Make the Melody Sing in Solo Flatpicking

Many guitar players focus on playing the correct notes.

But in solo flatpicking, that’s not the real challenge.

When you combine melody notes with the notes of the chord underneath, something subtle happens. If every note has the same volume, the melody disappears. The music becomes flat.

The melody must sing above the accompaniment.

This is not about speed. It’s not about complexity. It’s about control.

I recently shared a short study focused exactly on this kind of dynamic balance. You can watch the video here:
https://youtu.be/URK9Fhg-jZs

In this study, the notes themselves are simple. The real difficulty lies in how you play them. Can you clearly hear what should sing? Or do all notes compete for attention?

To bring out the melody, your right hand must learn to give more weight to certain notes and let the others stay in the background. The supporting notes are important — but they are not the voice. The melody is the voice.

This kind of balance does not happen automatically. It requires slow practice, careful listening, and awareness of tone.

Inside Flatpicking Experience, we work step by step on this kind of melodic control and right-hand balance. The goal is not just to play cleanly, but to make the music breathe.

If you’d like to explore the full path, you can learn more about Flatpicking Experience here:
https://www.truefire.com/h2343

If you prefer to work on this specific study only, it’s also available separately — including tab, performance video, detailed breakdown, and play-along track — in my shop:
https://shop.robertodallavecchia.com/products/right-hand-study-12

But before anything else, try this:

The next time you play a solo arrangement, ask yourself one simple question:

Can I clearly hear the melody?
Or are all the notes fighting for space?

That question alone can change your sound.

Flatpicking Experience: Who It’s For (And Who It’s Not)

When people look for guitar lessons, they are often looking for very different things.

Some want fast results.
Some want tricks.
Some want to keep moving from one lesson to the next.

Others are looking for something else.

They care about the sound of the guitar.
They enjoy taking their time.
They want to understand what they’re doing, and why.
And at some point, they don’t want to learn alone anymore.

This is the spirit behind Flatpicking Experience, my instructional channel.

Flatpicking Experience is where I teach.
But it’s not only about lessons.

It’s for people who care about tone, touch, and musical meaning — not just speed.
It’s for players who like working slowly, with attention.
And it’s for those who feel that learning together, in a respectful space, makes a real difference.

At the same time, it’s probably not for everyone.

It’s not for people looking for shortcuts.
It’s not about collecting licks or racing through material.
And it’s not about comparison or proving something.

For me, Flatpicking Experience is a small human space around the guitar.
A place where questions are welcome.
Where progress is personal.
And where the guitar is treated as something more than a technical exercise.

If this way of learning feels close to you, you can learn more about Flatpicking Experience here:

https://www.truefire.com/h2343

Let the Melody Ring

When I play alone with my guitar, I try to remember one simple thing: music is not just about the notes we play, but also about the notes we let live.

Many of us spend a lot of time thinking about technique, right-hand patterns, or difficult chord shapes. These are important, but sometimes they make us forget something more basic — listening.

In solo flatpicking, the melody is the voice of the piece. It is what the listener follows. But very often, without noticing, we cut those melody notes short. We lift a finger too early, change position too quickly, or focus so much on the next move that we don’t let the sound fully bloom.

Recently I recorded a short video based on one of my Solo Flatpicking Etudes. The musical material itself is not the point. The real lesson is this: when a melody note is important, let it ring. Give it a little more time. Play everything else a bit lighter.

When you do this, something small but powerful happens. Your guitar starts to feel more like a complete instrument, and your playing feels more like a real song, even when you are alone.

For me, this is not just a technical idea — it is a way of playing with more presence and care. It reminds me that beauty often comes from simplicity and attention.

If this way of thinking resonates with you, I often share similar ideas in my Flatpicking Insights emails. And if you’d like to see how I apply this idea on the guitar, you can watch the video here: https://youtu.be/v9SmSMfyFG8

Playing Flatpicking Alone? This Is Why It Sounds Flat

Playing flatpicking alone can feel frustrating.
The notes are correct, the rhythm is fine, but the music doesn’t feel complete.

The most common assumption is that the melody isn’t loud enough.
In reality, the real issue is that everything is played like it’s melody.

Solo flatpicking requires clarity.
The listener must immediately understand what the melody is and what supports it.

When melody, bass, and filler notes all have the same weight, the result sounds flat — even with good technique.

A simple rule helps:
The melody needs exclusive rights.

This means:

• the melody is clear and intentional

• accompaniment is lighter and supportive

• unnecessary notes are removed

You don’t need more speed or complexity.
You need better decisions.

This approach is especially helpful if you:

• play guitar alone

• don’t sing

• are moving from fingerstyle to flatpicking

• are getting back into guitar after a long break

You can watch the full video explanation and musical example here:
https://youtu.be/37mmmTrYUIU

With clarity, solo flatpicking can sound complete — even without a band.

How Three Simple Chords Can Create a Solo Flatpicking Tune (A–Amaj7–Dmaj7)

If you enjoy playing solo flatpicking and want something simple that still sounds musical, this exercise is a great place to start. It uses only three chords — A, Amaj7, and Dmaj7 — but the magic comes from exploring them in three different positions on the neck.

Each position has its own color. When you add a few short connecting phrases, everything comes together as a small but complete piece you can play on your own. It’s a great way to practice chord knowledge, tone, and phrasing without getting lost in complicated licks.

Watch the video here: https://youtu.be/MlT1UwQPyDw?si=X8ZwT1cBu3Mt7CIL

If you’d like the TAB for this study, just leave a comment saying “Major Seventh” and I’ll send it your way.

A Simple and Beautiful Flatpicking Tune to Learn Floating

Many guitarists think floating is a difficult flatpicking technique, but it can be learned in a very simple and musical way. I recently wrote a short tune that stays calm and beautiful from start to finish. The whole piece is built around one easy floating phrase that keeps coming back.

This makes it a perfect introduction to floating. Instead of worrying about speed or complex patterns, you can relax and focus on tone, clarity, and the smooth flow of notes. Slow music shows everything, so clean playing becomes the real challenge.

In the video lesson, I explain floating in simple words and break down the phrase slowly. Then I play the full tune, so you can hear how the phrase works inside the music.

Watch the video here: https://youtu.be/u4VS8BUhKko

If you want the TAB for the tune, comment Floating on the video and I’ll send you the link.

Drop-D Tuning Made Easy: A Flatpicker’s Guide

Drop-D tuning is one of the simplest ways to transform your guitar sound. With just one string change — lowering your low E string down to D — you open up a world of new tones and chord possibilities.

For flatpickers, it’s a favorite because it adds depth to D, G, and A chords, making your solo arrangements sound full and resonant. Whether you’re arranging tunes, composing, or just exploring new sounds, Drop-D gives you that bigger, rounder tone we all love.

In my new video, I’ll guide you step by step through:

• How to tune your 6th string from E to D

• The essential Drop-D chord shapes

Watch the video: Drop-D Tuning Made Easy

Want to start experimenting right away? Comment “Chord Chart” on the video, and I’ll send you my free Drop-D Chord Chart with all the main shapes you need.

If you love acoustic flatpicking and want to learn how to make solo pieces sound complete and expressive, subscribe to my channel for new lessons every week.

How to Play G–C–D Everywhere on the Fretboard with Crosspicking

Exploring the fretboard can feel overwhelming at first. We all start with G–C–D as open chords, but many guitarists never move beyond that one area. The truth is: the I–IV–V progression in the key of G repeats all over the guitar neck.

In this exercise, we use a simple crosspicking pattern to connect 3 shapes to new positions. By focusing on the top three strings, we reduce complexity and build a strong awareness of where the IV and V chords sit in relation to any G shape.

As you move through different positions, everything starts to click: the chords don’t change — you do. With repetition, the neck becomes more musical and less mysterious.

If you want to follow along with me step-by-step, watch the full lesson here:
https://youtu.be/ruwReZ5aD9w

Try the exercise slowly, listen to the flow of the notes, and enjoy the Discover:
G–C–D is everywhere.

How Doc Watson Created Forward Drive — A Simple Timing Trick

One of the most exciting things about Doc Watson’s flatpicking is forward drive — that feeling of momentum that keeps the music moving.

Here’s a tiny rhythmic change that creates that effect:
Instead of playing two quarter notes straight across two beats,
compress them into eighth notes in beat one,
and let beat two give your hand motion and lift — often using a soft ghosted strum.

🎸 Why it works

• The notes arrive slightly earlier

• The phrase leans forward instead of sitting back

• The groove becomes charged with motion

This is perfect for:

• Bass runs between chords

• Carter Style breaks

Small change. Huge forward drive.
Classic Doc Watson.

👉 Video lesson here: https://youtu.be/wiVFShjPJVE
👉 More timing & drive lessons at: https://www.truefire.com/h2343

Right-Hand Study #10 – Flatpicking Arpeggio Exercise for Tone and Fluency

This Right-Hand Study #10 is part of my Right-Hand Study series — short, musical etudes that focus on one key aspect of flatpicking technique.

In this study, the goal is to develop tone and fluency when playing arpeggiated chords.
Rather than rushing through the notes, you’ll work on keeping your right hand relaxed, maintaining even tone, and letting the music flow naturally.

It’s a great piece for daily warm-up or focused practice — musical, not mechanical — and it helps you connect your picking and fretting hands smoothly.

🎸 What You’ll Improve:

• Tone consistency across all strings

• Smooth, connected picking motion

• Relaxed right-hand fluency

👉 Watch the YouTube video here: https://youtu.be/dZIsdJ0FLOQ?si=XJHYbEzvpP-cEFJP
👉 Get the full lesson and tabs here: https://shop.robertodallavecchia.com/products/right-hand-study-10

If you enjoy musical technique studies like this, explore my channel and store for hundreds of flatpicking lessons, tabs, and play-alongs that make practice both effective and inspiring.

Doc Watson–Style Descending D Lick – Double Stops That Resolve to G

If you love Doc Watson’s clean, melodic, and soulful flatpicking, this lick is for you.

In this lesson, I share a descending dominant D lick inspired by Doc’s unmistakable style — full of double stops and chromatic movement that create beautiful tension before resolving to G.

It’s a short phrase you’ll hear often in bluegrass and fiddle tunes, but the way Doc played it made it sound timeless: simple on paper, yet rich and expressive in tone.

🎸 Why This Lick Works

• It’s based on the D7 sound, the perfect dominant chord before resolving to G.

• The chromatic descent gives it a strong sense of movement and anticipation.

• The double stops make the line sound full, giving that signature “two-guitar” sound Doc often achieved with just one flatpick.

You can use this lick anytime you move from D to G — in endings, transitions, or even as part of your improvisation. It’s a classic sound every flatpicker should have under their fingers.

🎥 Watch the Lesson

I break it down note by note in my new YouTube video:
👉 https://youtu.be/J4GaXg11sq8

You’ll see exactly how the lick works, how to phrase it smoothly, and how to make it sound musical at any tempo.

If you’d like to explore more Doc Watson–style ideas, I’ve got hundreds of lessons, tabs, and play-alongs available inside my channel or at my online store.

Swing Of Time – A New Flatpicking Waltz

I’m excited to share a brand new tune with you: “Swing Of Time.”

It’s a slow, heartfelt waltz — gentle and melodic, with the timeless quality of pieces like Ashokan Farewell. Writing and arranging this for flatpicking guitar has been a rewarding journey, and I’m happy to finally play it for you.

If you’d like to go deeper, you can learn the full arrangement through my detailed lesson, available with:

• Step-by-step video breakdown

• Tabs and notation

• Play-along track

• Plus access to hundreds of other flatpicking lessons inside my channel

👉 Watch the performance on YouTube here: https://youtu.be/JM590w5kfR4
👉 Learn the tune here: https://www.truefire.com/h2343

I hope “Swing On Time” finds a place in your own repertoire and brings you the same peace it gave me when I wrote it.

Using the Chromatic Scale in G for Bluegrass Call-and-Response Endings

One of the trademarks of bluegrass and fiddle tunes is the call-and-response ending. It gives the tune a strong, satisfying close — and the audience knows exactly when the piece is done.

In this lesson, I show how to use the chromatic scale in G as the response phrase in this type of ending. Instead of playing the scale as just an exercise, you’ll see how it fits musically and brings an authentic bluegrass sound.

Why This Matters

• Strengthens your understanding of bluegrass vocabulary

• Turns a scale into a musical phrase

• Helps you close tunes with more authority

• Connects you to the tradition of fiddle tunes

👉 Watch the full video lesson here: https://youtu.be/I4X9NxRoBB0

Try this approach the next time you finish a fiddle tune — it’s a simple way to make your endings sound both authentic and exciting.

Flatpicking C Lick for Beaumont Rag – Bluegrass Guitar Lesson

If you’re working on Beaumont Rag and want to spice up your breaks, this lesson is for you. I recorded a short tutorial where I teach a beautiful C lick that fits perfectly in the tune.

What makes this lick special is how it flows naturally back into the melody while giving your solo more color and movement. In the video, I break it down step by step and explain how to make it sound smooth and musical.

Why learn this lick?

• Expands your vocabulary in the key of C

• Works perfectly in Beaumont Rag and similar tunes

• Builds your phrasing, timing, and right-hand accuracy

👉 Watch the full breakdown on YouTube: https://youtu.be/8SKHhfYuWSo

Right Hand Warm-Up Exercise for Flatpicking Guitar

When it comes to flatpicking, the right hand is where your tone, rhythm, and accuracy are born. A great way to prepare for practice or performance is by starting with a simple but powerful right hand warm-up exercise.

In this lesson, I’ll share a 3-note picking pattern that moves across all six strings using only the G and E minor chords.

This exercise will help you:

• Improve string crossing – smooth transitions from string to string

• Develop accuracy and consistency – every note rings clear

• Build tone control – learn to play evenly and with intention

It’s also short enough to add to your daily practice routine, but effective enough to make a big difference over time.

👉 Watch the full demonstration on my YouTube channel here: https://youtu.be/Nafq9-0izmw

Whether you’re just starting with flatpicking or you’ve been playing for years, this warm-up will keep your picking hand relaxed and ready to play tunes at your best.

How to End a Song in the Key of C — Stylishly (and With a Smile)

Ten months ago, my left-hand index finger and I went through a little adventure: surgery for Dupuytren’s contracture. Since then, we’ve been in daily “recovery training” — thirty minutes of stretching and strengthening every single day.

Progress? Slow. Very slow. So slow that a second surgery might be in my future. But I’m not giving up. For guitar players, our hands are our treasure. Getting older might bring its share of interesting surprises, but we keep going, adapt, and try not to lose our smile (or our sense of humor).

If you’re new here, you might also enjoy my Flatpicking Guitar 101 Crash Course — it’s a free beginner-friendly guide to get you started with solid picking technique.

Why Endings Matter in Guitar Playing

While I’ve been working my way back to full strength, I’ve been reminded of something important: a great ending can turn a good song into a memorable performance.

That’s why I just uploaded a new flatpicking guitar lesson on YouTube: how to end your songs in the key of C with style.

A Closing Lick from Low C to High C

In this lesson, I teach a beautiful closing lick in C that starts on the low C note and climbs all the way up to the high C on the first string, 8th fret. It’s a quick journey, but packed with expression.

We’ll go through the lick note-by-note so you can play it cleanly and musically. I also cover two essential techniques that make this lick stand out:

• Dynamics — controlling volume for expression

• Ritardando — slowing down naturally to signal “this is the end”

These tools aren’t just for this lick — they’ll improve your overall guitar phrasing and give your endings more character.

Watch the Free Flatpicking Guitar Lesson

You can watch the full lesson here: https://youtu.be/gYwDPf4JU9I

Whether you’re a beginner learning your first C chord or an experienced flatpicking guitarist looking to polish your arrangements, this lick is a great way to give your songs a professional, satisfying ending.

Music and Life: Both Are a Climb

In a way, this lick feels a little like my recovery — starting low, moving step by step, and enjoying the journey to the top. Whether you’re climbing the fretboard or climbing out of a challenge, every step counts.

So pick up your guitar, try this lick, and see how it changes the way you finish your songs. And if you’d like to learn more bluegrass flatpicking licks, you can explore my Flatpicking Experience channel, where I share exclusive licks, arrangements, and techniques.

Happy picking,
Roberto

A Sweet Chord Variation on Wildwood Flower (Flatpicking Guitar Idea)

If you're like me, you’ve played Wildwood Flower more times than you can count. It’s one of those timeless flatpicking guitar tunes that never gets old — but it also leaves space for personal touches.

In this short post, I want to share a simple but expressive chord variation you can use in the B part of Wildwood Flower. It’s an idea that gives the melody a new emotional feel while staying true to the traditional structure.

🎵 The Idea: C → E7 → Am

Traditionally, the B part of Wildwood Flower sits on a C chord for two bars. Instead of staying on C, I move through:

C → E7 → Am

It’s a small change — but it creates a lift, a little tension, and a sweeter resolution. The E7 adds brightness, and the Am brings a warm, reflective sound that fits beautifully behind the melody.

🎸 Watch the Example

I recorded a short video where I play just the main section of the B part with this variation.
It’s filmed at home, on the stairway, to capture some nice natural reverb.

🎥 Watch it here:
👉 https://youtu.be/lJcIK_7mzKI

I kept it short — just enough to demonstrate the idea and let the sound speak for itself.

💡 Why Try Variations on Traditional Tunes?

One of the beautiful things about flatpicking guitar is that we’re not just repeating old songs — we’re in conversation with them. These tunes are living music, and part of the tradition is adding your own voice.

Changing just a few chords can open up a whole new feeling in a tune you thought you already knew.

Want to Go Deeper?

If you enjoyed this idea, I’ve got a free Flatpicking 101 crash course that covers tone, pick direction, and phrasing — all the fundamentals that help variations like this shine.

📥 Download it here:
👉 https://bit.ly/4isGBmG

And if you’re looking for a deeper experience, come join us at my Guitar Camp in the Italian Alps. It’s the perfect place to learn, play, and connect with other musicians.
🏕️ More info here: https://bit.ly/4lCyw1j

Thanks for reading — and for keeping this music alive in your own way.
Let me know if you try this variation or create your own. I'd love to hear it.

—Roberto

One Melody, Three Places – A Simple Exercise for Guitar Growth

Hi friends,

This week, I uploaded a new video on YouTube that I think many of you will enjoy—especially if you're working on this month’s challenge!

The idea is simple: take the first phrase of Amazing Grace (just a few notes!), and play it in different areas of the fretboard. Always in the key of G.
It’s not flashy or complicated—but trust me, it’s powerful.

Here’s what this exercise helps you develop:

• 🎸 Fretboard awareness – You start “seeing” the same melody in multiple shapes and positions.

• 👂 Ear training – Hearing how the melody sounds as you move it around sharpens your musical ear.

• 🧠 Mind–finger connection – You build that important link between what you imagine and what your hands do.

These are the small but deep things that help us grow as guitar players.

And yes, this connects directly with July’s Challenge of the Month, where we’re exploring Oh! Susanna in three different fretboard positions. So if you’re working on that challenge, this video might give you a few ideas or a helpful warm-up.

👉 Watch the video here:
https://youtu.be/EkK892C8y2M

Hope you enjoy it—and as always, let me know what you think!

Thanks for following the journey,
– Roberto

A New Warm-Up for Your Picking Hand: String Skip Groove

This week, after a long time without it, I renewed my Netflix subscription. My wife and I ended up watching the mini-series Adolescence in one night.
I have mixed feelings… The story probably could have been told in two hours, but I really appreciated how deeply it explored the world of today’s teenagers. Raw, honest, and quite intense at times.

On a completely different note — I want to share a new right-hand exercise I recently came up with, and it’s now on YouTube.

🎸 It’s called String Skip Groove.
It’s a simple but effective warm-up that focuses on alternate picking and string skipping, while changing chords throughout. It helps improve coordination, accuracy, and overall groove.

It’s become one of my favorite ways to warm up the right hand — and I think it can be useful for late beginners and early intermediate players who want to level up their picking.

🎥 You can watch the full video here: https://www.youtube.com/watch?v=5Z7LJj6lUkA

Try it out, and let me know how it feels!

Until next time,
Roberto

A Crosspicking Exercise That Does More Than One Job

As I get older, I’ve become more selective about how I practice. Time is short, energy isn’t endless, so I look for exercises that make the most of both. My favorite ones are those that help you grow in multiple areas at the same time — not just dry drills, but things that connect technique with real music.

In my latest YouTube lesson, I teach a very common crosspicking pattern (on strings 4, 3, and 2) and show how to apply it across the fretboard to all the shapes of C, F, and G chords.

It’s a simple idea, but very effective:

• You work on your right-hand picking

• You learn chord shapes in the key of C

• You stay connected to the sound and feel of real music

There’s no tab, but the video is easy to follow by watching and listening.

▶️ Watch the video here: https://youtu.be/sMI1UhVgJNQ

And if you’d like more lessons like this — including breakdowns, exercises, and in-depth videos — come visit my TrueFire channel:
🎸 https://www.truefire.com/h2343

Hope you enjoy it,
Roberto