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He originally studied together with his daddy who played a variety of stringed instruments. Charlie Byrd's very early influences were jazz and swing guitarist Charlie Christian and Django Reinhardt. He listened to and had fun with Django in Paris in the mid 1940's while in a taking a trip U.S. Army phase band.

By 1950 he had devoted himself to the nylon string classical guitar as his instrument of choice. Charlie Byrd studied in Washington, D.C. with regional jazz-classical guitar player Bill Harris and later on with classical guitar professional Sophocles Papas. He also studied theory and consistency together with musicologist Thomas Simmons. In 1954 Charlie Byrd went to a classical guitar master class in Sienna, Italy which was taught by classical guitar virtuoso Andres Segovia.

State Department sponsored tour. There he obtained the inspiration to incorporate Brazilian bossa nova guitar music together with American jazz aspects and his very own classical guitar methods. Charlie Byrd's early recordings featured music pieces by Antonio Carlos Jobim, Luiz Bonfa, Joao Gilberto, and different other essential Brazilian guitarists and artists.

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At first a plectrum or pickstyle guitar gamer, he very often applied fingerpicking series based upon the classical, flamenco, and Spanish guitar methods and repertory to a jazz context. His fingerstyle expression of jazz chord sonorities and improvisational melodic lines led to a remarkable and unusual musical blend!  Charlie Byrd tab books  in swing and bop music combined along with classical guitar strategies made his playing style unique amongst jazz guitarist emerging from the standard swing and bebop schools of idea of the 1940s and remained so through his life time.

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In other circumstances, Charlie Byrd plucked chords and chord partials to generate impressions of saxophone-horn area figures or pianistic structures as in his solo on "Air Mail Special" with The Terrific Guitars. Another aspect of Charlie Byrd's uniqueness was his application of American jazz concepts and classical methodologies to Brazilian rhythms and repertory.

What is unique about the bossa nova guitar music Charlie Byrd supported is the sultry feel of the samba and various other Brazilian paces with their typical syncopation, in contrast to the pulsing feeling of the majority of mainstream American jazz. Although pieces like "Air Mail Unique" revealed he never ever abandoned traditional American jazz, his design and feel was thoroughly aligned with the South American guitar music he presented to the U.S.A.