Introducing Pamela Goldsmith With Classical Guitar (Guitar Lesson)

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Pamela Goldsmith

Introducing Pamela Goldsmith With Classical Guitar

Here we go JamPlay! A new instructor is joining the squad. Her name is Pamela Goldsmith, and she is here to teach us about classical guitar. Pamela is well rehearsed with this nylon stringed instrument and will start out with the basics such as the "PIMA" orientation of finger picking and proper fret hand techniques. This is going to be an exciting series!

Taught by Pamela Goldsmith in Classical Guitar with Pamela Goldsmith seriesLength: 14:58Difficulty: 1.0 of 5
Chapter 1: (01:05) Intro Enjoy some classical guitar music from JamPlay instructor Pamela Goldsmith!
Chapter 2: (13:53) Some Things About the Classical Guitar Pamela's Website

Pamela teaches private lessons in the Portland area. If you are interested in taking some lessons with Pamela, you can contact her through her website.

I. Origins of the Classical Guitar

A. The Roman Cithara

Around 40 AD, the Romans entered Hispania (modern day Spain). They introduced the Spaniards to an instrument called the cithara (sometimes spelled "kithara"). This instrument had a wooden sound box. The sound box or body consisted of two tables connected by ribs. The strings were stretched from a tuning bar to a bridge-like tailpiece on the body.

B. The Arab Lute

It is not known whether the early descendants of the guitar were invented by Romans or Arabs. The long necked lute was first produced in Mesopotamia (modern Iraq, northeastern Syria, and southeastern Turkey) around the 4th century BC. The lute is typically associated with the ancient Arab kingdom.

In the 8th century AD, the The Moors brought an instrument called the oud from Africa to Spain. The oud was a tear-shaped lute. It was flat in front and round on the back. Ouds were typically made with four strings and did not have frets.

C. Short Necked Lutes

The European "guitar" was classified with short neck lutes. Short necked lutes appeared centuries after long necked lutes. These instruments had gut frets that were tied to the neck. They either had flat or round, carved backs. The lute originally had four courses of strings. Courses were invented in the 14th century. A course is a pairing of two strings tuned in octaves.

D. The Vihuela

In Spain, an instrument called the vihuela replaced the once prominent lute. The Spanish vihuela is the closest instrument to the modern classical guitar. This instrument was created in the fifteenth century during the Renaissance period. Some of its features include a smaller and thinner body in comparison to the modern guitar. The original vihuela featured four courses of strings. A fifth course was added in the 15th century. The 6th bass course was added later in this century. The third string was tuned to F#. For this reason, many Renaissance pieces arranged for classical guitar require the third string to be tuned to this pitch. The tuning of the first string varied from E up to an A depending upon the piece.

There are 8 books of music written for the vihuela. These are the first publications of guitar music.

1. Luis Milan - El Maestro (1536)
2. Luis de Narvaez - Los Seys Libros del Delphin (1538)
3. Alonso de Mudarra - Tres Libros de Musica en Cifra para Vihuela (1546)
4. Enrique de Valderrabano - Silva de Sirenas (1547)
5. Diego Pisador - Libro de Musica de Vihuela (1552)
6. Miguel de Fuenllana - Orphenica Lyra (1554)
7. Juan Bermudo - Declaracion de Instrumentos(1555)
8. Esteban Daya - El Parnaso (1576)

II. The Modern Classical Guitar

The first modern classical guitar was built in Italy around 1779. The body of this guitar was slightly smaller than classical guitars produced today. By the middle of the nineteenth century, the size of the body was increased to expand the volume range of the instrument. In addition, the bracing within the body was changed to the modern fan style. Antonio De Torres, a 19th century Spanish luthier, is credited as the first to make these adjustments.

Classical Guitars Vs. Steel String Guitars

There are many notable differences between classical guitars and steel string acoustic guitars. Classical guitars are strung with nylon strings. Most acoustic guitars are either strung with phosphor / bronze strings or steel strings. Nylon produces a softer, slightly more expressive tone compared to steel. Unlike steel strings, nylon strings do not feature a ball end that is held in place by a bridge pin. Instead, nylon strings are tied to the bridge. Also, the tuning keys face backwards on a classical guitar. On steel string acoustics and electrics, the tuners extend directly outward from the headstock. In terms of the neck, the classical neck is wider and does not taper. This will definitely take some getting used to if you are a traditional acoustic or electric player. Lastly, a pickguard is typically not installed on classical guitars. Nylon string guitars with pickguards are called Flamenco guitars. Rapid strumming and percussive sounds are important to the Flamenco style. Over time, these techniques eventually wear away the protective finish applied to the wood. The pickguard is glued to the top of the body to prevent damage to the finish and wood.

Using a Footstool

The classical guitar is held in a much different manner from the steel string acoustic guitar or the electric guitar. The classical guitar is positioned on the left leg instead of the right leg. The left leg is elevated with the help of a footstool. A footstool can be purchased at any music store where classical guitars are sold. If you currently do not own a footstool, you can rest your foot on any flat object that is roughly 6-8 inches tall. For example, a wah pedal stacked on some phone books might get the job done. For performances however, you will want to purchase a footstool.

Most footstools feature four height settings. Adjust the footstool so that the angle formed by the neck of the guitar and the ground is roughly forty five degrees. The headstock of the guitar should hang roughly at eye level.

You can also purchase a guitar cushion to fine tune the height of the guitar. Cushions come in a few different sizes.

Using Suction Cups

Instead of a footstool you can buy a ramp outfitted with suction cups that attach to the body of the guitar. This device allows you to place the guitar on the right leg instead of the left.

Proper Playing Posture


The legs are the foundation of the body and proper posture. Any structure requires a solid foundation. Always follow the following guidelines regarding proper leg positioning.

1. Keep the feet about shoulder width apart if not slightly wider. For right handed guitarists, the footstool and left foot should be placed just inches ahead of the right foot.

2. The groin area and feet should form an isosceles triangle (two equal sides). The ancient Egyptians understood that the triangle is the strongest geometric shape. Consequently, you must position the base of your body in this formation.

3. Sit on the edge of a flat chair or bench. The hamstring muscles should not make contact with the surface of the chair.

Holding the Guitar in Place

The guitar is held against the body at three points.

-The top of the guitar's body rests against the sternum.

-The lower shoulder of the guitar rests against the upper left thigh.

-The lower hip of the guitar rests lightly on the inner portion of the right thigh.

Watch Pamela in the lesson video for a clear demonstration of how the guitar should be positioned against the body.

Note: If you play a left handed guitar, simply reverse these directions.

In addition to the guidelines listed above, the back of the guitar should be tilted slightly inwards towards the body. This allows for maximum comfort while playing. It also promotes solid tone production. The vibration of the back of the guitar must not be eliminated by laying it flat across the abdomen. In addition, tilting the guitar results in the loudest, most powerful tone, since the soundhole is facing upward at a slight angle. When the guitar is held flat against the body, the soundhole faces down towards the floor at a slight angle. Consequently, the vibrations exiting the soundhole are aimed towards the floor instead of towards the audience's ears. Some of these vibrations are absorbed by the floor, resulting in a quieter, insufficient tone.

The Shoulders and Back

The spine must remain straight and relaxed at all times. Stretch your spine towards the ceiling without arching your back. While doing so, do not allow your shoulders to slouch in a forward direction. The shoulders must remain relaxed and loose at all times. Do not shrug them at all. Your arms should feel like they are hanging effortlessly from your body. Do not lift your right shoulder to bring your right hand closer to the strings.

The Abdominal Muscles and Lower Back

The abdominal and lower back muscles support the upper structure of the body. You must find a position where the spine remains straight while utilizing the minimum amount of effort from these lower muscle groups. Using the minimum amount of effort is of paramount importance to proper guitar technique.

Pain and Discomfort

If you experience pain or discomfort in any body part, immediately stop playing and address the issue. Adjust your playing posture until you feel comfortable and relaxed. If you are used to playing an electric or steel string acoustic, classical guitar posture will feel quite awkward at first. This will pass in time. However, always draw the line between feeling awkward and experiencing pain or discomfort.

Left Hand Fingerings

Within the score of a piece, you may see some left hand fingering designations.

1 = index finger
2 = middle finger
3 = ring finger
4 = pinky finger

*The left hand thumb is almost never used to fret notes when playing classical guitar.

Right Hand Fingerings

In terms of the right hand, the Spanish names for each of the fingers are used. Within a musical score, the appropriate finger is indicated by the first letter of each Spanish word.

p - pulgar (thumb)
i - indicio (index) In English, this word literally translates into "indication."
m - medio (middle)
a - anular (ring)
c - chiquito (pinky)**

**The pinky is only used when performing flamenco guitar techniques such as the "rasgueado." For more information on the rasgueado, please visit the following lessons:

Pamela Goldsmith - Classical Guitar Lesson 6
Danny Voris - Classical Guitar Lesson 6

Numbering of the Strings

In a piece of guitar music, the string number may be indicated next to a note to indicate which string the note should be played on. The strings are ordered from smallest to biggest. The small E string is labeled "1," and the fat E string is labeled "6."

Definition of Left Hand Position

The position that you are playing in on the fretboard is usually determined by the first finger. Within a specific position, each finger carries out a specific duty. For example, if the first finger is playing notes at the first fret, than you are playing in first position. Within this position, the second finger plays notes at the second fret. The ring finger plays notes at the third fret. The pinky finger plays notes at the fourth fret.

Left Hand Guidelines

A. Preparing the Left Arm

1. In order for the left hand to be positioned correctly, the entire body (especially the shoulders) must be positioned correctly. Remember to keep the spine straight and the shoulders relaxed!

2. Keep the left hand in a natural, relaxed position at all times. Do not squeeze the neck!

3. Let the left arm hang limp at your side. Your left shoulder and arm should feel completely relaxed. Then, slowly bring the left hand up to the fretboard at seventh position. Seventh position is a perfect location to work on technique since the left hand is directly in the line of vision. Also, the frets are not far apart like they are in the lower positions on the fretboard.

B. Thumb Placement

1. Keep the thumb perpendicular to the neck. Do not curl the thumb or bring it up over the top of the neck. Also, Do not turn the thumb so that it runs parallel to the back of the neck. This greatly limits the range of motion of each finger.

2. The thumb should rest on the neck directly behind fingers one and two.

3. The thumb may move up and down slightly in order to accommodate various left hand positions.

C. Palm Placement

1. Keep the left hand palm parallel to the bottom of the neck. Do not allow the palm to make contact with the bottom of the neck. This technique will allow each of the fingers to access all six strings without moving the entire hand. Economy of movement is one of the most important components of proper technique. Wasted movement limits speed, endurance, and accuracy.

D. Finger Placement

When fretting any note, always follow the guidelines listed below.

1. Fret the strings with the very tips of the fingers. Arching the wrist outwards will help accomplish this goal. Utilizing this technique will prevent you from bumping any of the adjacent strings. Making contact with adjacent strings will prevent them from ringing clearly.

2. Position the finger as close to the fretwire as possible without being directly over top of it. The least amount of pressure is required to push the string down in this position.

3. Keep all left hand joints slightly bent. Do not flatten any of the knuckles.

4. Keep the left hand fingernails as short as possible.

5. Keep the wrist slightly bent.

6. Keep the fingers as close to the fretboard as possible at all times. This will ensure that each finger is prepared to play when called upon.

Note: the technical guidelines that Pamela discusses in this lesson are not exclusive to classical guitar. These guidelines should be followed regardless of which styles of music you play. Your technique should only deviate from Pamela's when performing electric guitar techniques such as bends.

Left Hand Exercise

Pamela demonstrates this exercise at 10:00.

Within this exercise, all notes are plucked with the right hand thumb. This enables you to focus all of your attention on the left hand component of the exercise.

This exercise trains you to improve your technique within each fretboard position. Go very slowly! This exercise is not meant for developing speed! Make sure that you follow all of the left hand guidelines listed above at all times.

Leave each finger planted within each position. Lift up all fingers except the index finger when moving to the next position. Practicing in this way will develop the overall reach and flexibility of the left hand fingers. Remember to keep all fingers as close as possible to the fretboard at all times!

Once you reach 9th position, descend back through the pattern. Pamela demonstrates the descending pattern at 11:30.

Video Subtitles / Captions


Supplemental Learning Material



Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

rmigos69rmigos69 replied

nice editing and great intro , really looking forward to learning what she has to offer. what is the song she played ? replied

Looking forward to complete all the classical guitar lessons

Mano_DerechaMano_Derecha replied

Thank you. This is my first experience with the classical guitar. great exercise and challenge.

grburgessgrburgess replied

This was my first exposure to classical guitar. It's very interesting. The soft nylon strings are a lot more gentle on my tender sore fingers that got shredded from steel strings, so I like that aspect.

moffetttruckermoffetttrucker replied

looking forward to learning finger style but also like some modern such as titanic theme

peteryamahapeteryamaha replied

Just started today with your lessons I am 57 and wondering if my motorics developed yet ha ha ha , I enjoy it this is a retirement present to myself so I hope I keep enyoing it. THANX

rclakandularclakandula replied

Can I study classical and fingerstyle at the same time. Will the technique counter each other?

BuffyLOLBuffyLOL replied

Great lesson Pamela, thank you for the introduction!!! Looking forwards to the other lessons.

celtic museceltic muse replied

Just started on Pamela's course and practicing the first finger exercise up and down the strings. To make it a more gradual exercise I have started at fret 5 rather than fret 1. This hopefully means that my fingers will learn to stretch naturally as I gradually move down to start at fret 4, eventually reaching fret 1 with the widest stretch.

johnsgjohnsg replied

the sound sounds beutyful

noelgamanoelgama replied

Is it okay to use a Taylor NS for learning classical guitar or must I get another guitar with a wider neck?

Pamela.GoldsmithPamela.Goldsmith replied

It's Best for the sound and feel of classical guitar music to be played on a traditional Spanish style guitar.

dallendouglasdallendouglas replied

Hello Pamela, I couldn't help but comment about your suggetion regarding putting Nylon Strings on a Steel Stringed Guitar.I have had a Old Harmony Soverign since 1960 and have made the switch back and forth with no problems. It might be good to have a good repairt shop make the evaluation. Nylon works for me with my Steel Striged Guitar.(for over 40 years)

Pamela.GoldsmithPamela.Goldsmith replied

I definitely would never put steel strings on a true classical constructed guitar nor would I put nylon on dreadnought size steel stringed instrument. Other sizes may be lucky with crossing over. I advise guitarists to use their best judgement or seek professional advise from an authorized repair person.

jboothjbooth replied

Hey Douglas, sorry you didn't get any response. It will of course work on some guitars, but it could cause problems with others, so I think that's where her recommendation came from. Also, just as a small note, if you want a reply to a question or comment it may be best to post it up on the forums as they get checked daily, where as the comments are a much slower way to interact, and not all teachers check the comments on a regular basis.

dallendouglasdallendouglas replied

Hello,I posted a comment on Jan 6th regarding Nylon Strings and didn't get any response,som I guess there is no comment.

cyanide cloudcyanide cloud replied

This looks like a fantastic series, great lesson as well. I have to ask though, how good would classical guitar songs sound on my electric guitar? I would get the answer to be: "AS AWESOME AS POSSIBLE!", but maybe not.

Pamela.GoldsmithPamela.Goldsmith replied

Thank you for your comments. Hope you enjoy the lessons!

Randall.WilliamsRandall.Williams replied

so fun! welcome - you got the coolest flash intro yet, score!

dannycdannyc replied this is what I have been looking for to play my classical guitar. Thanks.

evilhedgehogevilhedgehog replied

excellent starter lesson! welcome to jamplay!

SylviaSylvia replied

I am so excited! I just wish I had more time to spend on JP... darned professors always want to assign umpteen chapters a week.

dagchristiandagchristian replied

Can we play these lessons with stealstrings as well ? :)

SylviaSylvia replied

Yes of course you can! Steel strings just sound louder and more bright... while nylon sound softer and more warm.

david.mackenziedavid.mackenzie replied

welcome pamela! you play wonderfully! looking forward to seeing more from you lesson wise!!!

MarkBrennanMarkBrennan replied

Welcome Pamela! Good luck!

jboothjbooth replied

Just to let you guys know we should have 3 or 4 of her lessons up by the weeks end :)

Don.SDon.S replied

Good job, Pamela. I'm looking forward to your lessons. Welcome aboard.

dj.phillipsdj.phillips replied

Welcome, Pamela!

martin.baylymartin.bayly replied

Cool - love that we have so much variety here at JamPlay - so much I want to learn - time to give up my day job and become a professional guitar student.

f16jetmanf16jetman replied

I wish I could give all my time to guitar :)

f16jetmanf16jetman replied

Good something new to add to my repitoire :)

gmanbatgmanbat replied

Welcome, Pamela!!!!

diffurdiffur replied

Very interesting! I used to study the classical guitar, but had to stop unfortunately. Now I can carry on. Thank you.

greenogreeno replied

Welcome Pamela. Looking forward to your lessons.

Classical Guitar with Pamela Goldsmith

Found in our Beginner Lesson Sets

The origins of the classical guitar date back to the fifteenth century. The vihuela, lute, and baroque guitar are the early predecessors of the guitar. With its origins reaching deep into the past, the classical guitar repertoire spans over five hundred years worth of material. Pamela Goldsmith explains the techniques necessary to mastering this timeless art form.

Introducing Pamela Goldsmith With Classical GuitarLesson 1

Introducing Pamela Goldsmith With Classical Guitar

Here we go JamPlay! A new instructor is joining the squad. Her name is Pamela Goldsmith, and she is here to teach us about classical guitar.

Length: 14:58 Difficulty: 1.0 Members Only
Picking TechniqueLesson 2

Picking Technique

In lesson 2, Pamela provides more introductory information about playing classical guitar. You will learn about nail care and proper tone production.

Length: 17:08 Difficulty: 1.5 Members Only
Lesson 3: Working in the Key of C (1st Position)Lesson 3

Lesson 3: Working in the Key of C (1st Position)

Pamela demonstrates how to get your fingers warmed up while working in the key of C. Using The "PIMA" technique, this lesson will help open doors to classical style playing. Enjoy!

Length: 11:18 Difficulty: 1.5 Members Only
Working in C Major (2nd Position)Lesson 4

Working in C Major (2nd Position)

In lesson 4, Pamela continues from her last lesson by moving the C major scale to second position. She demonstrates a few new technical exercises in this position.

Length: 14:01 Difficulty: 1.5 Members Only
More Picking TechniqueLesson 5

More Picking Technique

Pamela is back in lesson 5 with more right hand technique. Here you will learn how to advance the "PIMA" technique and work through each finger as you transition from chord to chord.

Length: 9:38 Difficulty: 2.0 Members Only
Learn MalaguenaLesson 6

Learn Malaguena

Pamela Goldsmith once again grants us insight in our quest to learn classical style guitar. In this lesson she explains how to play the classic piece "Malaguena." Lesson topics include right hand patterns,...

Length: 13:28 Difficulty: 2.5 Members Only
Learn Slurring TechniquesLesson 7

Learn Slurring Techniques

Pamela introduces proper slurring technique. Also known as hammer-ons and pull-offs, this lesson will take you on a knowledge bound adventure. You will learn some exercises that muscle memory and dexterity....

Length: 12:31 Difficulty: 2.5 Members Only
Applying Slur Technique to Your PlayingLesson 8

Applying Slur Technique to Your Playing

Need more information on how to perform slurs? In lesson 8, Pamela provides additional slur practice with an original study in the key of A minor.

Length: 12:25 Difficulty: 2.5 Members Only
Matteo Carcassi Study in DLesson 9

Matteo Carcassi Study in D

Pamela is back with a great lesson on a Matteo Carcassi study in the key of D. Here you will be able to apply the slurring techniques you have learned in previous lessons with an in depth look at Matteo...

Length: 13:10 Difficulty: 2.5 Members Only
Etude Inspired by Leo BrouwerLesson 10

Etude Inspired by Leo Brouwer

Today, Pamela has the pleasure of teaching you an original etude inspired by Leo Brouwer. Here you will utilize all the techniques you have learned so far. In addition, you will walk away with a beautiful...

Length: 12:12 Difficulty: 2.5 Members Only
Enhancing Your Overall TechniqueLesson 11

Enhancing Your Overall Technique

In lesson 11, demonstrates how to play the C major scale in diatonic thirds. This lesson will hone your technique and overall knowledge of the fretboard.

Length: 8:55 Difficulty: 2.0 Members Only
Fernando Sor Lesson 12

Fernando Sor

Pamela brings us Fernando Sor's "Andante." This is a short and sweet piece that reinforces the techniques that Pamela has demonstrated in previous lessons.

Length: 8:12 Difficulty: 3.0 Members Only
Leo Brouwer Inspired EtudeLesson 13

Leo Brouwer Inspired Etude

Pamela brings a cap to her first 13 JamPlay lessons with another original etude inspired by the great Leo Brouwer. This is a short but sweet lesson in which you will mainly stay in 1st position but will...

Length: 8:38 Difficulty: 2.0 FREE
P, M, I Picking TechniquesLesson 14

P, M, I Picking Techniques

Welcome to lesson 14 in the Classical Guitar Series! Here Pamela demonstrates some fingerpicking exercises that use fingers P, M, and I.

Length: 12:07 Difficulty: 2.5 Members Only
P, I, M Easy EtudeLesson 15

P, I, M Easy Etude

Pamela demonstrates what she calls her "Easy Etude." This short piece utilizes the P, I, and M fingers.

Length: 17:28 Difficulty: 2.5 Members Only
Dionisio Aguado StudyLesson 16

Dionisio Aguado Study

Pamela takes a look at a study written by Dionisio Aguado. It's in the key of A minor with a P, I, M, I pattern.

Length: 30:39 Difficulty: 3.5 Members Only
Free Stroke & Rest StrokeLesson 17

Free Stroke & Rest Stroke

Pamela demonstrates the difference between free strokes and rest strokes.

Length: 11:29 Difficulty: 2.0 Members Only
Chords with P, I, M, ALesson 18

Chords with P, I, M, A

Pamela covers an exercise that uses the rest stroke technique within some simple arpeggio patterns.

Length: 6:53 Difficulty: 2.5 Members Only
Francisco Tárrega - LagrimaLesson 19

Francisco Tárrega - Lagrima

Pamela teaches "Lagrima" by composer Francisco Tárrega.

Length: 28:32 Difficulty: 3.0 Members Only
E Major & Minor ScalesLesson 20

E Major & Minor Scales

Pamela explains the theory and fretboard patterns pertaining to the E major and E minor scales. She also demonstrates Andrés Segovia's famous three octave scales.

Length: 38:49 Difficulty: 3.5 Members Only
Slur TechniqueLesson 21

Slur Technique

Pamela takes an in depth look at some different slur techniques.

Length: 13:48 Difficulty: 3.0 Members Only
OrnamentsLesson 22


Pamela works off of lesson 21 and demonstrates different ways to create ornaments within your playing. You can hang this one on a tree.

Length: 10:30 Difficulty: 3.0 Members Only
Developing the Fret HandLesson 23

Developing the Fret Hand

Welcome to Lesson 23 of Classical Guitar with Pamela Goldsmith! Here she demonstrates some exercises to develop your fretting hand for classical application.

Length: 11:11 Difficulty: 3.0 Members Only
Spider WalksLesson 24

Spider Walks

Pamela introduces a new fret hand endurance building technique known as "Spider Walks."

Length: 15:41 Difficulty: 4.0 Members Only
Fret Hand StretchingLesson 25

Fret Hand Stretching

To help continue with fret hand development, Pamela demonstrates an exercise that improves fret hand reach, finger independence, and flexibility.

Length: 11:21 Difficulty: 2.5 Members Only
A Major Octave ScalesLesson 26

A Major Octave Scales

Pamela demonstrates 1, 2, and 3 octave patterns for the A major scale.

Length: 27:15 Difficulty: 3.0 Members Only
Op. 44, No. 11Lesson 27

Op. 44, No. 11

Pamela teaches Fernando Sor's Op. 44, No. 11.

Length: 28:36 Difficulty: 3.5 Members Only
Aguado Study In ALesson 28

Aguado Study In A

Pamela presents this study by Aguado. It has a cheerful, circus-like sound and will be a great addition to your repertoire.

Length: 17:51 Difficulty: 3.5 Members Only
Another Aguado StudyLesson 29

Another Aguado Study

Pamela presents another fantastic Aguado study that utilizes all P, I, M, A picking fingers. Pamela also tells a little history about Aguado himself and his style of guitar playing.

Length: 23:53 Difficulty: 4.0 Members Only
Fernando Sor's AndantinoLesson 30

Fernando Sor's Andantino

This Fernando Sor piece features light, free flowing movement in 3/8 time. Pamela demonstrates the correct fingering and chord positioning.

Length: 12:07 Difficulty: 3.5 Members Only
Simple Sextuplet Study in GLesson 31

Simple Sextuplet Study in G

This study features a sextuplet arpeggio pattern. Expand and apply your current knowledge of classical guitar with this great lesson!

Length: 21:09 Difficulty: 3.5 Members Only
6 String Barre ChordsLesson 32

6 String Barre Chords

Pamela dives into techniques that develop your fret hand for barre chords.

Length: 24:54 Difficulty: 3.5 Members Only
5 String Barre ChordsLesson 33

5 String Barre Chords

Pamela continues to discuss barre chord techniques. This time around, she moves to the 5th string.

Length: 18:38 Difficulty: 3.0 Members Only
Matteo Carcassi - Op. 60, No. 3Lesson 34

Matteo Carcassi - Op. 60, No. 3

This beautiful Matteo Carcassi piece labeled "Andantino" is presented by Pamela. Op. 60, No. 3 is a great piece to work on to develop your dynamic control.

Length: 39:40 Difficulty: 4.0 Members Only
Romance - Part 1Lesson 35

Romance - Part 1

Pamela introduces the first part of a two part lesson on the classical song titled simply "Romance."

Length: 20:42 Difficulty: 3.0 Members Only
Romance - Part 2Lesson 36

Romance - Part 2

Pamela demonstrates the second part or B part to the classical piece titled "Romance." This lesson complete the piece as a whole and presents yet another opportunity to practice dynamics.

Length: 16:01 Difficulty: 3.5 Members Only
Carcassi Slur Study in DLesson 37

Carcassi Slur Study in D

Pamela uses this Carcassi study to help demonstrate more slur techniques.

Length: 18:51 Difficulty: 3.5 Members Only
Pamela Goldsmith

About Pamela Goldsmith View Full Biography "A native of New England, Pamela Goldsmith was first introduced to classical guitar by Joe Zuccala in Massachusetts. His inspiration and guidance prepared her for her future as a student and teacher. Since studying with Zuccala, Pamela has worked with Keith Crook at the University of Maine, Jeff Ashton and Bryan Johanson at Portland State University and Scott Kritzer in Portland Oregon. Pamela has performed in master classes and continues to perform solo concerts in the Northwest.

Pamela received her Master's Degree in Classical Guitar Performance from Portland State University and her Bachelor's Degree in classical guitar studies from the University of Maine in Orono. She has served as a graduate assistant teacher at Portland State University in downtown Portland, Oregon, and is an adjunct faculty member at Linfield College (McMinnville, OR) as well as a private guitar instructor. Pamela is passionate about the history and vitality of the pieces in her repertoire.

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Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.

Jane Miller Jane Miller

Jane Miller talks about chord solos in part one of this fascinating mini-series.

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Dennis Hodges Dennis Hodges

Learn a variety of essential techniques commonly used in the metal genre, including palm muting, string slides, and chord...

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Daniel Gilbert Daniel Gilbert

Known around the world for his inspirational approach to guitar instruction, Musician's Institute veteran Daniel Gilbert...

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Andy Wood Andy Wood

So how does Andy Wood pick so quickly and with such precision? Level up your speed and accuracy with Andy's near-flawless...

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Steve McKinley Steve McKinley

Steve McKinley talks about evaluating your bass and keeping it in top shape. He covers neck relief, adjusting the truss rod,...

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Sarah Longfield Sarah Longfield

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Brent-Anthony Johnson Brent-Anthony Johnson

Just like with the plucking hand, Brent-Anthony shows us the basics of proper fretting hand technique. In addition, he shows...

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Lita Ford Lita Ford

Lita Ford, guitarist for The Runaways, presents a fantastic and in depth series on what it was like and what it took professionally...

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Mark Lettieri Mark Lettieri

We're still working in the double track universe in lesson 22. In this lesson Mark discusses taking a large chord and breaking...

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Join over 517786 guitarists who have learned how to play in weeks... not years!

Signup today to enjoy access to our entire database of video lessons, along with our exclusive set of learning tools and features.

Unlimited Lesson Viewing

A JamPlay membership gives you access to every lesson, from every teacher on our staff. Additionally, there is no restriction on how many times you watch a lesson. Watch as many times as you need.

Live Lessons

Exclusive only to JamPlay, we currently broadcast 8-10 hours of steaming lesson services directly to you! Enjoy the benefits of in-person instructors and the conveniences of our community.

Interactive Community

Create your own profile, manage your friends list, and contact users with your own JamPlay Mailbox. JamPlay also features live chat with teachers and members, and an active Forum.

Chord Library

Each chord in our library contains a full chart, related tablature, and a photograph of how the chord is played. A comprehensive learning resource for any guitarist.

Scale Library

Our software allows you to document your progress for any lesson, including notes and percent of the lesson completed. This gives you the ability to document what you need to work on, and where you left off.

Custom Chord Sheets

At JamPlay, not only can you reference our Chord Library, but you can also select any variety of chords you need to work on, and generate your own printable chord sheet.

Backing Tracks

Jam-along backing tracks give the guitarist a platform for improvising and soloing. Our backing tracks provide a wide variety of tracks from different genres of music, and serves as a great learning tool.

Interactive Games

We have teachers covering beginner lessons, rock, classic rock, jazz, bluegrass, fingerstyle, slack key and more. Learn how to play the guitar from experienced players, in a casual environment.

Beginners Welcome.. and Up

Unlike a lot of guitar websites and DVDs, we start our Beginner Lessons at the VERY start of the learning process, as if you just picked up a guitar for the first time.Our teaching is structured for all players.

Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.

Price Per Lesson < $0.01 $4 - $5 $30 - $50 Free
Money Back Guarantee Sometimes n/a
Number of Instructors 127 1 – 3 1 Zillions
Interaction with Instructors Daily Webcam Sessions Weekly
Professional Instructors Luck of the Draw Luck of the Draw
New Lessons Daily Weekly Minutely
Structured Lessons
Learn Any Style Sorta
Track Progress
HD Video - Sometimes
Multiple Camera Angles Sometimes - Sometimes
Accurate Tabs Maybe Maybe
Scale/Chord Libraries
Custom JamTracks
Interactive Games
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00
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Mike H.

"I feel like a 12 year old kid with a new guitar!"

I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! I am an advanced picker and thought I had lost it but thanks to you all, I found it again! Even though I only play by ear, I have been a member a whopping whole two weeks now and have already got Brent's country shuffle and country blues down and of course with embellishments. Thank you all for your wonderful program!

Greg J.

"With Jamplay I can fit in a random session when I have time and I can go at my own pace"

I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg


"I believe this is the absolute best site for guitar students."

I am commenting here to tell you and everyone at JamPlay that I believe this is the absolute best site for guitar students. I truly enjoy learning to play the guitar on Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.

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