Applying Slur Technique to Your Playing Guitar Lesson

Chapter 1: (01:06) Intro Pamela performs an original etude in this introductory scene. In the following scene, she explains how to play this piece.
Chapter 2: (11:18) Applying Slur Technique Lesson Objectives

-Practice slurring techniques by learning Pamela's etude in A minor.

Left Hand Fingerings

Throughout this scene, Pamela breaks down the left hand fingerings she uses throughout the etude. These fingerings minimize the movement and energy exerted by the left hand. Remember that economy of movement and energy are crucial to playing classical guitar.

Rest Strokes

During measures 1-6 Pamela, plucks select melody notes with a rest stroke or "apoyondo." The first note under each curved slur line is plucked with a rest stroke. For a review of this technique, refer back to the "Info" section of lesson 2. In addition, check out lesson 6 from Danny Voris' Phase 2 series for a demonstration of this type of stroke.

Rhythm

Make sure that all slurs are played evenly and in time. Do not cut the first note under the slur line short! Both notes must receive the exact same rhythmic value. Set the metronome so that it clicks on every eighth note to ensure that all of your slurs are played evenly. Record yourself playing the piece to double check your rhythm.

Chord Progression / Chromatic Chords

Pamela's etude is played in the key of Am. It features many of the chords that are commonly used in this key such as the i, iv, and V chords. Respectively, these chords are Am, Dm, and E major. In addition, some chromatic chords are used in measures 5-7. A chromatic chord is a chord that contains notes that are outside the key signature of the piece. For example, the ii chord in the key of A minor is a B diminished triad. In measure 5, Pamela plays a Bb(#11) chord that resolves nicely to the A major chord in the following measure. Since the note Bb is not part of the key of Am, this chord is considered to be a chromatic chord. The same principle applies to the A major and D major chords that are used in measures 6 and 7. Both of these chords contain notes that are outside of the key signature.

Function of Chromatic Chords

Chromaticism creates tension and adds extra color to a chord progression. "Chromatic" is derived from the Greek word "chroma," meaning color. The inclusion of chromaticism also creates smooth voice leading tension from one chord to the next.

There are two types of chromaticism: short term and long term. Short term chromaticism, as exemplified in this lesson, is used to add additional color within a diatonic framework. Long term chromaticism is used to establish a change to a new key center.

Modulation

Measures 8-11 feature a brief modulation or key change to the relative major key of C major. The I and V7 chords of this key (C and G7) are used to establish the key center of C major. It is quite common to modulate between a minor key and its relative major or vice versa.

Note: The following information concerning relative keys is taken from Matt Brown's 10th Reading Music and Rhythm Lesson. Visit this lesson for additional explanation.

For every major key, there is a relative minor key. Relative major and minor keys are written with the same key signature.

Note: Open "Circle of Fifths" listed under the "Supplemental Content" tab.

Around the outside of the circle, each major key is listed. The key center ascends by a fifth interval each time as you move around the circle in a clockwise direction. Moving inwards towards the center of the circle, the key signature for each key is listed. On the inside of the circle, the relative minor key to each major key is shown. For example, A minor is the relative minor to C major. E minor is the relative major to G major.

Finding the Relative Minor Key

If you do not have a circle of fifths diagram handy, you can use a simple shortcut to determine the relative minor of any major key. Simply write out all of the notes within the major scale. To not neglect to add any sharps or flats that may occur in the key. Then, count up to the sixth note of the scale. This note is the root of the relative minor key. Let's use the key of Bb major as an example. This scale features two flats in the key signature. Consequently, this scale is spelled as follows: Bb, C, D, Eb, F, G, A, Bb. The sixth note of the scale is G. G is the relative minor to Bb.

A Few Thoughts on Standard Notation

If you are at all serious about playing classical guitar, you absolute must be able to read standard notation! Consider the points listed below.

-The vast majority of classical guitar pieces are published with standard notation only.

-First and foremost, learning to read music will make you a better player. Reading skills will enhance the overall musicality of your playing. After all, isn't that the goal we're all after?

-If you can't read music, you cannot interpret written music or tablature properly. This is due to a lack of understanding of how notes function with one another from a theoretical standpoint.

-It is impossible to learn music theory without basic reading skills.

-Musicians that play other instruments don't use tablature. You cannot communicate with these musicians without reading skills.

Note: Lessons that specifically teach how to read and interpret standard notation are provided in the Phase 2 section of JamPlay. If you are new to reading standard notation, begin with Jim Deeming's set of lessons and proceed to Matt Brown's series.

Time Signature

This piece is played in 3/4 time. The waltz is a common musical form that is performed in this time signature. The waltz features a steady "oom pah pah" rhythmic pattern. This rhythmic feel is exemplified by the first seven measures of the piece.

Pickup Notes / Anacrusis

Two "pickup" notes occur before the first complete measure of the piece. Pickup notes pull the rhythm into the first strong downbeat of a piece. The term "anacrusis" is the proper musical term for a “pickup” note.

Since the eighth note is the smallest division of the beat, count "1+2+3+" for each measure. Count two measures before you begin to play. Enter on beat three of the second counted measure. Do not begin to play until you are ready and focused! Pamela demonstrates how to properly begin the piece at 03:50.

Bass Rhythm

Notice how the bass note is only held for two beats in measures 1-3. Do not let the bass note ring over beat 3! This will diminish the importance of the two eighth notes that are played in the melody at the end of each measure. Lightly touch the bass string with the right hand thumb to cut it off.

Dynamics

Do not ignore the dynamic indications that Pamela has included in the score. The dynamics are a very important part of the piece!

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