrequited love and some interpret the ending as implying death or suicide. Ewan MacColl wrote in the notes to his 1956 album Classic Scots Ballads:

Songs of jilted and forsaken lovers are common enough in Scotland but, for the most part, they tend to be ironical rather than pathetic in feeling. “There are plenty more fish in the sea” is the philosophy of our jilted heroes and heroines. In this curious little song, however, the jilted lover, after attending his ex-sweetheart's nuptials, just lies down and dies.

9. Michael Row the Boat Ashore

"Michael, Row the Boat Ashore" (or "Michael Rowed the Boat Ashore" or "Michael, Row Your Boat Ashore" or "Michael Row That Gospel Boat") is a negro spiritual. It was first noted during the American Civil War at St. Helena Island, one of the Sea Islands of South Carolina.[1] It is cataloged as Roud Folk Song Index No. 11975.
It was sung by former slaves whose owners had abandoned the island before the Union navy arrived to enforce a blockade. Charles Pickard Ware, an abolitionist and Harvard graduate who had come to supervise the plantations on St. Helena Island from 1862 to 1865, wrote the song down in music notation as he heard the freedmen sing it. Ware's cousin, William Francis Allen, reported in 1863 that while he rode in a boat across Station Creek, the former slaves sang the song as they rowed.[2]
The song was first published in Slave Songs of the United States, by Allen, Ware, and Lucy McKim Garrison, in 1867.

10. Scarborough Fair

"Scarborough Fair" is a traditional English ballad about the Yorkshire town of Scarborough.
The song relates the tale of a young man who instructs the listener to tell his former love to perform for him a series of impossible tasks, such as making him a shirt without a seam and then washing it in a dry well, adding that if she completes these tasks he will take her back. Often the song is sung as a duet, with the woman then giving her lover a series of equally impossible tasks, promising to give him his seamless shirt once he has finished.
As the versions of the ballad known under the title "Scarborough Fair" are usually limited to the exchange of these impossible tasks, many suggestions concerning the plot have been proposed, including the hypothesis that it is about the Great Plague of the late Middle Ages. The lyrics of "Scarborough Fair" appear to have something in common with an obscure Scottish ballad, The Elfin Knight (Child Ballad #2),[1] which has been traced at least as far back as 1670 and may well be earlier. In this ballad, an elf threatens to abduct a young woman to be his lover unless she can perform an impossible task ("For thou must shape a sark to me / Without any cut or heme, quoth he"); she responds with a list of tasks that he must first perform ("I have an aiker of good ley-land / Which lyeth low by yon sea-strand").

11. She Moved Through The Fair

"She Moved Through the Fair" (or "She Moves Through the Fair") is a traditional Irish folk song, which exists in a number of versions and has been recorded many times.

The traditional singer Paddy Tunney learned "She Moved Through the Fair" in County Fermanagh and recorded it in 1965. Other singers who sang it in the 1950s and the 1960s included Dominic Behan and Anne Briggs. It was popular among members of the Traveller community in Ireland at that time.
Fairport Convention recorded the song in 1968, adapting the style of the song from the Traveller Margaret Barry, though she herself had learned it from a vinyl recording made by John McCormack at EMI Studios in 1941. Former Fairport Convention guitarist and songwriter Richard Thompson regularly includes the song in concert performances.[10] Also of note are the recordings of the song by Alan Stivell in 1973. Art Garfunkel (formerly of Simon and Garfunkel) recorded a particularly lush version on his album Watermark (1977). Josh Groban recorded the song for his album All That Echoes (2013).

12. Shenandoah

"Oh Shenandoah" (also called simply "Shenandoah" or "Across the Wide Missouri") is a traditional American folk song of uncertain origin, dating to the early 19th century.
The song appears to have originated with Canadian and American voyageurs or fur traders traveling down the Missouri River in canoes, and has developed several different sets of lyrics. Some lyrics refer to the Native American chief "Shenandoah" (Oskanondonha) and a canoe-going trader who wants to marry his daughter. By the mid 1800s versions of the song had become a sea shanty heard or sung by sailors in various parts of the world.

13. Sloop John 'B'

"Sloop John B" is a traditional folk song from the Bahamas, also known as "The John B. Sails", Wreck of the Sloop John B. and some other less used titles, which was included in Carl Sandburg's 1927 collection of folk songs The American Songbag. It is best known for its folk rock adaptation by the Beach Boys, which was produced and arranged by bandleader Brian Wilson. Released two months before their 11th studio album Pet Sounds (1966), it served as the lead single for the album, peaking at number 3 in the US and number 2 in the UK. In several other countries, the single was a number one hit.
Wilson based his version on the 1958 recording by the Kingston Trio, but took some liberties with the song's arrangement, changing a few lyrics, and at the suggestion of bandmate Al Jardine, modified one part of the song's chord progression to include a supertonic chord (ii). The Beach Boys' Brian Wilson, his brother Carl Wilson, their cousin Mike Love, and their friend Al Jardine all share lead vocal duties. The instrumentation was provided mostly by the session musician conglomerate nicknamed "the Wrecking Crew"

14. The Curragh of Kildare

The Curragh of Kildare, also known as The Winter it is Past, is a folk song particularly associated with the Irish tradition.
Elements of some versions of the song suggest that it dates from at least the mid 18th century. The Curragh of Kildare speaks of the actual Curragh, which is a large area of common land in Kildare, Ireland, used to rally the Irish Army.
The song as currently performed was popularised by The Johnstons, and later by Christy Moore, while versions also exist by The Fureys, Bert Jansch and others. Modern renditions have tended to use a text where the singer is male, and the "true love" female, whereas in the early ballads such as The Lamenting Maid the opposite was the case.

15. The Gypsy Rover

The Whistling Gypsy, sometimes known simply as The Gypsy Rover, is a well-known ballad composed and copyrighted by Dublin songwriter Leo Maguire in the 1950s.
There are a number of similar traditional songs about a well-off woman's encounter with Gypsies dating back at least as far as the early 19th century known as "The Raggle Taggle Gypsy", "The Raggle Taggle Gypsies", "The Gypsy Laddie", "Nine Yellow Gypsies", "Gypsie Davie" and "Black Jack Davie" (Roud #1,[1] Child 200). The story-line usually revolves around a woman leaving her home and her "wedded lord" to run off with one or more Gypsies, to be pursued by her husband. Dorothy Scarborough's 1937 book A Song Catcher In Southern Mountains: American Folk Songs of British Ancestry includes a lullaby called "Gypsy Davy", which Scarborough collected from two Virginia women who had learned the song from their respective grandmothers who in turn had learned it in Ireland. Scarborough's "Gypsy Davy" has a similar construction to Maguire's song, both in some of the lyrics in the verses and in the "ah dee do" chorus that does not appear in the other aforementioned Gypsy-themed songs.[2] However, in Maguire's song the lady is pursued by her father, and when he catches the pair the "Gypsy" reveals himself to be the "lord of these lands all over".

16. The Leaving Of Liverpool

"(The) Leaving of Liverpool", (Roud 9435), also known as "Fare Thee Well, My Own True Love", is a folksong. Folklorists classify it as a lyric lament, and it was also used as a sea shanty, especially at the capstan. It is very well known in Britain, Ireland, and America, despite the fact that it was collected only twice, from the Americans Richard Maitland and Captain Patrick Tayluer. It was collected from both singers by William Main Doerflinger, an American folksong collector particularly associated with sea songs, in New York.[1]
The song's narrator laments his long sailing trip to California and the thought of leaving his loved ones (especially his "own true love"). He pledges to return to her one day.
The Leaving of Liverpool has been recorded by many popular folk singers and groups since the 1950s. The Clancy Brothers and Tommy Makem had a top 10 hit with the song in Ireland in 1964.[2][3] The song has also been adapted by several artists, most notably Bob Dylan.

17. The Water is Wide

"The Water Is Wide" (also called "O Waly, Waly") is a folk song of Scottish origin, based on lyrics that partly date to the 1600s.[citation needed] It remains popular in the 21st century. Cecil Sharp published the song in Folk Songs From Somerset (1906). 

It is related to Child Ballad 204 (Roud number 87), Jamie Douglas, which in turn refers to the ostensibly unhappy first marriage of James Douglas, 2nd Marquis of Douglas to Lady Barbara Erskine.

The imagery of the lyrics describes the challenges of love: "Love is handsome, love is kind" during the novel honeymoon phase of any relationship. However, as time progresses, "love grows old, and waxes cold." Even true love, the lyrics say, can "fade away like morning dew."
The modern lyric for "The Water Is Wide" was consolidated and named by Cecil Sharp in 1906 from multiple older sources in southern England, following English lyrics with very different stories and styles, but the same meter. Earlier sources were frequently published as broadsheets without music. Performers or publishers would insert, remove and adapt verses from one piece to another: floating verses are also characteristic of hymns and blues verses. Lyrics from different sources could be used with different melodies of the same metre. Consequently, each verse in the modern song may not have been originally composed in the context of its surrounding verses, nor be consistent in theme.

18. Where have all the flowers gone

"Where Have All the Flowers Gone?" is a modern folk-style song. The melody and the first three verses were written by Pete Seeger in 1955 and published in Sing Out! magazine.[1] Additional verses were added by Joe Hickerson in May 1960, who turned it into a circular song.[2] Its rhetorical "where?" and meditation on death place the song in the ubi sunt tradition.[3][better source needed] In 2010, the New Statesman listed it as one of the "Top 20 Political Songs".[4]
The 1964 release of the song as a Columbia Records 45 single, 13-33088, by Pete Seeger was inducted into the Grammy Hall of Fame in 2002 in the Folk category.

Seeger found inspiration for the song in October 1955 while he was on a plane bound for a concert at Oberlin College, one of the few venues which would hire him during the McCarthy era.[5] Leafing through his notebook he saw the passage, "Where are the flowers, the girls have plucked them. Where are the girls, they've all taken husbands. Where are the men, they're all in the army."[6] These lines were taken from the traditional Cossack folk song "Koloda-Duda", referenced in the Mikhail Sholokhov novel And Quiet Flows the Don (1934), which Seeger had read "at least a year or two before".[3]
Seeger created a song which was subsequently published in Sing Out in 1962. He recorded a version with three verses on The Rainbow Quest album (Folkways LP FA 2454) released in July 1960. Later, Joe Hickerson added two more verses with a recapitulation of the first in May 1960 in Bloomington, Indiana.

19. Whiskey in the Jar

"Whiskey in the Jar" is a well-known Irish traditional song, set in the southern mountains of Ireland, often with specific mention of counties Cork and Kerry, as well as Fenit, a village in County Kerry. The song is about a Rapparee (Highwayman), who is betrayed by his wife or lover, and is one of the most widely performed traditional Irish songs. It has been recorded by numerous professional artists since the 1950s.
The song first gained wide exposure when the Irish folk band The Dubliners performed it internationally as a signature song, and recorded it on three albums in the 1960s. In the U.S., the song was popularized by The Highwaymen, of "Michael Row the Boat Ashore" fame, who recorded it on their 1962 album Encore [1] (United Artists UAL 3225, mono and UAS 6225, stereo) and many argue that it's the most authentic folk version produced in America. Building on their success, the Irish rock band Thin Lizzy hit the Irish and British pop charts with the song in the early 1970s. In 1990 The Dubliners re-recorded the song with The Pogues with a faster rocky version charting at No.4 in Ireland and No.63 in the UK. The American metal band Metallica brought it to a wider rock audience in 1998 by playing a version very similar to that of Thin Lizzy's, though with a heavier sound, winning a Grammy for the song in 2000 for Best Hard Rock Performance. Also recorded by The Killdares.

20. Wild Mountain Thyme

"Wild Mountain Thyme" (also known as "Purple Heather" and "Will Ye Go, Lassie, Go?") is a folk song written by Francis McPeake, a member of a well known musical family in Belfast, Ireland, and is of Scottish origin.[1] McPeake's lyrics and melody are a variant of the song "The Braes of Balquhither" by Scottish poet Robert Tannahill (1774–1810), a contemporary of Robert Burns. Tannahill's original song, first published in Robert Archibald Smith's Scottish Minstrel (1821–24), is about the hills (braes) around Balquhidder near Lochearnhead. Like Burns, Tannahill collected and adapted traditional songs, and "The Braes of Balquhither" may have been based on the traditional song "The Braes o' Bowhether".

21. Ye Jacobites by Name

"Ye Jacobites by Name" (Roud # 5517) is a traditional Scottish folk song which goes back to the Jacobite Risings in Scotland (1688–1746). While the original version simply attacked the Jacobites from a contemporaneous Whig point of view, Robert Burns rewrote it in around 1791 to give a version with a more general, humanist anti-war outlook. This is the version that most people know today.[1][2]
The song (no. 371) was published in 1793 in volume 4 of James Johnson's Scots Musical Museum[3] and in James Hogg's Jacobite Reliques of 1817 (no. 34).[4] It also appears in a collection of Scottish songs entitled Personal Choice by Ewan MacColl.[5] The tune[6] is taken from "My Love's in Germany" by Hector Macneill.

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YES Mike . . I want to be able to play these 21 great Folk Song guitar pieces

I understand that I will be taken to the download page immediately I have completed payment. (Because I'll remember to hit the 'Return to Merchant' or similar Button or Link)

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You're Paying $27 for these 21 Titles because we ALWAYS now release new sets at a launch price for a short period.

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You'll get the downloads immediately after purchase. My contact details are here if you need any assistance. These videos are .wmv files that will play on any pc. Mac users may have to download a small convertor program from my website Here.
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Mike Herberts

Mike Herberts
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P.S. You have no excuses now for not producing some great sounds from that inert funny-looking-piece-of-wood-with-strings-on. Here is a golden opportunity to really make some headway. Wotcha waiting for.....

There is NO RISK remember. The worst that can happen is that you get them and change your me and say...Mike I've changed my mind.....and the money is back with you....that same day. so.....Wotcha waiting for?

Until now, any real instruction has been unavailable. . . . . . 

They are the usual high-quality lesson we have come to expect from Mike and Jerry, and the only ones like it I’ve found.

As with most new styles I have issues with the correct strumming.
These videos break down each part with concise, and easy to follow instructions and show clearly what is required in order to play the pieces correctly.

I’ve tried learning from listening to music, and watching competent players. Until now, any real instruction has been unavailable.

J.B. Fisher. Chula Vista, CA. USA

I always learn your stuff well/easily and stick with it. . . . . .

These are Unbeatable value for the price, but PLEASE tell us what guitar models/elec guitar settings/strings, etc., you are using!!

My carpal tunnel problem means seriously getting to grips with Spanish/classical style is out. Your videos are a nice compromise for me.

I always learn your stuff well/easily and stick with it. . . . . . 

Alun Davies Nagoya, Aichi, Japan

It’s helped me pick it up much faster and because of that, you can’t help but get excited . . . . . . .

Mike and Jerry a fantastic job as ever.

I’ve been trying to learn this type of guitar for well over a year and these videos help massively. Most other learning materials assume you have an intermediate understanding of music, whereas with these you can just open and start playing. I find this style of learning so much better, than going through page after page of chords, before you can even play a note.

It’s helped me pick it up much faster and because of that, you can’t help but get excited, which means you practice more and you get better.

I’ve got other learning materials, but with those I’m still learning the basics after a year.
Books, DVDs (although some are pretty good), youtube, friends,

John Sutherland, London, UK

I usually don’t even know where to start,except with your course it’s pretty straight forward. . . . . 

They seem easy to learn, and they are well done.

With other methods I’ve tried it just seems too difficult, so I don’t even try. I don’t even know where to start,except with your course it’s pretty straight forward.

It gives me hope and a starting place.

William Edmondson, San Diego, Ca., USA

Just about every other method failed me on one way or another. .

These are excellent, as are all of Mike’s videos.

The rigidity of there is only one way to play as far as fingering and pick with these lessons you can make them work for you regardless of what style you play from Delta blues to classical.

I only got them a short time ago and have already made strides toward playing several pieces.

Just about every other method failed me on one way or another. The addition of the “play through” helps to seam all of the bits of the song together.

Bill Brinsky Jefferson Valley, NY USA

Your lessons are so easy to follow and when I master them it will raise me to another level...

Hi Mike, Your videos are just sensational.

In the past I have searched in the shops for stuff and it's too hard to grasp out of a book and more to the point they are expensive.

I paid £40 for Jxxx Mxxxxx xx Guitarra Flamenca, 3books and a viedo and after 2 years is still lying on the shelf.

Your lessons are so easy to follow and when I master them it will raise me to another level.

It was hard at first getting the little finger to come out first to get that spanish feel but I used to practice on the armchair with my fingers while watching the T.V.

The rest of the stuff is like all of your lessons, easy to follow and you can tackle them at your own speed.

It's basically got me going again because I felt as though I'd hit a brick wall with the other stuff I'd bought.

It's a ball breaker when you are trying to learn new stuff out of a book and you can't get help.

Your lessons are just at the right speed for me to comprehend.

Malcolm Wakefield.
Montroy, Valencia. Spain.

These have very much helped me to expand . . . . .

These are fine for video and tab quality – but maybe more focus on some of the more difficult sections (although I just started playing again so I know my being rusty doesn’t help) my qualty of playing and being slower to pick up on this (due to my having not played in the past 2 years – so my fault there!)

These have very much helped me to expand – the only other piece I had was your short piece of “Spanish Guitar” from earlier lessons so this is nice to have to expand on.

I picked up on folk/rock style finger picking and finger picking patterns very quickly.

I guess the hardest to pick up on are just those that use odd chords that have very difficult and very streched fingering.

Thomas Ferris – Seattle, WA – USA.