Enhancing Your Overall Technique (Guitar Lesson)


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Pamela Goldsmith

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.

Taught by Pamela Goldsmith in Classical Guitar with Pamela Goldsmith seriesLength: 8:55Difficulty: 2.0 of 5
Lesson Objectives

-Learn the music theory pertaining to intervals. Use this knowledge to harmonize a melodic line.

-Learn how to harmonize the C major scale in diatonic thirds. Playing the scale in such a manner trains the right hand and left hand fingers to work in pairs, which is essential to playing classical guitar.

-Increase finger dexterity and your knowledge of the fretboard by practicing a C major scale harmonized in diatonic thirds.

Musical Intervals

There are 7 basic types of intervals that occur within a diatonic scale. Each of these seven types are then broken into two sub-categories. For the purposes of this lesson, Pamela limits her discussion to diatonic thirds. The two types of diatonic thirds are listed below.

1. Minor Third - 3 half steps or three frets away

(D to F)
(E to G)
(G to B)

2. Major Third - 2 whole steps or four frets away

(C to E)
(F to A)
(A to C)
(B to D)

To find the note located a diatonic third above any note in a scale, simply skip over the next note in the scale. For example, the next note after C in the C major scale is D. Skip over the D note to find the note that is a diatonic third above C. Therefore, E is the note located a diatonic third above C.

Harmonizing Melodies

Diatonic thirds and sixths are the most commonly used intervals when harmonizing a melody line. Fourths and fifths are used as well but with limited frequency. To harmonize a melody in thirds, follow the same procedure used to find the diatonic third above any note in the scale. Let's pretend that we want to harmonize a melody played out of the C major scale. To accomplish this, simply find the note located a diatonic third above each melody note. For example, if the first melody note is G, the first harmony note above it is B. The second crucial step in harmonizing a melody is notating the harmony line in the exact same rhythm as the original melody.

Diatonic 3rds - C Major Scale

Note:
Tablature and standard notation to all lesson exercises can be found under the "Supplemental Content" tab.

Watch and Learn

Watch and listen several times as Pamela plays through the C major scale in diatonic thirds at 01:05 in Scene 2. Notice how the first octave of the scale is played primarily out of second position. The only exceptions to this rule are the open G and B notes that are played together as a double stop. The second octave of the scale is played horizontally on the second string. During this portion of the exercise, the corresponding harmony notes are played on the first string.

Practice Guidelines

1. Make sure you that you follow all of the right hand and left hand guidelines presented in lessons 1 and 2. Review these guidelines now if necessary.

2. Pluck each double stop (two notes played simultaneously) with fingers I and M. Rest the thumb on the string above where the I finger is playing. For additional practice, alternate fingers P and I with fingers P and M. Pamela demonstrates these alternate right hand fingerings at 08:28 in the lesson video.

3. Follow along with the notation and tablature provided under the "Supplemental Content" tab until you have the exercise memorized.

4. Say all of the note names out loud as you play through the exercise. Say the actual scale note the first time through the exercise. Then, say each of the harmony notes the next time you play through the exercise.

5. Do not play through the exercise at a tempo that is too quick for you. Playing along with a metronome set to a slow tempo will prevent you from trying to play too quickly.

6. All technical exercises must be played musically. Play these exercises as though you are performing a beautiful melody. Remember that the way in which you practice scales and other technical exercises has a direct effect on how you perform a piece of music.

7. Pay careful attention to the left hand fingerings that Pamela uses in the lesson video. Do not avoid using the weaker left hand fingers such as the ring finger and the pinky.

Additional Practice

Practice the remaining scales that you know in diatonic thirds. You may want to use the circle of fifths as a guide to ensure that you practice each scale in all 12 keys.

Keep in mind that you may have to re-finger the second octave of the scale in order to include the harmony portion.

Video Subtitles / Captions





Supplemental Learning Material

Select

Member Comments about this Lesson

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


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

Glad you enjoyed this lesson!

restrummerrestrummer replied on January 20th, 2012

Pamela - I think your lessons to enhance technic are wonderful. I want to expand on lesson 11 which maps out the diantonic harmony in the key of C. However, I am not sure how to go about this in the Key of say G. I know how to group 3rds but not sure what rationale was used to spread it across the strings and fretboard.

slackeyslackey replied on December 18th, 2009

Sweet! Another lesson!! K, Ima go watch it now.

gmanbatgmanbat replied on December 17th, 2009

Very nice, Pamela, thanks!

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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