More Picking Technique (Guitar Lesson)


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Pamela Goldsmith

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.

Taught by Pamela Goldsmith in Classical Guitar with Pamela Goldsmith seriesLength: 9:38Difficulty: 2.0 of 5
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.

Video Subtitles / Captions





Supplemental Learning Material

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Member Comments about this Lesson

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


DrMichaelRothDrMichaelRoth replied on April 11th, 2016

I'm sorry, but I don't think Pamela is a very good instructor. She doesn't explain what we're playing, how to play it (especially the scales) or where she's putting her fingers. We had to figure it out by watching and listening to the video about a dozen times.

Liquid FlamesLiquid Flames replied on February 2nd, 2013

I've been playing guitar for 15 years but I am a beginner with classical. I've got a lot of bad habits that I've developed playing rock and metal. This is very humbling. This lesson is setting me straight, though, on the simple things like hand positions, picking and timing. Dynamics and color are two things I have never even considered until I watched these first few lessons. I do have a quick question if anyone is still paying attention to this thread. I can't tell by the video or supplemental materials if I should let each note ring. I mean, it kind of sounds like Pamela is letting them ring but it's hard to tell. She also talks about using the flesh of your fretting hand to mute open strings. So, I'm just trying to get the details right when learning this practice tune "Moving in C". Should I let every note ring or should I be using the muting technique discussed in this and the other picking lessons?

haddershadders replied on April 9th, 2013

Hi Liquid. Interesting point. Strictly speaking the notes should only sound for their note values, so open string ought to be muted and Pamela mentions that. But also the alternating licks that Pamela is playing would need finger lifting on the strings being plucked by the thumb to be precisely correct; but I guess that isn't what she wants to show in this lesson.

francis strongfrancis strong replied on January 10th, 2013

i'm enjoying the lesson but need some help getting into the f chord. as a beginner, i find it very difficult to accurately place 4 fingers down at once. so i have been starting with the low f and a and placing fingers 3 and 4 after i have started the measure. is this ok? i am able to play in time even though i am putting these left hand fingers down one after the other rather than all together at the start of the measure. thanks for feedback. fran

celestialrosecelestialrose replied on March 7th, 2012

Hi Pamela. This was a fantastic lesson, thank you for your very patient and clear lesson delivery.

jeffsnowden64jeffsnowden64 replied on January 18th, 2012

Pamela, I started working with the "Moving in C" exercise and don't see the bars where you change cords... shouldn't the chord be above the tabs in order to know when to make the change?

jmurray8100jmurray8100 replied on August 10th, 2011

Pamela, is very easy to follow, she breaks it down to the basic essentials. Thank You!

psjacunskipsjacunski replied on January 18th, 2011

Great lesson...I'm hopeful I can work on this and play it.

Pamela.GoldsmithPamela.Goldsmith replied on March 10th, 2011

Thanks!

dagchristiandagchristian replied on November 17th, 2009

Is supplemental contant with not only notes coming ? :)

Pamela.GoldsmithPamela.Goldsmith replied on December 3rd, 2009

The Supplemental Content is now up.

larazarlarazar replied on November 19th, 2009

Pamela, I love your lessons. Thanks you for joining JamPlay!

Pamela.GoldsmithPamela.Goldsmith replied on November 20th, 2009

Thank you. I enjoyed working with jam play.

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.



Lesson 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
Lesson 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

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
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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 17

Free Stroke & Rest Stroke

Pamela demonstrates the difference between free strokes and rest strokes.

Length: 11:29 Difficulty: 2.0 Members Only
Lesson 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
Lesson 19

Francisco Tárrega - Lagrima

Pamela teaches "Lagrima" by composer Francisco Tárrega.

Length: 28:32 Difficulty: 3.0 Members Only
Lesson 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
Lesson 21

Slur Technique

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

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

Ornaments

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
Lesson 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
Lesson 24

Spider Walks

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

Length: 15:41 Difficulty: 4.0 Members Only
Lesson 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
Lesson 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
Lesson 27

Op. 44, No. 11

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

Length: 28:36 Difficulty: 3.5 Members Only
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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
Lesson 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

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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