Learn Malaguena (Guitar Lesson)

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Pamela Goldsmith

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, tonality, and using a metronome.

Taught by Pamela Goldsmith in Classical Guitar with Pamela Goldsmith seriesLength: 13:28Difficulty: 2.5 of 5
Chapter 1: (00:50) Intro In this introductory scene, Pamela performs her rendition of the classic "Malaguena." In the following scene, she breaks down all of the important techniques included in this piece.
Chapter 2: (12:37) Patterns and Improvising A Few Notes on the Score

Malaguena is an old traditional song that has been interpreted and performed in a variety of different ways. Part of Pamela's performance may have sounded different from other versions of "Malaguena" that you have heard. Measures 10-25 break away from the basic pattern of the piece. Pamela has interjected her own creativity into the piece through the course of these measures.

Similar to the piece taught in the previous lesson, "Malaguena" consists of a bass line played by the thumb and an accompaniment played by one of the other fingers on the weak beats. Similar to the past two lessons, either I, M, or A may be used to play the accompaniment part. 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.


This piece lends itself to a variety of different tempos. Play the piece in a variety of tempo ranges to see what sounds best to you. You may even want to vary the tempo from performance to performance depending on the type of mood that you are in. If you decide to play "Malaguena" at a fast tempo, play the accompaniment with either I or M, since these fingers are stronger and faster. Regardless of which tempo you decide upon, begin your practice at a very slow tempo.

Metronome Tips

Always count several measures along with the metronome before you begin any piece of music. Make sure that you are completely prepared and focused before you begin to play. Since Malaguena primarily features an eighth note rhythm, count "1+2+3+" to get a feel for the eighth note rhythm. If a piece is mainly played in sixteenth notes, count "1 e +a etc." along with the metronome before you begin to play.

If you are practicing the piece very slowly, you may find it helpful to set the metronome so that it clicks on every eighth note instead of every quarter note. It is very difficult to play perfectly in time at 30 bpm if the quarter note is counted as the pulse. As you continue to practice the piece and advance into quicker tempos, set the metronome so that it clicks on each quarter note.

Pamela demonstrates a portion of the piece at 03:52. Her metronome is set to click on each quarter note at 50 beats per minute.

Practice Tip

Before you attempt to play the bass line and accompaniment simultaneously, isolate the bass line and play it by itself. The bass melody must sound as smooth and connected as possible! You should hear no space between one note and the next.


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.


Many beginners have a tendency to slow down when playing quietly. Inversely, they also speed up when playing at louder volumes. Do not fall into this habit! The tempo should not fluctuate unless a specific tempo change is indicated such as accelerando (speed up gradually), ritardando (slow down gradually). Regular practice with a metronome will eliminate this problem.

Changes in Timbre

In the opening scene, you probably noticed that Pamela played with a "metalico" tone in certain sections. Imitate the color changes demonstrated in this scene. Or, feel free to get creative and make your own color adjustments. If you decide to insert your own changes in tonal color, remember that these changes cannot be added arbitrarily. Changes in color must be made for a specific musical reason such as highlighting the phrase structure.

Middle Section (Right Hand Fingerings)

As mentioned before, the middle section (mm. 10-25) breaks away from the right pattern that occurs throughout the rest of the piece. Pamela has provided some right hand fingerings for this section in the score. These fingerings will allow you to play with the best possible accuracy and tone. Do not deviate from these fingerings unless you already have a thorough understanding of why specific right hand fingerings are chosen. For example, you must avoid playing two notes in a row with fingers I, M, and A. It is perfectly acceptably to use consecutive strokes with P when performing a bass line. Pamela breaks down the right hand fingerings for this section at 06:10.


Pamela opts to end the piece with a dramatic "rasgueado." The rasqueado is a technique that classical guitarists borrow from flamenco players to create a percussive strumming effect. Rasgueado is produced by flicking the fingers outward from the palm towards the strings. The back of the nails strike the strings to create a bright strumming attack.

Practicing Rasgueado

Pull the fingers into a loose fist. Rest the thumbnail on the upper corner of the fretboard. Practice flinging each finger out from the palm. The forearm must rotate in a motion similar to turning a doorknob when performing a rasgueado that involves fingers C, A, M, and I. The wrist remains as straight as possible while the forearm turns. Each finger stays extended until the index finger is used. Once the index finger is used, all of the fingers return to the palm of the hand. Watch Pamela closely in the lesson video for a demonstration. Do not move the forearm at all! Keep the wrist in a fixed position. Let the fingers do all of the work.

Developing Control

Pamela demonstrates an exercise at 10:00 that will help you develop control with your rasgueado. When performing a rasgueado with all six strings, you don't have to be very precise. However, you will need to develop a high level of control in order to play more complex rasgueado patterns that involve a variety of different chord voicings and rhythms. Strive for even rhythm as you play the exercise! Practice with a metronome. set to either a quarter note or eighth note pulse.

Practicing rasgueado technique will also help your scale speed. The rasgueado is quite effective at developing the extensor muscles in the fingers. By developing these muscles, the fingers will be able to return to the strings more quickly after performing a stroke. Scale speed is largely dependent upon this factor.

Additional Rasgueado Resources

-Pumping Nylon by Scott Tennant

Publisher: Alfred Publishing Company
ISBN-10: 088284721X
ISBN-13: 978-0882847214

-Lesson 6 from Danny Voris' Phase 2 Classical Guitar series

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.

braventopbraventop replied on December 24th, 2015

pamela is a great teacher .. loved this lesson .. love this tune

martintrinimartintrini replied on October 28th, 2015

in the score page 1, in first, second fifth and sixth measure second beat, is that a 1 or 0

cmurphycmurphy replied on March 8th, 2017

1 (G#)

Cordoba12Cordoba12 replied on July 22nd, 2015

Wow. Played with no emotion or feeling at all. She is playing the notes on the staff, not the music.

martintrinimartintrini replied on October 28th, 2015

what do you mean

Cordoba12Cordoba12 replied on July 22nd, 2015

Enter your comment here.

jet3rryjet3rry replied on January 26th, 2015

Really enjoying learning this song - so fun to play! Thank you for these lessons.

jaykennedyjaykennedy replied on March 2nd, 2014

Why is a GPX file of this transcription not provided?

miketignormiketignor replied on July 11th, 2013

In my previous lessons I have used my thumb for strings 6,5 and 4. I, M and A for 3, 2, 1. As I watch the lesson for Malaguena I see P moving to string 3 sometimes. Is this optional or highly recommended. I do enjoy the lessons and your delivery. thanks, Mike

celestialrosecelestialrose replied on March 7th, 2012

Hi Pamela, I have a tendency to favour the 'A' finger instead of one of the other dominant fingers for certain sections of music, is this a bad habit to be in?

jacksaxjacksax replied on January 28th, 2011

Hi Pamela From an English chap studying classical guitar. You have a nice way of delivering your lessons. If you were living in the UK I would gladly come to you for tuition. I have been trawling the internet for good online classical guitar lessons and have to say, that you, and the people of JamPlay have put together a stunning online resource & presentation!! I hope to catch up with you on a live online lesson hopefully oneday. All the best Jack

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

Hi Jack, Thank you for your comment. Sorry it took me so long to reply!!!

lynn kettlerlynn kettler replied on August 15th, 2010

Pamela, Thank you so much For the great lessons. I just bought a used classical guitar put new strings on it and away I go your lessons are clear and easy to follow. thank you again

Pamela.GoldsmithPamela.Goldsmith replied on December 28th, 2009

Thanks everyone for getting this up and running with the notation and tab. For the students of jam play make sure you play a g sharp on the third string with your first finger in the opeing. It's a little blurry on the tab. It could be mistaken as an open g.

slackeyslackey replied on December 1st, 2009

These are great lessons, thanks so much!

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


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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