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classical guitar technique

General
classical guitar technique can be broadly organized into subsections for the right hand, the hand left, and miscellaneous. In guitar performance elements, such as the change of tone and musical dynamics are determined primarily by the physical side that produces sound. In other words, the hand that plucks the strings defines the musical expression. Historically this role has been attributed to the dominant hand, which for most players, is the right hand. Similar reasoning lies behind the ropes with his right hand to control the curve. Following the discussion of the role of the hands should be reversed by holding left-handed.
An introductory overview of the technique of classical guitar is given in Article classical guitar (Section: Performance).
For items such as accessories and construction, see the portal of the classical guitar.
Posture
The classical guitar is usually performed left leg, which is backed by a bank on foot or the guitar is generated by some other device to bring it to a central location for the body of the player. considerations basic in determining the position chosen game include:
physical stability of the instrument
ensure freedom of both hands so they have full access to the instrument and can meet all technical requirements without having to bear the instrument
elimination of muscle tension in general body position assumed
Classical guitar technique and Freedom
Since it is the thumb and fingers to pluck the string and each person has several fingers, there large differences in performance between the guitarists, who often spend much time trying to find their own way of playing that suits them best in terms of objectives specific: the production of sound ("Beauty" / sound quality), the minimum noise (eg clicking) wide dynamic range (from mild to high control), minimum (muscle) effort, rapid "recovery" (fast start when desired) and movement healthy fingers, wrist, hand and arm.
There is no definitive way to reach these goals (there is a unique guitar technique final ideal): yes, there are different ways to achieve these goals, due to differences in the hands and fingers (including nails) of guitarists.
When guitarists are live music (during the game), who continually seeks (actively move / change yanking his hand, fingers) to sound good in terms of tone timbre /, to improve musical interpretation.
Most guitarists focus their eyes on the left hand, since it is often difficult to place the fingers of left hand on the correct fret and string. But ironically, in terms of producing the note, the right hand is more important is, perhaps, are sometimes given much consideration little. [Citation needed]
Right hand technique
The thumb and three fingers of the larger right hand pluck the strings. The normal position of the hand is to be shaped like loosely holding an apple with the wrist slightly bent, the arm resting on the upper bout of the guitar great, and the fingers close to the ropes.
The thumb is kept alongside the other fingers, so that it can work independently. The height of the wrist and hand depends on the thumb: It is such that the fingers can move comfortably - a pulse is not normally very low, but bent.
Usually involves plucking the strings to make first contact with the (usually on the left side), the fleshy part of the finger (and often the left side of the nail, or just the left part of the nail as nails too long) and then letting the rope slide smoothly along the curvature of the nail until the rope is released into the nail tip: the string is pulled. The two main plucking techniques are:
Rest of the course (apoyo) in which finger plucks the string rests on the top string immediately after, and
Free-stroke (Drawing), where the finger hits anything after boot string.
Rest of course produces more "deliberate" sound and can be used to bring out the melody in music, where harmony compete for attention. leisure sounds "soft" and lets you play fast passages more easily, although some guitarists (especially with long nails) use the free course unique and are able to produce a sound strong with him.
Some guitarists with nails and not entirely avoid the long rest times, other generally avoid it when they feel they have more control over the free course. The free course is the most natural course, since it can always be used. When two neighboring strings are plucked simultaneously, the rest of the course can not be used. Moreover, Arpeggios are usually played free stroke, except possibly for the thumb, or if appropriate (and effective as possible due to the length of the nail / hand position) the ring finger to pluck a melody line. In his spare time, the movement of a finger is not brought to an abrupt halt in the following sequence of characters, as is the If the rest of the course.
Guitarists who use both time-free and other times require the proper length nails: If your nails are too long, a well-sounding rest of course is no longer possible. Many players who prefer to use nails long enough not to use the rest of the course.
An important factor for a stroke and is sounding the angle that the finger would overstretched strings. This angle is usually not held in perpendicular to the strings, but in a more natural angle, where the fingers extended recalls slightly to the left: this has the advantage of a warmer tone and less noise due to contact with the nail, since the rope can slide over the nail rounded, rather than hooked / caught by it.
Holding the hand and fingers perpendicular to the strings can cause problems, since the string is aligned with the groove between finger and nail: this may cause noise or double-clicking sounds (sound finger, then nail sound). Holding him by the hand and fingers to the left (as opposed to perpendicular), it is impossible for the sequence of land in the groove, since the left side of the nail will play the first chord (often in conjunction with the fingertip, possibly an additional helper minimization clicking noise). The nail will be at an angle to the chain and the chain can slide smoothly on the left side of the nail until it is released.
One of the principles of the technique of right hand scale passages in the rotation. That is, no finger of right hand should be used to play two notes in a row (excluding the thumb, which is often called upon to play a sequence of notes below). Typically, for the passages of scale, as the index and middle fingers alternate. When arpeggiated harmony is being played with the thumb (p), the index (i) and medium (M) fingers, the ring finger (a) can play a melody over harmony. In the technique tremolo of the thumb plays a bass note, followed by the fingers that play the same note three times acute: PAMI, PAMI, PAMI etc. (Recuerdos de la Alhambra by Francisco Trrega is an example famous for this technique).
The position of the right hand can be used to influence the tone of the sound produced by a classical guitar. The wealth of sonic possibilities allows artists to add contrast and color to their performances far beyond the simple change of volume available for, say, pianists. When the strings are plucked near the bridge called the situation is ponticello south and sound "twangy notes and nose." When the strings are plucked on the guitar neck position south is called taste and tone becomes more complete and "sweet" (called in Italian dolce, see List of musical terminology page). The angle at which the fingers hit the strings can also affect the timbre of the sound.
The pizzicato term refers simply play the chords in music for bowed instruments. In classical guitar, however, refers to lay beside his hand below the little finger on all the strings very close to the bridge and then plucking the strings with the fingers. This produces a sound mute and is such as palm-muting in the language of electric guitar. Tambour is the technique where many or all of the strings are played at the same time hitting them (usually near the bridge) with the thumb side (extended). Both drum and pizzicato can be heard on Aconquija by Barrios.
The fingers of his right hand are used to stop notes from ringing after his term as indicated by the music. This is most often a problem with open string bass notes which tend to play for awhile. To stop the notes the thumb of his right hand (generally) rests on the rope to stop it ringing. This may pose a significant challenge for the guitarist as he or she must attend to every note low twice, once to start it and then stop it. The same technique can be used to create a staccato effect.
Trills are usually played in a string using various combinations of insults left hand, also known as legacy or hammer-ons and pull-offs. Cross-string vibrates, using two or three strings also are possible. In this case, the trill usually takes the form of low-high-low and can be executed as follows: The left hand stops, say the D # on fourth fret the second string, the right hand touches the middle finger of this note, then the index finger "Hits" the strings, first and second producers: D # #-ED. The difference between a trill and a cross string trill common is that the cross-string trill allows both notes to play against each other. This technique is often used in baroque music, although it is debatable whether it was the most common practice of the period.
There may be different positions, depending on the movement of the hand fingers of the hand / arm and the effect it has in view. default positions may include the following (or their variations):
Position "arpeggio" with the thumb playing bass strings and the index, middle finger and ring pull a standard 3 upper strings, respectively.
Scale of play: Usually a change the index and middle finger, however other changes using the finger (or even a change with the thumb) are common and
Factors influencing the choice may be to the scale and speed of progression of the melody on strings, for example, a range usually begins in a string and then continued in another.
On the other First, during the slower movements (especially of counterpoint music) guitarists often not strictly alternate the fingers, if this facilitates interpretation by tonal similarity: An example might be when the index finger (possibly the thumb) is used to play a melody line in the sequence 3, while the ring finger can be used for a tune the first string. However the lines of melody, often spend several sequences that so many adjustments and a flexible approach is required. Moreover, there is no common rule or guideline - no pre-guitar technique: a guitarist and experience will use the standard pluckings finger that personally fit the better player.
Importantly, not only the fingers are involved in the start of the string, but the hand is also carried out comfortably loose and can move a little too - even if the arm is involved. For example, when the scales of game (usually with the fingers alternate eg, index, middle, index, middle, ...) and moving the strings from top to bottom, or the strings from bottom to top, the hand moves up and down so in order to adjust the placement of the fingers to be in an ideal.
Main types of stroke
There are two main ways a sequence can be plucked with the finger:
with the preparation
without preparation ("in flight", "speed course" tremolo), for example
This separation is distinct from so-called rest and leisure time: both rest and leisure time can be used with or without preparation.
Stroke with preparation
"Preparation" (Known as planting) is the placement of (usually on the left side), the fleshy part of the finger (And often also left part of the nail, or just the left part of the nail as nails too long) in the sequence, before starting a move is made.
This is the standard way to pluck a string and used in most "slow to moderately fast" start-progressions: Before starting, usually both the left the nail of his finger and touch the rope, allowing the finger (and hand) to rest on the rope in a balanced way. When starting the movement is done, only touch the nail remains: The curvature of the nail (from the left) allows the string to be pulled back, while the string slides to the tip of the nail, where it is released. That occurs so rapidly that the sliding of the rope over the nail is not perceived (but: a nail without presenting problems is necessary and the position of the hand must be adjusted if plucking metal wound strings using nothing but the thumb, or the angle of attack will cause a very unpleasant grating noise, unless of course, this is the desired effect).
The act of planting is followed rapidly by the pull of the rope, so this course can be used (usually used), without a break in the sound becoming noticeable. For practical purposes, the game of staccato (on a single string) can be used to accentuate the "Preparation": here the finger is placed on the vibrating string to stop the sound, and only after a delay that finger pull the string. (Amendment Finger is normally used: i, m, or different patterns)
The planting is essential for guitarists to get an intrinsic feeling for the location and position of the strings, although some Teachers argue the opposite.
Stroke without preparation ("start fast repetitive," "speed course")
The course "without preparation "occurs in progressions quick note, for example, in tremolo. Here, the nail starts the string, with no preparation: a pulse is shot in the sequence: no time to "prepare". Most often this occurs when a finger / nail re-start an already vibrating string so that it retains its movement, for example, tremolo: this is where the fingers strike the same note on the same string of rapid progression. Moreover, this course " without "preparation" is also used in fast scales. Fast scales have the added complication of requiring the coordination of the left hand (Putting his fingers on the fret correct) to start with the tone-production of the right hand.
Comparison
It should be mentioned that this divided into two groups booting is not rigorous. Each variation between a full preparation before plucking, pluck an immediate and without preparation. A guitarist will individually choose which course to use, depending on personal choice and the effect is being produced. Most guitarists make that choice and intuitive vary and adapt when playing strokes, but for educational / analysis a distinction can be important.
Guitarists often intuitively use a combination of stroke "with preparation "and" speed Course "(without preparation), while playing arpeggio patterns: Typically, the pattern of finger is pluckings such that it begins with the fingers resting on the ropes as follows - the thumb on a string bass and index, middle, ring finger on each of the three treble strings, respectively. So movement can be an arpeggio plucking strings of consecutive, for example, the thumb, then the index, then middle, then cancel - this means that one by one the fingers are removed from the strings when they were resting (due to the plucking motion): The pluckings until now, were made "with" the preparation, since the fingers were resting on the ropes. However, often the arpeggio pattern then continues with the middle and index fingers pluck the string - the complete pattern, then is pimami. This means that if the pattern is played very fast, the last me I have to uproot their respective strings "without preparation".
Of course it is really possible to play the whole pattern (pimami) "without preparation" - and may be beneficial for guitarists actively didactically experience with these courses (and practice variations), rather than simply boot sequence anyway.
This separation is distinct the so-called rest and leisure time: both rest and leisure time can be used with or without preparation.
Consequences
Angle of attack (the The following discussion presents the points which may differ from guitarist to guitarist. In any case, the angle of the fingers of right hand (when stretched) to the chains do not is very diverse.)
Slow: More parallel angle (fingers of right hand over left)
The hand is usually performed at such an angle that extended fingers point slightly to the left (rather than perpendicular) to the ropes. But this angle can be actively varied (albeit slightly) and results in different tones, but also has some consequences:
The plus point fingers to the left of the strings (as the strings are parallel), the greater the nail is in contact with the strings, because the rope slides over more nail: This angle requires preparation - the placement of nails (and fingers) on the string, and then after through a controlled way. This angle creates a warmer tone, but because the rope glides over most of the nail, that's not good to start repetitive quickly.
Fast: More perpendicular angle (right finger)
To boot repetitive quickly, the vibrating string is immediately pulled back with the nail: a boost is shot in prison so that he keeps his move - no time to "prepare".
At high speeds, is not easily possible produce a strong and clear tone, if your fingers are too tilted to the left, since it not time to "prepare", "preparation" is the placement of the left side of the nail (and often the finger as well) in jail.
The faster the boot, plus a slip on the nail (more parallel) delays in the sound.
Thus, for the rapid start-up guitarist may choose to keep the fingers of right hand in a more perpendicular angle to the strings (although the fingers may still pointing slightly to the left) and attack them more with the tip of the nail.
The above discussion was focused mainly on the angle as a dependency of velocity plucking. Even more important is the dependence of angle on the pitch. As usual, there is always some kind of trade-offs involved and the final details depend on each guitarist, separately, and the players fingers / nails.
Consequences on the practice of build-up speed
When practicing at slow speeds, the position hands and time used should ideally be the same as the fasting time.
Typically, the hand can be in different positions to play fast and slow. More importantly a different course can be used intuitively to play slower (ie, with setup times) than to play faster (stroke, without preparation). This means that when building precision and uniformity practicing pluckings (like tremolo) at slow speeds, the hand position and time used during this practice should be identical to slow hand position and stroke that will be used when the pluckings are held up to speed.
This means that the slow tremolo practice (for example), requires the practice of "time without preparation!" This can be difficult because most the guitarists intuitively choose a course with (at least) a little preparation for the game slower. However, in this respect, the practice of method of play with short bursts of speed between practice slow, it can be useful, reminding the guitarist for the correct hand position and stroke (without preparation).
Moreover, tremolo (etc.) should not be practiced exclusively with "times of speed, but also the slower speeds with an ongoing" normal " with the preparation, "the reason is that the normal course helps the guitarist to obtain a better feeling intrinsic to the location of the strings.
Right hand position of the wrist / hand
There are a lot of freedom in the positioning of the right hand, which affects the angle at which the fingers will attack chain. Guitarists spend much time finding their own individual positions (could be more than one) that allow the fingers and fingernails, to pluck the strings with
a beautiful tone (possibly with different variations of tone positions)
minimal noise
a healthy position (no voltage)
The hand position is influenced by the arm:
change where the right arm resting on the guitar (or leftmost or rightmost)
change that part of the right arm resting on the guitar (or)
The hand can be varied as follows:
height (bending) the wrist
flexion of the hand to the left or right wrist (this is usually considered a strain, and today many guitarist holding the hand relatively simple compared with the arm. This usually means that the fingers point to the left of the rope and brings an advantage of a beautiful sound, to facilitate smooth gliding of the string along the curvature of the nail)
the rotation of the hand (which can be rolled to the left or right. Often, the guitarist can occasionally roll his hand slightly to the right - open hand and changing the angle of take off, while others can often use an open position with hand rolled slightly to the right)
Nails
practices modern usually makes use of the nails of his right hand in combination with the flesh of your fingertips, to pluck the strings. During the 19th century many players, including Famous guitarists such as Fernando Sor, Francisco and his pupil Trrega Emilio Pujol played using the finger pulp, in common with the technique of the lute.
Strumming
Rasgueado Main article rasgueado. Rip or tear is a technique of flamenco guitar strum and that includes the use of the back of the nails in order to give the impression of a great strum fast. There are several types of tears that employ different combinations of the thumb and enabling a variety of accents and rhythmic subdivisions Beat.
Use the palm side of the thumb joint lightly beaten strings, producing a smooth sound.
Use the thumbnail to produce a brilliant sound.
The simple combination of both fingers and thumb, the thumb hitting the lower strings and fingers picking up the notes of the chord of the minor to the largest strings in quick succession.
References
"Rest Stroke and Stroke Free Revisited Iznaola by Ricardo, in PDF or HTML
Left Hand Technique
While the right hand is responsible for the sound of the guitar, the left hand performs two functions: pressing the strings (to shorten their effective length and changing the pitch) and articulation, or slurring (commonly known as "hammer-ons and pull-offs) and vibrato. In musical notation, the fingers left are referred to as 1, 2, 3 and 4 (starting with index).
The basic position for the left hand is much the same law, except upside down. Unlike many players of steel string and electric guitars, which has a narrow neck and arm (with fourteen frets clear of the body against twelve houses in the classic), the classical guitarist does not put the thumb of his left hand on the upper neck. Instead, put it behind her neck usually behind the second toe.
The thumb then roll back so that the thumb touches' off the bone. The bone of the thumb hangs off a shoulder that is carved into the back of the neck and possibly a hard, dry callus forms on the thumb, allowing your left hand to change without sticking to the guitar.
Keeping your thumb behind the second finger and throw away the front of the third finger, the classical guitarist defines the left hand.
Playing with his left hand more or less parallel to the neck requires a certain amount of stretching between the fingers. There is a tendency, especially when you get that first guitar, to close the first and second fingers to press the rope together. For example, in playing the F on the string, first fret (often the second note never fingers And after opening the first-string) there is a tendency to put the second finger over the first to hold the note. Holding a note with two fingers, 1 and 2, however, puts the range between your fingers between the second and third, the hardest to reach. The easiest way to arrive is between the third and fourth (pinky) fingers. The easiest next between the first and second and most difficult among the middle finger, between 2 and 3. So in order to place all the fingers on the strings (by rubbing a finger), the range would be best to go between 1 and 2 and 3:04. Care must be taken to unlock one and two. One way to train your hand to unlock one and two is to put a pencil between one and two with the other end of the thumb back as plays.
The classical guitarist has a different set of calluses of the left hand on your fingertips than the steel string player. In the steel rope, played with the guitar under his arm and right hip (called "Playing off the hip), the left hand fingers of the guitarist playing steel string diagonally, or" to reach, finger and lands on the pad of the finger, forming a callus on the pad. The classical guitarist has a different set of calluses of the left hand as the player's hand classic falls more parallel to the neck and throw himself in front "(rod side) of the fingertip. As a general rule, in the classic, the player is focused on playing in front the third (or ring finger), the fingers will follow.
To play a note clearly the fingertips of your left hand should be pressed against the chain behind the appropriate fret. Allow to relax your left shoulder allows the greatest finger on the string scale or slide against and rest on the fret, giving the best soundnd easy to reach with other fingers. The fingers are therefore placed close to the frets.
Often the index finger is required to play more of a rope, called a "technical" barre. The guitarist puts his finger on some or all of the strings in a fret and specific uses that the other three fingers to play other notes. Rather than lowering the bar first, often is easier to put your fingers and add the barre month, according to which the notes are needed first.
When playing notes above the twelfth fret, called "the body", the left shoulder is dropped and the thumb is back, the neck (as opposed to cello technique where the thumb jumps over the arm).
It is possible to play the same note on different strings, called "registration" or "record". For example, the note "And" first string open, perhaps to be played, or "registered" in any sequence.
The guitarist is often the choice of where to 'register' notes on the guitar:
The ease of typing. Beginners learn the position before opening anything else and may be more comfortable to record notes on open strings in first position. advanced players can find solutions based on highest positions in musical expression or using a change in a sequence as a guide.
Playing "chain" - Keep a melody or a musical line into a string to the continuity of the signal or expression.
The advent of nylon strings. Historically, the guitar early (pre-WWII) was strung with nylon cat instead of which we are accustomed. Issues past, often kept the melody on the second string, because 1) the second string sound had a beautiful and romantic in the highest positions, which was appropriate to the style of times and 2) the first string had a thin 'sound and reliable intonation. With the advent of nylon strings, playing position (playing in a block style) became more in vogue. More. improvements in the manufacture of ropes and modern design innovations in guitar continue to bring this issue into focus.
For reasons counterpoint: to allow a voice in a vibrating string and its duration while playing a voice moving in another string.
Insults
Injuries, trills and other ornaments are usually played entirely with his left hand. For example, in a simple case of an offense semitone up (Hammer-on), a note standing by the first finger of his left hand on the fifth fret is played primarily in the normal way, then without the right hand doing anything else, the second finger of left hand is put down in the sixth fret on the same rope, using his strength to raise the tone of the chord still ringing by a semitone. Ligation descending (Remove) is simply the opposite of the foregoing, the libel begins in the top note and it is common that the finger pressing the highest score actively plucks the string as elevators, causing the string to vibrate the fret the smallest finger is depressing. The finger is usually inferior in position and pushing before the process begins. Three specific insults down there, (1) the active finger lifts straight up and out of jail, (2) the active finger rests against the sequence immediately adjacent, and (3), a hybrid of the two where the bumps the rope adjacent finger before takeoff.
If these procedures are repeated sometimes the result is known as a trill. Because the note is being repeatedly pulled it possible to continue indefinitely a trill. Occasionally, the top note of a trill it is played by alternating fingers like this: 2-1-3-1 - etc.
Vibrato
Classical Guitar Vibrato is executed by rocking the fingertips of his left hand (s) back and forth horizontally within the same space fret (Ie along the axis of strings, and not all of it as for a vertical "bend" in rock or blues), producing a subtle variation in the field, much sharper and flatter than the starting note, without any appreciable change in the focus fundamental tone of the note being played. While vibrato is required in the first or second fret is sometimes beneficial to push the string on its axis as it produces a vibrato sound more visible there. The second method only vary the tone, bringing it more pronounced than the starting note is that the most common method of vibrato used by steel strings and electric guitar players.
Harmonics
natural harmonics can be played by touching a finger left hand over specific points along an open string without pressing it down, then play the note with his right hand. The positions from both the left and right are important. The left hand should be placed in a nodal point along the chain. nodal points are found in divisions integral length rope. The simplest example would be when the finger of the left hand splits the string into two and placed in the twelfth house. The note then played is one octave higher than the open string. If the string is divided into three (finger of his left hand near the seventh house) is the note played an octave and a fifth above the open string. The player must Be careful not to pull the rope in another node (closer to the bridge) otherwise non harmonic sounds. This can be easily demonstrated by a rest finger of his left hand on the fifth fret and trying to play the note plucking the string at the twelfth fret with your right hand - the note will not be produced. Ideally, the hand right to pull the rope in a womb.
Artificial harmonics are played by stopping the string as usual with the left hand, then at rest (Not urgent), the index finger of right hand on the rope in a nodal position (usually 5, 7, 9, or 12 frets above the finger of the left hand) and pull the string with your finger or thumb of his right hand.
positions left hand
In common with other classical stringed instruments, classical guitar and use the formal notation of the left hand positions. A "means nth position" that the hand is positioned with the first finger on the fret nth.
Fretboard Knowledge
EDCAGE
References
Left Side Trouble Shooting by Peter Kun Frary, Professor of Music University of Hawaii, Leeward.
The Classical Guitar Express free newsletter practicing classical guitar by Tom Prisloe
Studies
There are many exercises that can be used to develop the right and left hand technique in classical guitar.
Leo Brouwer
Simple Etudes - Volumes 1-4
Matteo Carcassi
25 Studies Opus 60
Mauro Giuliani
Etudes et agreable Faciles instructive, Opus 100
XVIII Leçons Progressives, Opus 51 (18 lessons Progressive)
Studio Per La Chitarra, Opus 1 (The study of the Guitar)
Studi Dilettevoli, Opus 98 (Entertainment Studies)
Esercizio Per La Chitarra, Opus 48 Training (Guitar) 24 studies
Primi Lezioni Progressive, Opus 139 (First Lessons Progressive)
120 Studies for Right Hand Development
Fernando Sor
12 Studies Opus 6
Douze Etudes, Opus 29
Leons Vingt Quatre, Opus 31
Vingt Quatre Exercises, Opus 35
Introduction et Etude "de la Guitare, Opus 60
20 Studies for Guitar (a compilation Andres Segovia)
Heitor Villa-Lobos
Douze Etudes (1929)
Classical guitar Injuries
References
Complete method guitar by Otto Feder published by Ditson, 1858
The Humane Guitarist site devoted to technical and health of the classical guitarist.
Musicians and Injuries
CREATIVE GUITAR - resource website and blog Classical Guitar.
See also
Classical guitar pedagogy
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