Beginner Guitar Lesson Part 1 - Setting Up Your Right Hand Foundation | Authentic Guitar | Skillshare

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Beginner Guitar Lesson Part 1 - Setting Up Your Right Hand Foundation

teacher avatar Authentic Guitar, Beginner Guitar Lessons

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Taught by industry leaders & working professionals
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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 26m)
    • 1. Welcome and Introduction

    • 2. How To Hold The Guitar (classical guitar)

    • 3. Classical Guitar Anatomy Part 1

    • 4. Classical Guitar Anatomy Part 2

    • 5. Guitar String Names And Numbers

    • 6. How To Tune Your Guitar

    • 7. Introduction To Right Hand Technique

    • 8. Right Hand Home Position; PIMA

    • 9. Right Hand Playing With The Thumb - Rest Stroke

    • 10. Right Hand Playing With Thumb - Free Stroke

    • 11. R.H. Playing With Thumb - I, M, A Fingers Part 1

    • 12. R.H. Playing With Thumb - I, M, A Fingers Part 2

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About This Class

This guitar lesson class is the first thing I teach to my students when they start guitar lessons with me. This is an absolute beginner class for learning guitar. This style of learning (Authentic Guitar Method) is for students looking to create a correct foundation for their right hand.

Authentic Guitar Method is a method I've developed over the last 12 years of teaching privately one on one. I've found that students that take care of their core foundation for guitar at the beginning end up being able to express and learn music much easier than students that end up having to re learn their core foundation.

I hope that you're the one that takes time to consciously develop your guitar technique.

Every practice sitting you do needs to have a bit of a review before starting to discover new material and concepts. Come to practice with presence, eliminate any potential distractions before you start. Conscious practice is something you are cultivating right now. 10 minutes per day is plenty when you’re just starting out. As you start to add more concepts you’ll automatically add more time.

What kind of guitar you should get as a beginner? Although my blog post is for parents buying a guitar for their child, the points in the blog are also applicable to students 18 years and up.

What size is proper for me or my child's age?

On how to structure you practice time, please checkout the Class Project section of the class.

Meet Your Teacher

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Authentic Guitar

Beginner Guitar Lessons


Hello, I'm Sanel and I love to teach guitar and music. I'm an award winning guitar teacher with over 12 years of teaching experience. I run my own online guitar studio where I teach beginner guitar lessons with the Authentic Guitar Method and prepare students for classical guitar exams and music theory exams. 


Authentic Guitar Method is a method I've developed over the years I've taught guitar privately one on one online. It's a method that focuses on isolation of practicing one concept at a time before adding the next. 

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1. Welcome and Introduction: Hello and welcome to the first part of the authentic guitar method for beginner guitar students. My name is Sun elbows village and I'm the creator of the authentic guitar method for beginner guitar students. I realized that teaching is a gift and has the power to transform a person's life far beyond just learning guitar, it has power to build self-confidence, explorer, curiosity, and encourage authentic expression. I've been teaching private guitar lessons for over 12 years and one-on-one private online lessons since 2012, way before they were popular. In this class, we'll explore the core foundation of the right-hand fundamentals. Much like a foundation in a house, the right-hand acts as a foundation on which the rest of the house sits. Right hand is responsible for producing the dynamics and colored dimensions of the guitar sound. Having strong tactile connection to the strings at the outset of your guitar learning journey will enable you to develop your musical expression without having to worry about re-learning your right-hand technique. When the time comes to discover new and exciting repertoire or music pieces. I've seen so many times where students are desiring to learn new and exciting pieces of repertoire. And they're not ready to do this because they're technique does not match the challenges that lay ahead. Students are then absorbed in the technique part of learning and have no capacity left for developing their expression, awareness and interpretation, which is the heart of music expression. Learning guitar this way becomes very frustrating and very laborious. I've seen enough easy guitar methods on learning guitar. All of them are all about instant gratification to play a song through learning chords. This class is not about learning courts. In fact, I strongly believe learning chords as a beginner is not a good idea. I feel that it's the instrumental to students long-term success as they evolve their technique and music expression, u tar is not an easy instrument to learn. Learning guitar is a spiritual journey with ups and downs during practice time. It takes time and effort to evolve in this class will take the time to connect to ourselves first and then to the instrument. Your project at the end of this course is to record and upload your version of a sequence using the right-hand PIN, the composition. Please remember, in this class we're only learning the open strings on the guitar using our right-hand. This means that we will not be threading or pressing notes with our left-hand and right-hand sequence project, you'll have the opportunity to explore dynamics which are loud and soft notes. And you'll also have the opportunity to explore different sound colors available on the guitar. If you're a diligent, beginner learner and are looking for an in-depth approach to learning guitar. Then this class is for you. If you're up for a fulfilling challenge, look forward to discovering the tar in an authentic way. Then let's get started. See you in lesson one. Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo. Altro. 2. How To Hold The Guitar (classical guitar): In this video, we'll take a look at holding the guitar. I will go a little bit deeper into what is a perfect guitar position. And I'll start off with playing a little bit of a piece, and I'll demonstrate two different ways to hold the guitar. And you can actually see which one is much more preferable, the other. And so on. So this is the perfect guitar position or classical guitar position. And we're going to go into this other position, or the campfire position. I'll play the same thing and it can sense the differences that are happening. Did you see? So there was lots of more extra effort that I put in trying to play with my third, fourth fingers here on the 65th four strings. So I had to really compromise my positioning, which then interrupts my flow of music. Okay? As you practice, you want to practice the way you're going to perform or the way you're going to share your music. The best way to practice is in the perfect guitar position, either using the Kitano like I am, and the footstool. I have the combination of both. I can only use the Kitano. That's fine too. And I can only use the footstool. That's also great. Let's start with the footstool. So the footstool helps us raise the left leg, which then locks the guitar in from sliding around, right? But before we get to that, Let's take a look at what is most needed. With the armless chair. The armless chair has no arms on it. And then sitting at the front here of the armless chair with our back straight. This will enable us to kinda have lots of room for the guitar to fit in here, right? So if you're able to get have armchair, please get one for the size of the armies chair. You'd want to have a nice 90 degree angle here. So you don't want something like this where it's chair is way too high. And then you get this. Kind of stretched out angle of the knee here. You want somewhere between the 90 degree angle or close tonight illegally degree angle 90 to a 100 will work. So the next step is to place the guitar in between the lakes. And as you can see here, is kind of sliding around. So you want to be able to support it. And to support it, we can use a Kitano or a footstool here or a combination of both. Like I was using it when I was performing. What does footstool and the Kitano does is it raises our position slightly up, upwards this way here. So the guitar is perfectly in our reach for the fret board, for the left-hand and also for the right-hand. So let's take a look first at the footstool here. So the footstool has adjustable markings here and you can go high and then you can go also low. And everything in between and placing the food store in, raise your left leg and then place your guitar and between your legs. So now you have to, you have more than two. So you have a contact point here, holding the guitar for moving forward. And then also the left leg is holding the guitar in this way. Next step is to get our right arm and place it about two inches away from the elbow joint. So you want to contact the lower bout, this part here of the guitar, about two inches away from the elbow with the right arm. So it's something like this here. Ok. So from there, we now we have left leg contacting the guitar. We have our chest, which is natural, and we have our right Lake and right arm contacting your guitar. How do you get to understand how far you need to raise the footstool so that it's kinda comfortable. Everybody has a slight difference in there. But the rule of thumb is to have the last peg here on the top and the next one near to it. Have it at the eye level when you're playing. So I level something like this, maybe even higher for me. So this is our eye level here or my eye level here. And now I'm able to access the whole range of the fretboard without converting my back or shoulders. Okay. So to recap, you'll need an armchair sitting at the front of the RMS chairs, so you can have a place for your guitar to fit in. And then we want to have either a footstool, another alternative for F22. We can use some books if you don't have a full footstool And you can raise it up or down after that. You can also have a guitar or a guitar support. Like I said before. After that, you want to contact the guitar to inches away from your elbow on the lower bout here. And then it will guitar is nicely placed with four contact points of the left leg, the chest, right leg, and the right arm. Then it's up to you to see an experiment what the adjustment is. And if you need to raise the food stall or lower the foot soap, depends on what you're looking for and that is it for holding the guitar. I will see you in the next lesson. 3. Classical Guitar Anatomy Part 1: This is Guitar, not amine and kissed his classical guitar anatomy. So let's take a look at parts of the task. Clear guitar. Alright, plus click guitar here. We will start from the left and so from this part, lower bout. And we'll move towards direct. This is all lower bout here. Then we have the bridge here supporting the saddle. So this is the saddle where we put the strings on. And then we have the soundboard top of the guitar. And we have the sound hole. Just empty, paste the kinda sound comes out of. And then this fancy round thing is called a rosette. Man. So the upper bout here, also, the upper bout goes all the way over here. Then we have the fret board. That's the big piece here. We press on to the frets. So these individual things, we have threats here. So the frets, as you can see, they get smaller and smaller towards the sound hole here. Alright, so refreshing and note over here it's going to be a low pitch compared to the note over here, which is a high pitch. Then we have the not here. And this whole thing is a headstock. Will, will find the tuning pegs are the tuning machine heads. And they, we turned to guitar this way. And we missed one more thing here, or how the fret wires, which are the wires that go in between the frets. And this is an important component to guitar. Next year will talk about the tuning pegs and the fretboard with real guitar. And I'll be demonstrating some things about tuning and getting ready to tell them. See you then. 4. Classical Guitar Anatomy Part 2: Let's take a deeper look at the pegs here and which strings correlate to each one of these things will be using this model. We tune the guitar. In the next few videos, there are six string here. Well, if you run your finger down here to the peg, that's this peak here. The fifth string. You run your finger here to the fifth string. Does this pick here on the top, second away from me here? And then this next thing is for the fourth string, which is right here. Okay? So we have the top three strings with the top pegs here, and the bottom three strings with the bottom three pegs here. In other words, we have the bass strings here. And the troubles on the bottom here. For the threats here on the fretboard, as you can see, they get smaller and smaller towards the sound hole. Here. We press the threats to produce different notes. Higher pitch towards the sound hole, smaller Fred's lower pitch towards the headstock here. That's the anatomy of guitar. Next, we'll talk about the string names and string numbers. 5. Guitar String Names And Numbers: In this video, we'll take a look at the string numbers and string names, also known as the open strings here. What are open strings? Open strings are just played with the right-hand. They don't involve the left-hand. One. We need to press down on the fret to produce enough. All, all of these strings have no designation on the musical staff. String numbers are numbers inside a circle. We will also see on the musical staff will also take a look how to name the strings according to the music step. Let's overview the strings. So if you can see here, we have three strings that are a little bit of a different color than the three strings below here. So the three top strings are the bass strings, and the three bottom strings are the trouble strings. How are strings number? So the strings are numbered from bottom to top, with the thinnest string being one, and the thickest string being six. So we have string number 123456 here. Remember that those numbers are going to be with a circle and the number inside On The Music Staff. What name do we call each one of these strings? They have a designated letter name that also correspond on The Music Staff. From here will start from the sixth string, and we'll work our way down to the first string. So from the thickest down to the thinnest, from the thickest we have ie. Fifth string a. For the third, second, first ie. There is a mnemonic device or a memory aid that we can use. And it is elephants and donkeys grow big ears. Once again, from the sixth string all the way down to the first string. Elephants and donkeys grow big ears. Learning notes on the guitar will help us tune. The guitar, will know which string and which letter name will correspond to the tuner. And it will also help us read the music on the staff. In the next lesson, we'll take a look at the tuner app and how to tune the guitar. I will see you then. 6. How To Tune Your Guitar: This lesson is on tuning the guitar. And using the tuners here, we have to analog kind and then we have digital kind here. This, this app is 200 liked for the iPhone. And you can see it. They have ads running underneath here. I really love my corn chromatic tuner. The importance of a chromatic tuner is this. When we're tuning. If our guitar is out of tune, we need to know of course, which strings we're going to tune to. Alright, so we have, in our previous lesson, we had the string names and numbers. If you remember, elephants and donkeys grow big ears. You know that the strings are from the sixth to the first. E, a, D, G, B, E. Okay? So if I have this note here, the six string, if I play it, it's going to be out of tune because I purposely made it AUTO-TUNE. If you play it and you can check it out on the tuning app here. It's saying D sharp, saying a D sharp here. And I know that I need to go two 0s. If I dry out the alphabet here, the musical alphabet, the first seven letters of the alphabet, a, B, C, D, E, F, and G. Okay. So I'm here, some kind of D-sharp over here somewhere. It's a little bit higher than the original D. And I need to go here and need to get to E. And it doesn't need it. It has to be E cannot be sharp or flat. That's where the chromatic tuner will tell us which note we're ACT precisely. And we own, we know by now where our nodes need to be so we can move accordingly, if you remember from our last lesson, in order for us to find the string. So retuning the sixth string. And it's this peg here. We're going to be tuning this Peck and we're gonna be turning it away from us to get to E. Remember we're going upwards here, towards the E, not going backwards, we're going upwards. Or a sandy. So it's saying E flat here. So I need a little bit more to get it to e Aragon. So that one is to now few things that you can do to help you tune correctly. Courses you saw, as I'm speaking, all of these needles and lights are flashing because it's trying to figure out where which tone IMAP or which pitch I'm at. So when you're tuning here, you play a note. I'm also having my left-hand here guiding. We want to quiet the other strings by just placing a finger on top of the other strings. And that will stop all the other strings from resonating inside the sandbox. Later, later on. You can also use your right hand in the right-hand home position here to quiet the strings. The only exception is when you get to the D string or these troubles strings. These other strings that are the base strings here. The three, the fourth, fifth, sixth, won't be covered by the thumb, right? So you might need to use your left hand. If you're, if you're not sure, you're left hand is the best bet here. Next, we'll take a look at the intro of the right-hand technique. 7. Introduction To Right Hand Technique: What you've heard there was romance. It's by anonymous. And in this lesson, I'd like to introduce you to the right-hand technique. Also what I've named the right-hand PIN, a home position. I'd like to communicate to you that the way I teach is by isolating each, each hand. So we'll deal with the right hand first and then we'll introduce notation and music reading for just the right hand. And as that develops, vol introduced the radon and how to keep time while playing with our right hand. And then after that, we'll start to introduce the left-hand. This way you'll have a good grasp of the right-hand and the left-hand core foundation. Very, very important to the authentic guitar method. Let's start first with tracing our right hand on a piece of paper. And we'll talk about designations for each one of the fingers. A few markers here that I will use the trace and trace the right-hand. And we're just gonna put a ring on the ring finger here. And that's the ring finger. And the designations for the right hand, the thumb will be P, the index finger will be I, the middle finger will be m. And the ring finger will be a. The pinky we won't use, but it has a designation as well. So spanish, these are vulgar, indicial, medial, annular, and Chaco. We'll be using P. Only. To remember this, and it's a memory aid. So practice is my aim. Those are the right-hand designations. Next, we'll talk about the importance of developing a correct right-hand technique. Question is, why isolate the right-hand? Why not start adding both hands at the same time? And here is my reasoning. When we're playing. The right hand. End guitar is dynamics. It produces the loud notes and it produces the soft nodes. Left hand has nothing to do with that, especially at the beginning. It might have to do a little bit of something called the slurred to get a little bit of dynamics in there and possibly some other things. But main builder for dynamics, main builder of dimension in music is the right hand. And it's so very important to really have the right-hand concepts down and to connect to the strings deeply. As you seen in the musical example before. When I'm, when I'm starting this piece, I have something called a melody here, the singing voice, and I have the base. I am in control of how loud my melody is and how loud my basis can make it really, really, really soft in the base. And that tactile connection will be what we're going to talk about next. How do we form the right-hand home position, p IMA. The easiest way is with the ball. You have your ball here. This is a squishy. Squishy, but any kind of ball will do. We can fit inside your hand and you find your fingers like that. So we'll talk about the formation of the right hand in the next lessons. But if you're unsure on how to do it, start holding the ball and go into the home position. Remember that this video is only an introduction to the right-hand technique. In the next videos, we will take a look at the specifics on how and why and all those good questions. Alright, I will see you then. Please ask questions if you have them. It's very important that you engage your curiosity when you're learning new concepts. It will give me an idea on how my flow of the lessons are happening. And where you might have some issues and some connection issues with the material and when you're practicing. All right, so let's keep going. 8. Right Hand Home Position; PIMA: Continuing on from the previous lesson. In this lesson we'll talk about the right-hand. And what I call now P. I am a right-hand home position. We're going to establish right-hand home position on the six strings. Before we start to establish our home position, make sure that we have trimmed all these nails on these fingers. The thumb, index, middle, and ring as well. Before anything else, I'd like to just make sure that we have the perfect guitar position in place. So if you haven't already find yourself a Arms chair with sitting at the edge of the Arms chair with your back straight and then raised left leg or using a good kinda like I have here. And we want to make contact with about two inches from our elbow joint here to the lower bout of the guitar. The right-hand designations, if you don't remember them. We have thumb, p, i, m, and a. So Halger in dCL, radio and annular. How do we find the right-hand PIE? A home position? We're going to start with making a fist. And we're going to locate our thumb on the sixth string. And then we're going to locate the, a finger on the first string. So a thumb and then a finger. Okay, let's try that again. Just thinking off the back straight edge of our armless chair. And then let's find our right-hand IMA home position. So form a fist. And then we're going to find six string with the thumb and then a finger on the first string. And you can see here slightly that my thumb is a little bit forward. And a finger is a little bit backward here this way. Okay? And so in essence, when we play guitar, moving the fingers inwards this way, and the thumb will be going this way. And we'll talk about that very soon here. Let's try finding our home position again. From the fist here. Thumb on the sixth, on the first string. Alright, so one important thing I'd like to make sure you understand is when we are placing our fingers and thumb, you want to contact the string right at the edge. In this case of the thumb, this is a better angle. So right at the edge here, not underneath the nail itself. It's on the flesh here. And the same goes for the fingers. So you want to contact right here on the tip, not underneath the nail and not on the side in this case. So it it it's just on the tip here. As you see the contact here made with with the finger. It's a little bit on an angle for the thumb because of the physicality we have here. But for the fingers, it'll be right LB, Right on tips here. I will just turn the camera around and we'll take a look from my viewpoint here. As I'm making the PIN a home position. Here we are with this angle. And you can see here that I'm red on the tips. So if we start again and make contact with the strength from the fifth here, right on the tip. And finding the, a finger on the first string. I'm trying to have the least amount of tension possible when I do this. So some of the tension might come in here. Were the thumb wants to kind of carve out and tense, just make it relaxed. As you formed the P and the a here on the sixth and the first strings. So one thing that might happen is when you're doing this, in finding the thumb, See how it's kinda go and write over the six string. And the same might happen here with the, a finger, might go just slightly over making contact on the pad. Here. Instead of the tip. We want to make sure when you're contacting the strings, you're right on the tip of both of the thumb. And the fingers. One cool idea that I came up with is running a pencil in between the strings and the soundboard. And when I form my P a here, and later as we add the m and I just kind of run the pencil through here and see if it, if it's kind of in the way here, if it's too far over, you won't be able to move the pencil through. So this is always the great exercise. And I used to do this with my students. Another thing I want to point out is there's a little bit of space here and a little bit of a hill here on the wrist. So this is for when we're moving our fingers, there'll be going this way and the thumb will be going the opposite way. You can also look at it from a standpoint that there is a triangle or an imaginary triangle. You can see only one side. And just kinda forming a line here between the thumb and the sixth string. When you're forming your PIN a position. You have the contact point here with about two inches from away from the elbow joint on the lower bout of the guitar. And then you have the, the point of P and a here. And next we'll take a look at getting the i and m fingers to their designated strings. Okay, so let's continue on and add the next two fingers, which are em and a here on our second, third strings. So from the fifth position here, finer six string. Finder, a finger here. And I am going to fall into place. Okay, let's try that again. Fist, six string, a finger. I am falls right into place. All on the tips, right? So as you can see, with my hand, M finger is the one that's the longest here, the longest point in the hand. So as you can see when I'm forming it, when forming the PI ME home position, I have the M fingers sticking out a little bit. Right? So that's perfectly okay. And you also have a nice, nice kinda semicircle here. And I will share with you the angles for this as well. Next here, let's move the camera around and I will show you a different angle here. This next angle shows a better view. Of the curve in the IM, a fingers in relationship to the thumb here. The same process again. The fist, finding our sixth string on the tip. Then are a finger on the first string. And then m. And then I just kinda loosening everything up. Having a little bit of room here in the or the wrist is a little bit of a hill here for the wrist. So we'll have the thumb playing this way. And there I am and a fingers like this. And we'll, we'll talk about the movement here next. Here's an analogy about which fingers will play, which strings the thumb will be playing, sixth, fifth, fourth. A finger will be playing the first string. The m finger will be playing the second string. And the eye finger will be playing the third string. The analogy goes like this. Imagine like the strings are one story house. So each individual string is one story house. The thumb will get a three story house. So the sum will be playing the sixth, fifth, 4 strings. The eye finger will be playing the third string, one story house. The m finger one string, second string, one story house. And a finger also gets one story house. Okay? Right now, there, each one of these fingers will stay in their designated one story house, except for the thumb. It's got three-storey house. Later on, they'll start to kind of visit each other on a regular basis. That is the analogy of the PIE, a home position. I also have a mnemonic device or a memory aide for you to remember your P. I, I'm an a. And it goes like this. Practice is my aim. So here from the home position, I'm just going to say and flex the strings. Practice is my aim. So you can't really see the a finger, but that's what it's doing. Practice is my aim. So I'm also kind of flexing the strings here as though I was going to move my fingers that way. And the thumb. Up next here we'll talk about which way the thumb will play and which way the fingers will play. Here's a really good view of the way the thumb and the fingers play. From our home position. The thumb will move this way and the fingers will move inwards, going to play. So I'm just kinda gesturing which way the movement is. And you can kinda tell where the movement is. It's right here from the from this joint. This last joint is being very firm, meaning that it's not collapsing like that. Moment is like this. And then the movement for the I am and a fingers is going to be inwards here. And you should definitely feel a little bit of these muscles or tendons moving. I can feel my my arm kind of pulsating this way. Um, so I'm just kinda moving my fingers. I'm not I'm placing the finger on the a string, flexing it, but I'm not releasing it. Oops. And that's how the thumb and the fingers move. Let's get deeper into the movement of the fingers. I'm here without my guitar. And I would like you to try this as well without the guitar, with our hand kinda in a playing position as there were, were playing. It's kinda like this, right? And what we're going to do is we're just going to try and emulate the movements without the guitar. As you can see, my finger and my thumb. Removing kinda opposite. So the fingers will always move in a way that is opposite to the thumb. So what I'm doing here is I'm just moving my fingers this way. And the movement is largely from the knuckle here. And I'm always trying to kinda move my finger. If you can touch the palm of your hand here. So practice that a little bit as much as you can. Because this is very important. This is the main movement for the right-hand PIE, a home position. In the next video, we will take a look at playing with the thumb in something called a rest stroke. 9. Right Hand Playing With The Thumb - Rest Stroke: In this video, we will talk about how to play with the thumb or p. And we'll talk about a specific way of playing with a thumb called a restaurant. So let's take a look here too quickly. Just review our right-hand pie m, a home position, P and a. And then I am with the thumb. We're going to do is we're going to just kinda flex the string a little bit. You can see it moving towards me. And what we're going to do is we're going to just present, you see it right on the tip and release. Their ego, kinda flexing. And then releasing. So this is Restaurant. Restaurant means that we are playing this string and then resting on the adjacent string. As we play this string. Or even better released the string. This is where the connection to the string comes into play. It's all in how you release the string. To get louder notes, we're going to flex the string more. And to get softer notes for going to flex the string less. This takes a bit of time to kind of get a hold of. So take your time and just connect to the strings. And play some really, really nice dynamic notes where you have some very loud notes. And where you have some really, really soft notes. As you can see with my thumb here, it's very important that I'm right on the tip. Right on tip. I'm not over on the pad here. Well, I have, or I get this sensation that I have to dig this string out. My sensation is pushing in, flexing the string and then releasing it. And always having, always having an anchor from the other fingers here. So I am in a, are always there anchoring. As I play. Let's take a look from few other angles just to review here. So we have contact with the lower bout, right. And of course, we were sitting in the proper position with our backs straight on our wills chair. And form our fist here. Find six string and find the first string and IM into place. One mark. I'm talking like this. And there's a nice curve here. And we're going to play with the thumb rest stroke with R. I am in a fingers as anchors. Remembering our movement is from this big joint here. Everything else remains in place. And then we're gonna flex a little bit more towards ourselves and release for our louder note. And the same thing here connected a strengths louder note, and then a softer note. Hidden software. Every good. Let's do one more angle. The farther you've moved towards the bridge here were the saddle is, the more resistance you have on the string. It also changes the sound here as well. So let's try that a few more times here. You can definitely sense that change in the color of the sound. Always having my anchors here ready. So I tense. And then I release the tension. I'm free. That's what I'd like you to practice. So you flex tenths and then release attention as you come back to place your thumb on the string. So what I'd like you to do is just to take a few moments, you can stop the video and practice this restaurant with thumb. Especially when you have this tensing and releasing of the attention you're flexing and then releasing of the tension. And that is playing restaurant with the thumb. Remember that we're taking our time with practice and creating correct muscle memory. You want to be sure that you take your time and play everything with diligence and being very slow. And on purpose with how you're playing your notes, whether they're loud or soft. In the next video, we'll take a look at the free stroke. 10. Right Hand Playing With Thumb - Free Stroke: Be free. In this lesson, we'll talk about the right hand, thumb and free stroke. In the previous lesson, we had progressed stroke for film, which was, if you remember, resting on the adjacent string after releasing the string in free stroke, we're still following all the basic rules or principles for making loud notes. It connected to the string and making soft notes, with the exception of, now we are releasing this string freely. So i will demonstrate this. So the movement is large, really, from this area here, this last joint here. The first joint here remains very firm. I'm not collapsing it as I play. Reset. And making sure you have this connection here to this string. You have this nice connection here just on the outer side. For Shin release. If you remember, we're playing with a thumb on a three-storey house, which means it will be playing the sixth string. Replaying the fifth string a and the fourth string d. So a and d. One way I used to teach the right-hand connection. And the right-hand PI. Home position is something called a three-piece. I used to have away for the student to remember. The three Ps was to place the finger or thumb on the string and then press the second key and then play for the last peak at the place. Pressure and play. I don't teach this way anymore. There is much, much more to connecting to guitar than just placing with a pressure and releasing. There's the difference in the flex that's happening in the string. And that flex will get us to connect to the string much deeper than if I just say pressure and then release it as much more intricacies in between those two points. Let's take a look from my point of view. At three storey mentioned with all the, with all the strings here we are in the home position here. You can see my thumb is a little bit forward than the IMA fingers underneath here. And I'm right on the tips. Not to foreign display. Right on the tips. Alright, so I'm gonna play the right hand. Thumb. Pee, free stroke. Get louder knots like that. Dark tires moving because I'm not supporting note the left-hand holding the camera and my left hand. So my, I have constant anchors here with the IOM and a. So let's go to the second story here. Second floor on the a string, fifth strength. And let's go to the first story or first floor. These strain. That is for the thumb right now. And playing the free stroke learned to restaurants. And now we know the difference between the two. We also have the restaurant and free stroke for the fingers, for the IOM and a fingers as well. When we do the IMA fingers, we'll just focus on the free stroke. And I will talk about that when we get to that point. I'll just remind you that conscious practice goes along way so that every time you put in right now, we'll create a great foundation for you to build upon. So take your time. Like we said before, we're diligently and slowly. I will see you in the next lesson. 11. R.H. Playing With Thumb - I, M, A Fingers Part 1: In this last right-hand home position video, I will share with you how to play the I am a fingers, will sound the strings free stroke and get to know something called the follow through. Let's start with getting our position into place. And we'll use the bald for this. Making sure that we have a nice curve here in the fingers. And the follow-through will happen here. And we have also a nice hill here for for our wrist. And nice space here between the where's the rest is and where the sound board is. And of course, we're on the tips. Thumb is on the tips. I, an, a, an, a. Fingers are on the tips. As you, as you practice this, you eventually want to get to all fingers at once. Let's move the camera around and we'll talk about the right-hand movements for the IOM and a finger from here. We're just going to let our right arm kinda dangle. And we're going to practice away from the strings. And what we're going to do is we're going to get our fingers to move, to kinda simulate the movement that is required to play their strengths. So the movement is going to be from the NOCl here. So I'm going to demonstrate what the eye finger, and then I'll also demonstrate with all the other fingers. So the moment is going to be like this. This is the movement we're going for. Basically it's similar to playing, pressing down on a piano key. From this view, here will be like this. And then the M figure, you can see that the largest movement is coming from the knuckle here. Okay? It's not like this. I'm not pushing it out. Right? That's not the one that we want. We want this movement here from the knuckle here. So practice this a little bit. And then let's move the a finger as well. Erica. Very nice. And the thumb, of course, it's gonna go from here. So we're not using our last joint. It's from the big joint here to follow through and will be like this. Moving my thumb out of the way so you can see this is the follow through basically following through. Making sure, especially here at the beginning when you're creating correct muscle memory, is that you follow through with your finger when you play. And if possible, touching the palm here when you're doing this. And there's a definite feeling here for the muscles and attendance. Moving. Especially for when I'm moving my finger here, I can indefinitely sense the tendons and the muscles working. So if you're feeling that your muscles and tendons are moving here, that's a great sign. I have a few thoughts here before we start to sound the strings. The follow through is going to be a little bit difficult when first starting. And you are going to have to make slight adjustments from the home position, the PI ME right-hand home position. So let's take a look at that right now. From our home position, let's play the eye finger. We're gonna play it for free stroke. And I'm going to move my center of gravity of the hand up a little bit. And I will try and hit this, the string here as I released the string. So something like that there. Let's try that again. So you can see I was in this position here. Um, my center of gravity is changed slightly, so my contact on my arm here is moving up or down. And you can definitely see the differences, right? So on the tips and then play the string again. We want to play the string and hit the string and the string here, the force string. That will ensure that we're on the right path to creating correct muscle memory for the fingers. From here, we're going to change our center of gravity and make a micro adjustment to clear the string. Ok, so in practice this a little bit, you can stop the video and practice it on your own and really, really find what that micro adjustment is. It's going to, it's going to vary and it's also going to be very different from mine. And you can also see that I am maintaining all of my anchors here. And the some anchored on the sixth string. And the m and the a fingers anchored as well. As I played the iPhone. From here, we're going to make sure that we have released an intention in her hand. The thumb the thumb is usually the one that will start to create tension here. So released anything that you might have in here. And we can shake it off a little bit and then come back into the home position. Nice and relaxed. We're going to play with the eye finger again, but this time we will flex the string inwards and release it. And try for some early soft notes. You can sense that when I played the eye finger, it just kinda comes back naturally into its natural state and that's what we want. We want to flex tenths, release. This is all, the rest of the movement is tensioned free. So this is the only part that you have tension in. And then it's all release. So stop the video and practice this a little bit. It's going to feel very unnatural at first. 12. R.H. Playing With Thumb - I, M, A Fingers Part 2: Here's another view. As I played the eye finger. You might come from this side here. Hitting the strength. And it just kinda make that micro adjustment. What might happen if you start to move in this way? They're just kinda, there's this feeling that you might be one thing to pluck the string instead of released the string with the follow-through. So if we start to do this, notice, if you're doing this, there is no more of the tendon in the right arm failing, right? So compare the two movements. And if you're not feeling that tendon moving, that muscle moving, then you're kind of doing it wrong. So to avoid this, make sure you have all your fingertips on the tips, not over on the pad because there's this moment creates that feeling of plucking out the string instead of releasing it, right? So if you find yourself in that position, I'd like you to fix it as soon as possible. We don't want that Muslim memory. You're doing great. Let's continue on. Let's talk briefly about why all three strokes for the IOM and a fingers and no restaurant. So there I am in a fingers. If you remember from previous lessons, we started the thumb terrestrial. Right? If we're starting rest stroke with the fingers. In this case, I'll use the eye finger at as an example. And we'll talk about the m finger as well. Just kind of supports the, the progression of the teaching here. The eye finger, when we played the eye finger, what breaststroke, This is what happens. Ok. So there's micro movement that I made with my whole hand are lifted it up. And also with that one I'm releasing the string and my fingers on the adjacent string. There's also a bit of a collapse in the joint here. Okay? So that's one main reason why there's some other reasons like raising the position of our hand slightly. Which as an, as an absolute beginner is really not beneficial because you want to create the muscle memory. And you create that one. Place, the whole position where you can come in right away and you know where the strings are. Another reason why we're not starting with the restaurant is because of the length of the m finger here. So if I was to play with restaurants, you can see what's happening here. Have to tense and raise my position up slightly. Course, we will be doing.