More Picking Technique Guitar Lesson

Chapter 1: (00:39) Intro Watch and listen as Pamela performs an original etude entitled "Moving in C." In the following scene, she will provide you with the tools necessary to playing this piece.

Note: Standard notation and tablature to "Moving in C" can be found under the "Supplemental Content" tab.
Chapter 2: (08:59) Advanced Picking Technique Lesson Objectives

-Develop right hand technique by playing a simple etude.
-Develop the ability to maintain an appropriate balance in volume between the melody and accompaniment part of a piece.
-Learn how dynamics and changes in tone can bring a piece to life.

"Moving in C"

This simple etude in C major expands upon the right hand techniques discussed in the previous lesson. Once again, a bass melody is played with the thumb while one of the other fingers plucks higher accompaniment notes. Within the context of the piece, Pamela chooses to pluck the accompaniment notes with the M finger. However, the accompaniment can be played with I or A if you prefer. Regardless of which finger you use, remain consistent, and use the same finger throughout. Using the same finger will produce the most consistent tone possible.

Left Hand Fingerings

Pay careful attention to the left hand fingerings that Pamela demonstrates in the lesson video. These fingerings will allow you to play the piece with minimum movement and effort. Remember that economy of energy and movement are extremely important to playing classical guitar.

In some scenarios, a certain note can potentially be played on two different strings. For example, a B note can be played with the open second string as well as on the 3rd string at the 4th fret. In these situations, always consider the difference in tone between the two options. An open string note produces a much brighter tone compared to its fretted counterpart.

Rhythm

"Moving in C" is played in 6/8 time. This time signature may be new to many of you.
The top number in a time signature always indicates the number of beats in each measure. The bottom number indicates which type of note receives the beat. A breakdown of how to interpret the lower number is provided below.

32: 32nd note receives the beat
16: 16th note receives the beat
8: eighth note receives the beat
4: quarter note receives the beat
2: half note receives the beat
1: whole note receives the beat.

Thus, in 6/8 time, there are six beats in each measure, and the eighth note is counted as the beat.

Compound Meters aka "Compound Signatures"

6/8 is an example of a "compound meter." Compound meters are time signatures in which eighth notes are placed in groupings of three. Some common examples are 6/8, 12/8, and 9/8. The jig (often spelled gigue or giga) is played in 6/8 or 12/8. A slight accent is placed on the first eighth note in each group. 6/8 is not the same as 3/4 due to the way in which the eighth notes are grouped.

Since eighth notes are placed in groups of threes in these types of meters, compound meters have a steady triplet feel. This rhythm is usually played steadily by the drummer on the hi-hat or ride cymbal in the context of a band.

Practice Tip

Before you attempt to play the bass line and accompaniment simultaneously, isolate the bass line and play it by itself. Make sure that it sounds as smooth and connected as possible! You should hear no space between one note and the next.

Balance

Do not neglect the importance of balance between the bass melody and the accompaniment part. The melody line is ALWAYS more important! Consequently, it should be performed as the overall focal point of the piece. This can be accomplished by playing melody notes with rest strokes or by simply playing them louder. In relation to "Moving in C," make sure that the bass melody stands out as the focal point. To achieve this balance, practice through the piece at the lowest tempo that you can stand. Focus all of your attention on the balance in volume between the bass melody and the accompaniment.

Dynamics

No specific dynamics are written in the score. This does not mean that you can play without them! Add some dynamic changes to highlight the phrase structure of the piece. Begin at a lower volume and work towards a dynamic climax. Then, decrease the volume to wind the piece down.

Common Dynamic Markings

mf - medium loud (mezzo forte)
f - loud (forte)
ff - very loud (fortissimo)
fff - very, very loud (fortississimo)
ffff - you get the idea

mp - medium soft (mezzo piano)
p - soft (piano)
pp - very soft (pianissimo)
ppp -very, very soft (pianississimo)
pppp - you get the idea

Tonal Color aka Timbre (pronounced "tam - burr")

Remember that the best possible tone is produced when the right index finger is aligned with the back edge of the sound hole. To alter from your standard standard tone, move the horizontal positioning of the hand. Move the hand to its new position by moving the shoulder only! Moving closer to the bridge produces a brighter or more metallic tone since there is most resistance on the strings at this point. In a score, you may see "metalico" to indicate this specific change in tonal color. Moving towards the neck produces a warmer, darker tone. "Sul tasto" refers to a warm tone produced by the neck. Do not change your tonal color arbitrarily! The change in color must be done for a specific musical reason such as highlighting dynamics or the structure of the piece.

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