vasiltabakov
Verified buyer
03/03/26
Awesomeness
Awesome course, Thom Bresh is a legend.
The Breshman Chronicles
Interactive Video Masterclass for Guitar
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About this course
Raised amongst guitar royalty, (Merle Travis, Speedy West, Jimmy Bryant, Roy Lanham, Thumbs Carllile, Chet Atkins, Jerry Reed and many others), Thom Bresh has written theme songs for motion pictures, performed on HBO Specials, hosted his own TV show, and has two Grammy and one Academy Award nominations as a producer to his credit.
“The guitar is my first love, my partner in life. We grew up together and we’ll most likely die together. Everything I’ve accomplished was with it. Every great moment in my career was because of it. Remember my heritage. To me, playing the guitar is not about licks and speed. That’s only for the insiders. Playing it makes music and music is an emotion. Emotions are stimulated by feelings and sounds. That works on everybody. When the sound and feel are right... Wow!”
Armed with just a guitar (he refers to it as “My Band”), Thom has performed in many of the great concert halls of the world today, was inducted into the “Thumbpickers Hall of Fame,” and has been entertaining people for a lifetime. We’re thrilled to welcome Thom to the family with his first TrueFire course, The Breshman Chronicles!
”In this course, I'll share many of the insights I’ve picked up over the years. I'll show you how to pick a thumbpick, where to put it on your thumb, along with some right-hand techniques that I learned from Merle Travis, Chet Atkins and Jerry Reed - all of them did it differently, and I know how they did it! Then, I add my own little spice to it to show you another way you can do the same thing. I'll even show you a couple of licks from my buddy Nokie Edwards, the lead guitarist of The Ventures. I'll perform eight different songs: I'll do them as I would, but also show you how Chet, Merle, Jerry would do it, and then I'll break it all down so you can do it!”
Thom will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for each of the licks. In addition, you’ll be able to loop or slow down any of the videos so that you can work with the lessons at your own pace.
Grab your guitar and let’s do some thumbpickin’ with Thom Bresh!
“The guitar is my first love, my partner in life. We grew up together and we’ll most likely die together. Everything I’ve accomplished was with it. Every great moment in my career was because of it. Remember my heritage. To me, playing the guitar is not about licks and speed. That’s only for the insiders. Playing it makes music and music is an emotion. Emotions are stimulated by feelings and sounds. That works on everybody. When the sound and feel are right... Wow!”
Armed with just a guitar (he refers to it as “My Band”), Thom has performed in many of the great concert halls of the world today, was inducted into the “Thumbpickers Hall of Fame,” and has been entertaining people for a lifetime. We’re thrilled to welcome Thom to the family with his first TrueFire course, The Breshman Chronicles!
”In this course, I'll share many of the insights I’ve picked up over the years. I'll show you how to pick a thumbpick, where to put it on your thumb, along with some right-hand techniques that I learned from Merle Travis, Chet Atkins and Jerry Reed - all of them did it differently, and I know how they did it! Then, I add my own little spice to it to show you another way you can do the same thing. I'll even show you a couple of licks from my buddy Nokie Edwards, the lead guitarist of The Ventures. I'll perform eight different songs: I'll do them as I would, but also show you how Chet, Merle, Jerry would do it, and then I'll break it all down so you can do it!”
Thom will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for each of the licks. In addition, you’ll be able to loop or slow down any of the videos so that you can work with the lessons at your own pace.
Grab your guitar and let’s do some thumbpickin’ with Thom Bresh!
What you'll learn
- Use chord inversions and rootless voicings effectively
- Play a complete fingerstyle arrangement combining Travis and Chet Atkins techniques
- Execute hybrid thumb patterns that articulate and strum
- Execute complex fingerstyle rolls with proper right-hand technique
- Maintain steady boom-chuck bass while playing syncopated melody
- Understand and apply Travis picking thumb patterns to original material
- Incorporate key changes within fingerstyle arrangements
- Develop feel-based playing rather than purely technical approach
Release date: 02/04/2019 • 2h 34m runtime
Sample lessons
Vermillion
Story & Overview
Vermillion
Performance
Vermillion
Breakdown
Right Hand Thumb & Picks
Breshman Chronicles: 2
What's included
34 lessons • 11 charts
The Breshman Chronicles
Hey everybody, I'm Thom Bresh and I'd like to say welcome to The Breshman Chronicles. I was raised around guitar royalty - people like my father (Merle Travis), Speedy West, Jimmy Bryant, Roy Lanham, Thumbs Carllile, and later on Chet Atkins, Jerry Reed...all of his close friends. I was a sponge taking up any technique or advice I could get.
In this course, I want to share those insights with you. I'll share with you some techniques, like how to pick a thumbpick, where to put it on your thumb, and some right hand techniques that I learned from Merle Travis, Chet Atkins and Jerry Reed - all of them did it different, and I know how they did it! Then, I add my own little spice to it to show you another way you can do the same thing. I'll even show you a couple of licks from my buddy Nokie Edwards, the lead guitarist of The Ventures.
I'll perform eight different songs: I'll do them as I would, but also show you how Chet, Merle, Jerry would do it, and then I'll break it all down so you can do it! All the songs I do will be tabbed and notated, and you can loop them and slow them down at your pace.
So, here's what we're going to do now: Grab your guitar, your favorite beverage, sit in your favorite chair, and let's get started on this whole thing!
In this course, I want to share those insights with you. I'll share with you some techniques, like how to pick a thumbpick, where to put it on your thumb, and some right hand techniques that I learned from Merle Travis, Chet Atkins and Jerry Reed - all of them did it different, and I know how they did it! Then, I add my own little spice to it to show you another way you can do the same thing. I'll even show you a couple of licks from my buddy Nokie Edwards, the lead guitarist of The Ventures.
I'll perform eight different songs: I'll do them as I would, but also show you how Chet, Merle, Jerry would do it, and then I'll break it all down so you can do it! All the songs I do will be tabbed and notated, and you can loop them and slow them down at your pace.
So, here's what we're going to do now: Grab your guitar, your favorite beverage, sit in your favorite chair, and let's get started on this whole thing!
Learning Guitar
People all my life have asked me, "Hey Bresh, where'd you learn to play that style?" And I really don't ever remember learning to play it. I wanted to play the piano - I'll be honest with you. It turned out I had a gene inside my body that said, "You ain't playin' no damn piano." I never could get a handle on playing it.
When learning guitar, I always knew what to do with my right hand - I could do the boom-chick pattern all day. Travis got a kick out of watching me play the pattern when I was five or six years old. But, I didn't know where to put my fingers on my left hand. Different musicians who were around would give me my two cents on what to do - things like staying inside the chord and how to do it.
I asked Merle how he learned to play like this, and he said, "No, that's just the kinda way we all played down in Muhlenberg County." He'd also learned by watching two of his friends play, Mose Rager and Ike Everly (father of the Everly Brothers). He was jealous that they'd play guitar and get all the girls, so he'd watch them play and then go home and try to duplicate the things that they were doing. He'd learn songs by buying Chet Atkins records (or having Chet send them to him later on in life), which came out about every month or two.
I always looked forward to my dad bringing home the Chet Atkins records, and I'd listen and listen to them all the time. I'd be at school and could still hear the record in my head still! All I had to do was learn where to put my fingers to play the song that was playing in my head at that point. And, if I got hung up on what Chet was doing, I'd ask my brother, who wanted to be a jazz guitarist like Howard Roberts.
When I could finally wrap my head around what he was playing, it started to get easier quickly. You get to a point where you can hear something and you understand how to play it. So, you just have to listen, hunt and you'll find your way on the guitar. But, the most important thing I can stress is that anybody who wants to play this style, don't copy - try to find a way to do it your own way. There's ain't nothin' that's written in stone.
When learning guitar, I always knew what to do with my right hand - I could do the boom-chick pattern all day. Travis got a kick out of watching me play the pattern when I was five or six years old. But, I didn't know where to put my fingers on my left hand. Different musicians who were around would give me my two cents on what to do - things like staying inside the chord and how to do it.
I asked Merle how he learned to play like this, and he said, "No, that's just the kinda way we all played down in Muhlenberg County." He'd also learned by watching two of his friends play, Mose Rager and Ike Everly (father of the Everly Brothers). He was jealous that they'd play guitar and get all the girls, so he'd watch them play and then go home and try to duplicate the things that they were doing. He'd learn songs by buying Chet Atkins records (or having Chet send them to him later on in life), which came out about every month or two.
I always looked forward to my dad bringing home the Chet Atkins records, and I'd listen and listen to them all the time. I'd be at school and could still hear the record in my head still! All I had to do was learn where to put my fingers to play the song that was playing in my head at that point. And, if I got hung up on what Chet was doing, I'd ask my brother, who wanted to be a jazz guitarist like Howard Roberts.
When I could finally wrap my head around what he was playing, it started to get easier quickly. You get to a point where you can hear something and you understand how to play it. So, you just have to listen, hunt and you'll find your way on the guitar. But, the most important thing I can stress is that anybody who wants to play this style, don't copy - try to find a way to do it your own way. There's ain't nothin' that's written in stone.
Vermillion
I'm going to play a song that I wrote kinda in the style of Chet Atkins, similar in the way I'm using my thumb and in the articulation. I've known Chet since I met him when I was 11, and we stayed friends since.
"Vermillion" is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Let's check it out.
"Vermillion" is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Let's check it out.
Vermillion
Here's a song I wrote kinda in the style of Chet Atkins, similar in the way I'm using my thumb and in the articulation. I've known Chet since I met him when I was 11, and we stayed friends since.
"Vermillion" is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Listen to my performance here, and next we'll break it down.
"Vermillion" is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Listen to my performance here, and next we'll break it down.
Vermillion
"Vermillion" is a song I wrote kinda in the style of Chet Atkins, similar in the way I'm using my thumb and in the articulation. I've known Chet since I met him when I was 11, and we stayed friends since.
The song is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Let's break it down.
The song is named after Vermillion, South Dakota, which is where the National Music Museum is. I had to go up there to dedicate the D'Angelico booth, so I thought I'd better write them a song or something, since you can't really just bring them a bottle of wine. Let's break it down.
Right Hand Thumb & Picks
I want to talk for a minute about thumbpicks. They're all different, with different sound, pitch, size, etc. depending on what you want. My current favorite is one called a Golden Gate thumbpick, but they seem to be all different! The only one who can get it right is my buddy Johnny Hiland, who seems to know exactly what I like and gives them to me. Golden Gate makes a thick pick, but I also use some that are thinner and others that have a longer base.
Watching a lot of the young players, I see that they push the pick clear up their thumbs past the nail bed. I personally can't play like that, but experiment and see if it works for you. Travis put the thumbpick on about half-way down his nail, and slightly turns it in so it's at an angle when it hits the string, changing the sound.
One of the things about playing with a thumbpick, is that it doesn't often sound good in the studio. That is until Fred Kelly came around and made a "speed pick", which is a little flimsy, making it sound like you're just playing rhythm guitar.
If you're looking for something pretty, don't use a pick at all for a softer sound! You can also change up where you're playing on the guitar - closer or further from the bridge - to get a softer or twangier sound. Merle Travis would play something like a single string line up on the neck to make it sound softer. If you've seen Travis play his big Gibson Super 400 Special, you'd see the long whammy bar with a ring on the end. He'd hook his finger in the ring, going even further up the neck to get that bell like sound.
Chet Atkins preferred the blue Herco picks, as does Brent Mason. Jerry Reed preferred a harder pick, but he'd play a nylon string. This led people to think he played really hard, but he was actually very delicate. He also had his strings almost at the neck, so he didn't have to press down at all to play them. Chet on the other hand wanted the strings far off the neck, which he makes look easy! Personally, the action on my guitars is very low.
However, nobody says you have to be me, Merle Travis, or Jerry Reed, and I promise that you're not Chet! You're you, and music is just an expression of yourself. Tell the story your way, grin, and somebody will probably like it! Get yourself a thumbpick and experiment.
Watching a lot of the young players, I see that they push the pick clear up their thumbs past the nail bed. I personally can't play like that, but experiment and see if it works for you. Travis put the thumbpick on about half-way down his nail, and slightly turns it in so it's at an angle when it hits the string, changing the sound.
One of the things about playing with a thumbpick, is that it doesn't often sound good in the studio. That is until Fred Kelly came around and made a "speed pick", which is a little flimsy, making it sound like you're just playing rhythm guitar.
If you're looking for something pretty, don't use a pick at all for a softer sound! You can also change up where you're playing on the guitar - closer or further from the bridge - to get a softer or twangier sound. Merle Travis would play something like a single string line up on the neck to make it sound softer. If you've seen Travis play his big Gibson Super 400 Special, you'd see the long whammy bar with a ring on the end. He'd hook his finger in the ring, going even further up the neck to get that bell like sound.
Chet Atkins preferred the blue Herco picks, as does Brent Mason. Jerry Reed preferred a harder pick, but he'd play a nylon string. This led people to think he played really hard, but he was actually very delicate. He also had his strings almost at the neck, so he didn't have to press down at all to play them. Chet on the other hand wanted the strings far off the neck, which he makes look easy! Personally, the action on my guitars is very low.
However, nobody says you have to be me, Merle Travis, or Jerry Reed, and I promise that you're not Chet! You're you, and music is just an expression of yourself. Tell the story your way, grin, and somebody will probably like it! Get yourself a thumbpick and experiment.
Diana
I got home from a gig one night, and I was all tightened up still from playing. I wanted to loosen up, so I grabbed a glass of wine and went to turn on the TV, and every channel had the same show: I realized it was the burial procession of Princess Diana.
I was always touched by her, so I sat there with the guitar on my lap and reflected on her life. I kept playing this melody that was just coming out of me. I didn't want to go to bed and forget it, so I went down in my studio and recorded it. This is the version that I ended up using, because I never played it quite like that again - watching her as she was being buried. Let me do the song for you now; it's simply called "Diana".
I was always touched by her, so I sat there with the guitar on my lap and reflected on her life. I kept playing this melody that was just coming out of me. I didn't want to go to bed and forget it, so I went down in my studio and recorded it. This is the version that I ended up using, because I never played it quite like that again - watching her as she was being buried. Let me do the song for you now; it's simply called "Diana".
+ 27 more lessons
Reviews
10 results
Telecaster66
Verified buyer
08/09/25
Great for Travis Picking
tele542554
Verified buyer
01/11/22
Listened the video, Haven't had a chance to learn stuff off of the video yet. BUT! I will!
RikJansen
Verified buyer
11/18/21
Guitar royalty !
You can see that Thom is having fun teaching us these songs. And they are great songs to learn ! You can add them to your repertoire and perform them live, and have as much fun as Thom does !
tompedersen
Verified buyer
10/24/21
Like Sitting on Porch With an OId Friend
The introductions to each song really set the stage for listing and learning. The sounds of the performance are so crisp and clear you can't help but want to dive in. While the songs are far from easy they are presented in a way that they don't feel intimidating!
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