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608:) is simply the opposite of the above, the slur begins on the higher note, and it is common that the finger pressing the higher note actively plucks the string as it lifts, causing the string to vibrate from the fret that the lower finger is depressing. The lower finger is usually in position and pressing before the procedure begins. Three specific descending slurs exist, (1) the active finger lifts directly up and off the string, (2) the active finger rests against the adjacent string immediately after, and (3) a hybrid of these two in which the finger bumps the adjacent string before lifting off.
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604:), a note stopped by the first finger of the left hand at the fifth fret is first played in normal manner, then, without the right hand doing anything further, the second finger of the left-hand is placed straight down at the sixth fret on the same string, using its momentum to raise the tone of the still-ringing string by a semitone. A descending slur (
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Use the thumb nail to strum from lowest string to highest, followed by a stroke by the thumb nail from highest string to lowest, and finally by the middle finger coming from highest string to lowest. This pattern is most commonly used in the form of triplets for a 4/4 measure, or used four times in a
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is similar to the tremolo technique, except almost always the fingers pluck separate strings. Usually, the pattern of finger pluckings is such that it begins with the fingers resting on the strings as follows - thumb (p) on a bass-string and index (i), middle (m), third finger (a) each on one of the
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is the rapid reiteration of a string: plucking of the same string, although not necessarily on the same note many times, quickly and next to each other (although usually separated by a melody in the thumb). In this instance, while there will still be "preparation," per se, it will not be evident and
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Historically (for baroque guitars, right up to classical or romantic repertoire of Sor and Mertz) the free-stroke was used. One of the first classical guitarists to use the rest-stroke was the
Spaniard Julian Arcas (1832–1882) (and it may have been used by Jose Ciebra as well), though it was already
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point along the string. Nodal points are found at integral divisions of the string length. The simplest example would be when the left-hand finger divides the string in two and is placed at the twelfth fret. The note then played is one octave higher than the open string. If the string is divided in
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The four fingers of the left hand (which stop the strings) are designated 1 = index, 2 = middle, 3 = ring finger, 4 = little finger The number 0 designates an open string, one not stopped by a finger of the left hand. On the classical guitar the thumb of the left hand is rarely used to stop strings
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variation are mostly determined by the hand that physically produces the sound. In other words, the hand that plucks the strings defines the musical expression. Historically, this role has been assigned to the dominant hand which, for the majority of players, is the right hand. Similar reasoning is
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While the right hand is responsible for the sound of the guitar, the left hand performs two functions: pressing on the strings (to shorten their effective length and change the pitch) and articulation, i.e. slurring (commonly known as 'hammer-ons' and 'pull-offs') and vibrato. In musical notation,
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However, during slower movements (especially of contrapuntal music) guitarists might not alternate the fingers strictly if this facilitates the interpretation by preserving tonal similarity. An example of this might be when the index finger (or the thumb) is used to play one melody line on the 3rd
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One of the tenets of right-hand technique in melody playing is strict alternation of i and m. That is, no right-hand finger should be used twice in a row (excluding the thumb). The a finger is occasionally used if i-m alternation creates an awkward string-crossing in the right hand. Otherwise, the
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This is the traditional position and still the most common. The player sits on the front of the chair and the left foot is supported by a foot stool or some other device. The right elbow is placed on the box of the guitar so that the hand falls over the strings, with the fingers at an angle to the
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technique based on his study of anatomy to make the 'inherent kinesthetic tendencies' ("our limitations") of the human body work for the player. Rather than working around them, the intention being production of "a musical, articulated sound within our physical limitations". The basis of this
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maintained that playing scales two hours a day "will correct faulty hand position" (1953) and for many years, this was the accepted practice. In both schools—one being all free-stroke (Giuliani arpeggio practice) and the other rest-stroke (Segovia scale practice) -- the basis for learning the
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are played by stopping the string as usual with the left hand then resting (not pressing) the index finger of the right hand on the string at a nodal position (commonly 5, 7, 9, or 12 frets above the left-hand finger) and plucking the string with the ring finger or thumb of the right hand.
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Ease of fingering. Beginners learn the open, first position before anything else and might be more comfortable registering notes on open strings in the first position. Advanced players might find solutions in higher positions based on musical expression or using a shift on a string as a
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Rest stroke is useful for single-line melody playing. Free-stroke is mainly used in arpeggio ("broken-chord") playing. They are often combined to provide contrasting voices, between melody and harmony. "Rest-stroke on the melody" is a common approach to balancing the voices.
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space (i.e. along the string axis, and not across it as for a vertical "bend" in rock or blues music) producing a subtle variation in pitch, both sharper and flatter than the starting note, without noticeably altering the fundamental tonal focus of the note being played.
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If these procedures are repeated a few times the result is known as a trill. Because the note is being plucked repeatedly it is possible to continue a trill indefinitely. Occasionally, the upper note in such a trill is played by alternating fingers thus: 2-1-3-1-, etc.
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In the left hand, each finger is responsible for exactly one fret. For each hand-position of four frets, the left hand is stationary while its fingers move. Consequently, three hand-positions (of frets 1-4, 5-8, and 9-12) cover the 12-fret octave of each string.
339:) do not systematically indicate which string is to be plucked (although in most cases the choice is obvious). When indication of the string is required, the strings are designated 1 to 6 (1 for the high E, to 6 the low E) with the string number inside a circle.
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Plucking the strings usually involves making contact first with the fleshy part of the fingertip, the tip of the nail and then letting the string glide smoothly along the curvature of the fingernail until the string is released at the fingernail's tip.
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can be played by touching a left-hand finger upon specific points along an open string without pressing it down, then playing the note with the right hand. The positions of both the left and right hand are important. The left hand must be placed at a
229:: with a straight, untwisted spine, even shoulders, horizontal upper legs and both feet flat on the floor. The idea is to use the support to place the guitar in the correct position above the legs rather than conform the body to the guitar.
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The "classical" guitar is the traditional guitar of Spain. It is built so that the right-hand side falls at the back of the sound hole when it is placed on the left leg. Basic considerations in determining a chosen playing position include:
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production. The index (i), middle (m), and ring (a) fingers are generally used to play the melody, while the thumb (p) accompanies in the bass register adding harmony and produces a comparable texture and effect to that of the piano. The
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string while the annular finger might be used for a melody on the first string. A melody line can move over various strings, so a flexible approach is needed, experimentation and development of patterns that suit individual preference.
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In common with other classical stringed instruments, classical guitar playing and notation use formal positions of the left hand. The 'nth position' means that the hand is positioned with the first finger over the nth fret.
415:"Preparation" is the placing of the finger on the string such that the flesh — as well as part of the nail — touches the string, before a plucking motion is made, producing an articulated sound, found in other instruments.
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playing and his compositions are largely based on their use. Giuliani's solution to achieving independence between the fingers (evening out constraints or differences between the fingers) in the right hand was playing his
155:
Classical guitar techniques can be organized broadly into subsections for the right hand, the left hand, and miscellaneous techniques. In guitar, performance elements such as musical dynamics (loudness or softness) and
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to give the impression of a very rapid strum. There are several types of rasgueado that employ differing combinations of fingers and thumb allowing for a variety of rhythmical accentuations and subdivisions of the
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ensuring the freedom of both hands such that they have free access to the instrument and can meet all technical demands without having to be occupied with supporting the instrument or keeping the instrument
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Modern practice generally makes use of the nails of the right hand in combination with the flesh of the fingertips in order to pluck the strings. During the 19th century many influential guitarists such as
443:"p, i, a, m, i" or "p, m, a, m, i" for a five note tremolo, although almost exclusively used in flamenco. "p, c, a, m, i" is rarely used, if ever, as the pinky is not a very popular finger to be used.
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Factors that influence the choice might be the speed of the scale and the progression of the melody over more than one string, i.e., a scale usually starts on one string and continues on another.
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It is possible to play the same note on different strings, called "registration" or "registering". For example, the note "e", first string open, may be played, or "registered" on any string.
217:
strings. The right foot tucks underneath the player to make room for the guitar, while the guitar is turned to the player's right so as to rest against the ribs on the player's right side.
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from above (as may be done on other guitars): the neck of a classical guitar is too wide and the normal position of the thumb used in classical guitar technique do not make that possible.
342:
The fret/position where the first finger of the left hand is placed on the fingerboard is usually not systematically indicated, but when necessary (mostly in the case of the execution of
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A simple combination of both fingers and thumb, the thumb striking the lowest strings and fingers picking the upper notes of the chord from lowest to highest strings in rapid succession.
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The basic position for the left hand is much the same as that of the right, except upside down. Unlike many players of steel-string and electric guitars, which have a narrower neck and
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technique. This was more easily done with gut strings due to the surface texture, but became more difficult with the introduction of nylon strings where the surface was smooth.
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Scale playing: Usually an alteration of the index and middle finger; however other alterations using the ring finger (or even an alterations with the thumb) are common as well.
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default is strict alternation of i and m. Where the a finger is used, i-a or a-m fingering is preferred to m-a, due to the physical constraints of the hand.
326:, derived from Spanish. They are generally called p, i, m, and a, "p" being the thumb and "a" being the ring finger. (c = little finger or "chiquito").
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behind string players using the right hand for controlling the bow. In the following article the role of the hands should be reversed when considering
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do not place their left-hand thumbs over the top of the neck. Instead, they place them behind the neck, usually behind the second finger.
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and classical guitar that include the use of the back of the fingernails. More commonly, the term refers to using the backs of the nail
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Slurs, trills and other ornaments are often played entirely with the left hand. For example; in a simple case of an ascending semitone
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For reasons of counterpoint: allowing a voice on one string to vibrate for its duration while playing a moving voice on another string.
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The choice of stroke that a guitarist will use is motivated by personal choice of tone quality, dynamic control and efficiency.
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381:), in which the finger does not land on the string behind, but, rather, continues until the energy of the stroke is dissipated.
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and
Alastair M. Crawford (Fully revised and updated ed.). London and Sydney: Pan Books. pp. 65–160.
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Over the history of the guitar, there have been many schools of technique, often associated with the current popular
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three (left hand finger near the seventh fret) the note played is one octave and one fifth above the open string.
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elimination of general muscular tension and physical stress by assuming a comfortable and balanced body position.
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In classical guitar, the right hand is developed in such a way that it can sustain two, three, and four voice
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A number of guitar supports have been designed to allow the guitarist to sit in a posture recommended by the
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Playing "on the string"—Keeping a melody or musical line on one string for continuity of tone or expression.
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1001:
811:, "Playing the guitar": "The beginner, Left-hand technique, The 'one-fret-per-finger' rule", p. 72)
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This article is about the
Contemporary classical guitar technique. For the baroque guitar technique see
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is executed by rocking the tip of the left-hand finger(s) back and forth horizontally within the same
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Use the palm-side of the thumb joint to lightly strum strings, producing a soft, low sound.
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Rasgueado or rasgueo is a
Spanish term for different forms of strumming the strings on the
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technique is referred to by
Charles Duncan as "the awareness of the release of tension".
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The advent of nylon strings. Historically, the early guitar (pre-WW II) was strung with
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The guitarist often has choices of where to "register" notes on the guitar based on:
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261:, and some argue for their use in classical guitars (particularly early guitars).
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434:"p, m, i" for slower, three note tremolos, with the thumb picking out the melody
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the left-hand fingers are referred to as 1, 2, 3, and 4 (starting with index).
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An introductory overview of classical guitar technique is given in the article
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372:), in which the finger that plucks the string lands on the next string; and
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will definitely be lacking if the speed has not been gradually increased.
346:) indicated with Roman numerals corresponding to the fret number from the
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An Early
Sighting of the Use of Rest-stroke Technique in Northern Europe
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by Peter Kun Frary, Professor of Music • University of Hawaii, Leeward.
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Site dedicated to the technique and health of the classical guitarist.
437:"p, a, i" for faster three note tremolos, with the melody in the thumb
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Free newsletter on practicing
Classical Guitar by Tom Prisloe
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CREATIVE GUITAR - Classical Guitar resource website and blog.
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In 1983, Richard
Provost outlined principles of scale and
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played using the flesh of the fingertip, in common with
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Lithograph of
Dionisio Aguado y GarcĂa using a tripodium
698:"Why classical guitarists should use a guitar strap"
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The traditional names of the right-hand fingers are
59:. Unsourced material may be challenged and removed.
212:demonstrating traditional classical guitar posture
196:A number of different approaches have been taken.
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584:rather than the nylon commonly used since then.
459:Finger alterations that are commonly used are:
430:Finger alterations that are commonly used are:
939:
882:Building Blocks of Classical Guitar Technique
535:Use the thumb nail to produce a bright sound.
22:and for the romantique guitar technique, see
877:Brad Conroy's Lesson on Right Hand Arpeggios
824:Denyer, Ralph (1992). "Playing the guitar".
220:
903:"Rest Stroke and Free Stroke Revisited" by
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362:The two primary plucking techniques are:
119:Learn how and when to remove this message
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185:the physical stability of the instrument
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862:by Otto Feder published by Ditson, 1858
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357:
143:while also paying special attention to
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750:. Princeton, NJ, USA: Summy-Birchard.
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272:uses a cello-like endpin arrangement.
135:Andrey Ostapenko performing a recital.
927:
771:Handbook of Guitar and Lute Composers
659:
313:
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920:Advices by Guitarists for Guitarists
57:adding citations to reliable sources
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748:The art of classical guitar playing
735:. Professional Guitar Publications.
456:three treble strings respectively.
350:(which has no numeral) towards the
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1224:Composers for the classical guitar
302:technique is hours of repetition.
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832:(foreword); Special contributors
257:Straps are used for acoustic and
152:is a solo polyphonic instrument.
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718:"The Remarkable Paul Galbraith"
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288:(1781-1829) is associated with
44:needs additional citations for
859:Complete method for the guitar
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1267:Guitar performance techniques
817:
780:by Hannu Annala, Heiki Mätlik
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918:How to play Classical Guitar
898:The Classical Guitar Express
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68:"Classical guitar technique"
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404:in use for flamenco music.
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1241:International competitions
892:Left-Hand Trouble Shooting
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284:of the time. For example,
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731:Provost, Richard (1983).
679:Classical guitar pedagogy
333:Scores (in contrast with
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221:Guitar supports on leg(s)
1272:Spanish classical guitar
746:Duncan, Charles (1980).
733:Classic guitar technique
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247:Dionisio Aguado y Garcia
1236:Compositions for guitar
1132:Modern classical guitar
872:Musicians and Injuries
295:120 Right Hand Studies
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515:Further information:
320:pulgar, Ăndice, medio
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1219:Classical guitarists
866:The Humane Guitarist
653:Artificial harmonics
561:classical guitarists
358:Right hand technique
53:improve this article
1110:Related instruments
834:Isaac Guillory
826:The guitar handbook
547:Left hand technique
245:The tripod used by
227:Alexander Technique
1027:Additional strings
795:2010-05-22 at the
776:2011-07-16 at the
660:Left-hand position
472:"p, i, m, a, m, i"
469:"p, a, m, i, m, a"
314:Fingering notation
276:Playing techniques
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641:Natural harmonics
488:Francisco Tárrega
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992:Early recordings
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64:Find sources:
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42:This article
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1246:Bibliography
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809:Denyer (1992
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492:Emilio Pujol
484:Fernando Sor
480:
466:"p, i, m, a"
463:"p, a, m, i"
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453:Arpeggiation
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448:Arpeggiation
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51:Please help
46:verification
43:
15:
1127:Lyre-guitar
1122:Harp guitar
557:fingerboard
526:in sequence
411:Preparation
163:left-handed
1261:Categories
1002:Repertoire
818:References
348:string nut
200:Foot stool
109:March 2014
79:newspapers
1101:25-string
1096:14-string
1091:13-string
1086:12-string
1081:11-string
1069:10-string
997:Technique
636:Harmonics
602:Hammer-on
517:Rasgueado
512:Rasgueado
506:Strumming
336:tablature
210:guitarist
165:players.
141:harmonies
1137:Requinto
1064:9-string
1052:8-string
1040:armĂłnico
1035:7-string
1017:Pedagogy
793:Archived
774:Archived
673:See also
606:Pull-off
522:flamenco
369:apoyando
307:arpeggio
290:arpeggio
282:virtuoso
1203:Vihuela
1178:Gittern
1168:Cittern
1045:Russian
1007:Strings
987:History
971:Luthier
703:YouTube
625:vibrato
616:Vibrato
424:Tremolo
419:Tremolo
378:tirando
265:Endpins
233:Tripods
189:upright
176:Posture
158:timbral
93:scholar
1163:Citole
1074:Yepes'
1057:Brahms
1012:Making
966:Guitar
840:
754:
582:catgut
574:guide.
352:bridge
344:barrés
324:anular
322:, and
253:Straps
156:tonal/
95:
88:
81:
74:
66:
1212:Lists
907:, in
685:Notes
646:nodal
592:Slurs
529:beat.
477:Nails
100:JSTOR
86:books
1193:LaĂşd
913:HTML
838:ISBN
752:ISBN
629:fret
620:The
598:slur
496:lute
145:tone
72:news
911:or
909:PDF
55:by
1263::
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559:,
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208:A
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