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Matteo Carcassi Study in D (Guitar Lesson)

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Pamela Goldsmith

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 Carcassi's study. This lesson is fun and hands on, so tune up and get ready to dive in!

Taught by Pamela Goldsmith in Classical Guitar with Pamela Goldsmith seriesLength: 13:10Difficulty: 2.5 of 5
Chapter 1: (02:06) Intro In this introduction scene, Pamela performs "No. 10" from Matteo Carcassi's collection of 25 Melodic and Progressive Studies, Opus 60.

If you wish to purchase a copy of Carcassi's 25 Studies, the publication information is provided below.

Title: 25 Melodic and Progressive Studies, Op. 60: Book/CD Pack (Paperback)
Author: Matteo Carcassi, Paul Henry
Publisher: Hal Leonard Corporation (August 1, 1993)
Language: English
ISBN-10: 0793518679
ISBN-13: 978-0793518678

Carcassi also wrote a very popular guitar method book entitled Metodo de Guitarra. The modern edition of this book is printed in Spanish with a corresponding English translation. The publication information is provided below.

Title: The Complete Carcassi Guitar Method op. 59
Author: Mel Bay, Joseph Castle
Publisher: Mel Bay Publications (March 1, 1974)
Language: English / Spanish
ISBN-10: 0871663783
ISBN-13: 978-0871663788
Chapter 2: (10:58) Matteo Carcassi Study in D Note: Standard notation to Carcassi's op. 60, no. 4 can be found under the "Supplemental Content" tab.

All 25 pieces within Carcassi's op. 60 were composed with specific educational purposes in mind. No. 4 is an etude that addresses slurring techniques in the key of D major.

A Few Thoughts on Reading Music

If you wish to play the classical guitar well, it is essential that you have the ability to read standard notation.

Check out the following resources to develop your reading skills:

-Matt Brown's Phase 2 Reading Music and Rhythm Series
-Jim Deeming's Phase 2 Music Reading Series

For additional information, check out the books listed below.

Title: Progressive Guitar Method Book 1 (Book/CD/DVD)

This book is an excellent place to start if you have no experience reading standard notation.

Author: Gary Turner (Author)
Publisher: Progressive, LTP Publishing (1st. 52 pages) (February 1, 2004)
Language: English
ISBN-10: 0959540482
ISBN-13: 978-0959540482

Title: A Modern Method for Guitar - Volume 1: Book/DVD-ROM Pack
Author: William Leavitt

This book begins with the basics, but quickly moves into material of an intermediate difficulty level.

Publisher: Berklee Press
Language: English
ISBN-10: 0876390696
ISBN-13: 978-0876390696

Study in D

A. Rhythm

Carcassi's "Study in D" is played in 3/8 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 3/8 time, there are three beats in each measure, and the eighth note is counted as the beat.

Compound Meters aka "Compound Signatures"

3/8 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 3/8, 6/8, 12/8, and 9/8. A slight accent is placed on the first eighth note in each group.

Rhythmic Motif

This piece is held together by a repeating rhythmic motif. This motif consists of an eighth note followed by a set of six sextuplets. Then, three eighth notes are plucked in an "oom pah pah" waltz type rhythm.

Slurs are played within the sextuplet groupings. An ascending slur (hammer-on) is immediately followed by a descending slur (pull-off). Thus, only the first sextuplet in each group of three is plucked with the right hand.

Practice Tip

Isolate and drill each individual repetition of the rhythmic motif at a very slow tempo. In other words, drill measures 1 and 2. Then, repeat the process with measures 3 and 4. Continue to work through the piece in this manner. Make sure that all slurs are played accurately and with a powerful tone. Practicing Pamela's slur exercises from lesson 7 will definitely help in this department.

Dynamics / Changes in Tone

Since the piece is quite simple from a rhythmic perspective, changes in tonal color can really help bring the piece to life. Watch Pamela's performance example in the first scene and make a note of where she alters the tone. Also, make a note of any changes in dynamics. You may find it helpful to print out the score and write in these indications.

Right Hand Fingering

Pamela breaks down the right hand component of the piece at 01:48 in the lesson video. She prefers to use P for all of the bass notes. The I and M fingers are used in conjunction with one another to pluck all of the double stops that occur in the melody line. The only exception to this rule occurs when a double stop is not played on two adjacent strings (i.e. the first and third strings). Pamela uses fingers I and A to pluck these double stops.


This time around, the melody is found in the upper voice. The accompaniment is played in the lower voice with the thumb. Make sure that you do not overpower the melody by playing with aggressive thumb strokes!

Musical Road Signs

Do not ignore the repeats that are written into the score! If you fail to repeat these sections, you are leaving out half of the piece from your performance.

Secondary Dominant Chords

Numerous "secondary dominant chords" are used within the piece. A secondary dominant chord momentarily tonicizes a chord in a progression by preceding it with the chord that functions as its dominant. Typically, this chord is played as some sort of a dominant seventh voicing. For example, the V chord, A, is frequently tonicized in the piece. This is accomplished by preceding it with an E7 chord. E7 functions as the dominant V7 chord in the key of A. The IV and V chords are the most frequently tonicized chords in a major key. Consequently, the chords that function as dominant to these chords are the most commonly used secondary dominant chords.

In terms of Roman Numerals, the chord that functions as dominant to the V chord is labeled as V7/V (pronounced "dominant of five"). The chord that functions as dominant to the IV chord is written as V7/IV ("dominant of four"). The chord that is being tonicized is always written to the right of the slash.

Function of Secondary Dominant Chords

Secondary dominant chords add color to a piece through the use of chromaticism (notes outside of the key signature. "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. In future lessons, you will learn how secondary dominant chords can be used for this purpose.

Harmony / Structure

The firs section of the piece begins in the home key of D and cadences on the V chord, A. Then, the next section begins in the dominant key of A. Since this is an example of a short term key change, the actual key signature next to the clef symbol is not altered. Towards the second half of the second section, the harmony returns to the home key of D major to create a logical conclusion.

Video Subtitles / Captions

Member Comments about this Lesson

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

rbrysonrbryson replied on May 4th, 2017

Many thanks Jeff - first class, as always!

jboothjbooth replied on May 1st, 2017

Hello all! Based on your feedback, I have gone ahead and added the tablature to this lesson in addition to the sheetmusic.

martintrinimartintrini replied on November 15th, 2015

no problem, i found out how to slow her down so now its easy

martintrinimartintrini replied on November 5th, 2015

so since 2009 users have comments on this lesson and she has no interest in replying, wow

martintrinimartintrini replied on November 5th, 2015

how come Pamela has never replied to any of these comments

jboothjbooth replied on May 1st, 2017

Hi there. Sorry, we don't necessarily check the comments section for questions, they typically go in the "Ask a Teacher" section. I will pass on questions and see if she answers. Thank you, Jeff

martintrinimartintrini replied on November 5th, 2015


shellhamlearnshellhamlearn replied on April 18th, 2015

Supplemental materials very good. Even though I read music, it helps to have the interactive supplement with the tab. Then providing the pdf tops it off. I can put it on my iPad and keep working on it. Carcassi takes time for most of us but it is worth the effort. What does the GuitarPlayer Pro version provide?

DroidiphileDroidiphile replied on April 24th, 2014

Feltman - thnx for the link to the tab for this piece. You earned a +1 fr not only the tab for this lesson but for educating us on a terrific site.

prleadsprleads replied on December 27th, 2013

The tab should be listed here. It is not on the site you referred to.

cccattorneycccattorney replied on April 28th, 2013

I really enjoyed learning this Carcassi Etude again Opus 60, No. 10. I used it as a test in one of my classical guitar classes in music school. I really enjoyed re-learning it, and going over it again. There are some mistakes in Bar 4, Bar 7, and couple of other places. However, I thank you very much for placing this up on Jam Play. Further, I enjoyed hearing your ideas on the fingering of the right hand and the left hand. Thank you.

feltmanfeltman replied on June 5th, 2013

You can go to and get Carcassi Op 60/No 10 with the tablature. It is free.

pogopogo replied on May 8th, 2013

So I can no longer study these lessons until I learn to read music? I was enjoying it up to this point. I can play all the tunes so far by ear but need the tab for more complex things. Im not going to learn to read anytime soon. Im disappointed.

john103141john103141 replied on March 22nd, 2013

Pamela If I must not move on to the next lesson until I have mastered this piece it could take years. What do you suggest? John

nwhynwhy replied on January 24th, 2013

For others trying to learn this piece: 1) Pamela suggests learning to read music. I found that trying to write out the tabs myself was excellent for learning to read the high notes and learn where they are on the fretboard. 2) As noted in previous comments, my tabs for measure 4 didn't match how Pamela plays it. It turns out that the score in the supplemental content is wrong in measure 4. And also has minor errors in measures 1, 10, 35, and 36. 3) I know that from looking at the TEFview score available here: (although the timing values in that score are not right). And the tab shows a different fingering for some measures. 4) and also by comparing the tab notation here: which does match how Pamela plays it, and also gives the fingering.

nwhynwhy replied on March 12th, 2013

update: I now have the score in the book Pamela references. Measure 36 is correct in the Supplemental Content; it is measure 39 which is not. Also there is a mistake in the Supplemental Content score in measure 7.

tongtong replied on August 17th, 2012

Dear Pamela, I really love this song and your teaching. I have a question, on bar 5, which cord is that? Em7?

littlemountainguitarlittlemountainguitar replied on December 1st, 2011

I would agree with Karakw, this is too challenging for a beginner. I am at the intermediate stage and it's great for my level. I would recommend that ezedim and karakw go through Christopher Parkenings books 1 and 2. When you are about halfway through book 2 then come back and start Pamela's lessons. Pamela is doing a wonderful job here, however I do believe she is jumping ahead too fast in her lessons. This particular Carcassi study should have been moved much farther ahead in her lessons. I teach classical guitar although my main genre in classic rock.

littlemountainguitarlittlemountainguitar replied on December 1st, 2011

Measure #4 is notated incorrectly and needs to be repaired. It took me about ten minutes to figure out how I was going to finger that in the 7th position, after watching Pamela I discovered that the notation is incorrect. If I find any other mistakes I will post it. I am enjoying the lesson though, nice work Pamela!

karakwkarakw replied on January 18th, 2010

I agree with ezedim. Your lessons are enjoyable and I love the music that you have selected, but as a beginner they are sometimes a bit too challenging. The tablature would be beneficial.

ezedimezedim replied on December 4th, 2009

Pamela, I will really like to play this song. I cannot read notation yet but would like to learn. Is it possible to include tablature here so that we can play the etude while we steadily learn to read notations? You did not play the entire song in your lecture so it is hard to follow.

MarkBrennanMarkBrennan replied on December 2nd, 2009

Pamela....I love the Carcassi etudes, they are so beautiful. Well done!

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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