This article is about the Contemporary classical guitar technique. For the baroque guitar technique see Baroque guitar and for the romantique guitar technique, see Romantic guitar.
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How To Strum A Guitar: 14 Steps (with Pictures)
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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 harmonies while also paying special atttion to tone production. The index (i), middle (m), and ring (a) fingers are gerally 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 classical guitar is a solo polyphonic instrumt, and it is difficult to master.
Classical guitar techniques can be organized broadly into subsections for the right hand, the left hand, and miscellaneous techniques. In guitar, performance elemts such as musical dynamics (loudness or softness) and tonal/timbral 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 be assigned to the dominant hand which, for the majority of players, is the right hand. Similar reasoning is behind string players using the right hand for controlling the bow. In the following article the role of the hands should be reversed wh considering left-handed players.
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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 wh it is placed on the left leg. Basic considerations in determining a chos playing position include:
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 strings. The right foot tucks underneath the player to make room for the guitar. And the guitar is turned to the player's right so as to rest against the ribs on the player's right side.
A number of guitar supports have be designed to allow the guitarist to sit in a posture recommded by the Alexander Technique: with a straight, untwisted spine, ev 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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Over the history of the guitar, there have be many schools of technique, oft associated with the currt popular virtuoso of the time. For example, Mauro Giuliani (1781-1829) is associated with arpeggio playing and his compositions are largely based on their use. Giuliani's solution to achieving indepdce betwe the fingers (eving out constraints or differces betwe the fingers) in the right hand was playing his 120 Right Hand Studies. By contrast, Andres Segovia 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 technique is hours of repetition.
In 1983, Richard Provost outlined principles of scale and arpeggio technique based on his study of anatomy to make the 'inhert kinesthetic tdcies' (our limitations) of the human body work for the player. Rather than working around them, the inttion being production of a musical, articulated sound within our physical limitations.
The traditional names of the right-hand fingers are pulgar, índice, medio, and anular, derived from Spanish. They are gerally 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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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 op 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 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.
Scores (in contrast with tablature) do not systematically indicate which string is to be plucked (although in most cases the choice is obvious). Wh 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.
The fret/position where the first finger of the left hand is placed on the fingerboard is usually not systematically indicated, but wh necessary (mostly in the case of the execution of barrés) indicated with Roman numerals corresponding to the fret number from the string nut (which has no numeral) towards the bridge.
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Rest stroke is useful for single-line melody playing. Free-stroke is mainly used in arpeggio (brok-chord) playing. They are oft combined to provide contrasting voices, betwe melody and harmony. Rest-stroke on the melody is a common approach to balancing the voices.
One of the tets 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 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.
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)
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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 instrumts.
Tremolo 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 evidt and will definitely be lacking if the speed has not be gradually increased.
Arpeggiation 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 three treble strings respectively.
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Modern practice gerally 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 ctury many influtial guitarists such as Fernando Sor, Francisco Tárrega and his pupil Emilio Pujol played using the flesh of the fingertip, in common with lute 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.
Plucking the strings usually involves making contact first with the fleshy part of the fingertip, the tip of the nail and th letting the string glide smoothly along the curvature of the fingernail until the string is released at the fingernail's tip.
While the right hand is responsible for the sound of the guitar, the left hand performs two functions: pressing on the strings (to short their effective lgth and change the pitch) and articulation, i.e. slurring (commonly known as 'hammer-ons' and 'pull-offs') and vibrato. In musical notation, the left-hand fingers are referred to as 1, 2, 3, and 4 (starting with index).
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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 fingerboard, classical guitarists 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.
It is possible to play the same note on differt strings, called registration or registering. For example,
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