Longer Ring Finger Than Index Finger

classical guitar technique

General
classical guitar technique can be broadly organized into subsections for the right hand the left hand, and miscellaneous. In guitar performance elements such as dynamic and tonal musical variation are largely determined by the hand that physically produces the sound. In other words, the hand that pulls the strings defines the musical expression. Historically this role has been assigned to the dominant hand for most players, is the right hand. Similar reasoning is behind the string with your right hand to control the arc. In the following discussion the role of the hands should be reversed when considering left-handed players.
An introductory overview of the art of classical guitar is featured on the classical guitar article (Section: performance).
For items such as accessories and construction, see the website of the classical guitar.
Position
Classical guitar general held in his left leg that rests on a foot stool or guitar rises by some other device to take a central position in the body of player. Basic considerations in the determination of a chosen playing position are:
physical stability of the instrument
guarantee the freedom of both hands so they have full access to the instrument and can meet all technical requirements without having to support the instrument
elimination of muscle tension general body position is
Guitar technique and Freedom
Since the thumb and fingers to touch the rope and each person has different fingers, there are great differences in the interplay between the guitarists, who often spend much time in finding their own way of playing that suits them in terms of objectives Specific production of tone ("Beauty" / sound quality), minimum noise (eg clicking), wide dynamic range (soft a strong control), minimum (muscle) effort, fast "recovery movement" (fast booting when you want), and healthy movement fingers, wrist, hand and arm.
There is no definitive way to achieve these goals (there is no single optimal guitar technique defined): rather there are different ways to achieve these objectives, due to differences in the hands and fingers (including nails) of guitarists.
When guitarists are performing the music (During playback), continually seeking (actively moving / change your plucking hand, fingers) for a good sound in terms of tone or timbre, for improve musical performance.
Most guitarists focus your eyes on the left hand, and often difficult to place the fingers of your left hand on the correct fret and string. But ironically, in terms of production of the note, is the right hand is more important, maybe it is sometimes given too little consideration. [Citation needed]
Right hand technique
The thumb and three fingers of his right hand large press the strings. The normal position of the hand to be formed vaguely like holding a block with the wrist slightly flexed, the forearm resting on the upper bout of the guitar great, and fingers around the strings.
The thumb remains on the side of the other fingers, so you can work independently of them. The height of the wrist and hand is dependent on gold so that is fingers can move with ease - the wrist is not normally very low, but bowed.
Plucking the strings is usually make first contact with the hand (usually left) fleshy fingertip (and often the left side of the nail, or just the left side of the nail as nails very long) and then let the string slide smoothly by the curvature of the nail until the rope is released into the nail tip: the string is pulled. The two main techniques plucking are:
Rest time (Supporting), in which the finger that starts the chain is based on the next higher string after and
Free time (shooting) in the nothing beats the finger after starting the chain.
Rest times produces more "deliberate" sound and can be used to pull the melody in music where harmony is competing for attention. free sounds of times "lighter" and makes it possible to play fast passages more easily, although some guitarists (especially with long fingernails) to use exclusively free movement and are able to produce a loud sound with it.
Some guitarists nails rather long to avoid the rest of the race altogether, while others usually avoid it when they feel they have more control over free movement. The free movement is the most natural movement, and you can always use. When two neighboring chains are to be plucked while the rest of race can not be used. In addition, arpeggios is usually played without time, except possibly for the thumb or appropriate (effective and feasible because of the length of the nails / hand position) with the ring finger if a melodic line is started. In his free time, the movement of a finger is not brought to an abrupt stop in the following string, as is the case in the rest of the race.
Guitarists use both free movement and rest strokes require nails of appropriate length, if the nails are too long, a good sounding break times is no longer possible. Many guitarists prefer to use nails long enough not to use the rest of the race.
An important factor for stroke, so sounds is the angle that the finger would be overloaded with ropes. This angle is usually not carried out perpendicular to the strings, but in a more natural angle, where the fingers spread slightly resembles the left: this has the benefit of a warmer tone and less noise due to the nails of contact, because the string can slide on a round, instead of being connected / trapped by it.
Keeping your fingers and the hand perpendicular to the strings can cause problems, because the chain is aligned with the groove between the fingers and nails: this may cause noise or double-click Sounds (sound of fingers, then key sound). With the conclusion of the fingers and hand to the left (as opposed to perpendicular), it is impossible for the chain to land in the groove, as the left side of the nail touches the first string (often together with your fingertip, possibly additional help of a minimization click). The nail at an angle to the rope and the rope can slide smoothly over the left side of the nail until it is released.
One of the principles of the technique of the right hand scale passages is the alternation. That is, no finger of the right hand should be used to play two notes in a row (except the thumb, which is often called to play a sequence of low notes.) Usually, the scale-like passages index and middle fingers alternate. When an arpeggiated harmony is being played with the thumb (p), index (i) and medium (M) of the fingers, the ring finger (a) can play a melody over harmony. In the tremolo technique your thumb plays a low 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 a famous example of this technique.)
The position of the right hand can be used to influence tone of the sound produced by a classical guitar. The wealth of sonic possibilities allows performers to add contrast and color of their actions beyond simple volume changes available, for example, pianists. When you press the strings near the bridge called Ponticello sul position and sound notes "nasal" and "nasal." When the strings are pressed on the guitar fretboard position is called sul tasto and the tone becomes full and "sweet" (called dolce in Italian, see List of musical terminology page). The angle at which the fingers hit the strings too can affect the timbre of the sound.
The pizzicato term refers simply to press the strings in music for bowed instruments. In the classical guitar, however, refers to the placement of the hand below the little finger across the strings near the bridge and then plucking the strings with the fingers. This produces a dull sound and is known as the palm-muting the language of the electric guitar. Tambor is a technique in which many or all of the strings are played at the same time by hitting them (usually near the bridge) with the thumb side (extended). Both drum and pizzicato Aconquija can be heard by Barrios.
The fingers of the right hand is used to stop notes sound beyond its duration as indicated by the music. This is most often a problem with open string bass notes tend to sound for some time. So that the notes of the thumb of his right hand (usually) is based on the call chain to stop it. This poses a major challenge for the guitarist as he or she need to attend to every bass note twice, once to start and another to stop it. The same technique can be used to create a staccato effect.
Trills are usually played in a chain with various combinations of insults from the left, also known as legacies or hammer-ons and pull-offs. trills Cross-stream using two or three chains also are possible. In this case the trill usually takes the form of low-high-low and can be run as follows: The left hand stops, such as the D # on fourth fret second string, the right hand middle finger touches the note below the index finger "strum" the strings first and second production: D #-ED #. The difference between a trill between strings and a common trill is that the cross-string trill allows both notes to ring against each other. This technique is often used in Baroque music, although it is debatable as to whether it was common practice at the time.
There may be different hand positions depending on the movement of finger / hand / arm and the effect intended. standard positions could be (or its variants):
"The position arpeggio" with the thumb playing bass strings and the index, middle and ring finger to pick up a pattern of three top chords, respectively.
reproduction of the scale: In general, an alteration of the index and middle fingers, but other alterations with the ring finger (or even an alteration to the thumb) are common,
Factors influencing the election could be the speed of the scale and the progression of the melody strings, for example, a level usually begins in a string and then continues in the other.
On the other hand, during slow movements (especially of counterpoint music) guitar from time to time does not alter the sense fingers Strictly speaking, if this facilitates the interpretation through tonal similarity: An example of this would be when the index finger (preferably the thumb) is used to reproduce a melody line on the third string while the ring finger can be used for a melody of the first string. However, the melodic lines often move into multiple strings for many adjustments and a flexible approach is needed. On the other hand, there is no common standard or guideline - no predefined guitar technique: a guitarist to experiment and use the finger pattern pluckings personally brought the best player.
It is important to note that not only the fingers are involved in the plucking of the string, but the hand is also held comfortably loose and can move slightly and - although the arm is involved. For example when playing scales (Usually with alternating fingers, for example, index, middle, index, middle, ...) and move from top-down ropes, or ropes from the bottom up, the hand moves up and down to adjust the position of the fingers to be at your best.
Main types of stroke
There are two main ways a string can be plucked with the finger:
the preparation
unprepared ("in flight", "speed limit") eg tremolo
This separation is different from the so-called time-outs and no time, while the rest of career and free movement can be used with or without preparation.
Time to prepare
"Preparation" (known as seeding) is the placement of the piece (usually left side) finger meat (And often left part of the nail, or just the left side of the nail as nails too long) in the string before starting a movement right.
This is the standard way of plucking a string and is used in most "slow to moderately fast" start-progressions: Before starting, usually both on the left side of the nail and the touch of a finger in the chain, allowing finger (and hand) to the rest of the string in a balanced manner. When the movement is started, only the key contact is: The curvature of the nail (from the left side) allows the chain was removed, while the string slides to the tip of the nail where it is released. This happens so fast that the sliding of the rope over the nail is not seen (but: a nail without problems presented necessary and hand position need to be adjusted if metal plucking strings using nothing but hurt the thumb, or the angle of attack will cause a very unpleasant noise shredded, unless of course, this is the desired effect).
The act of planting is quickly followed by the plucking of the string, so that this movement can be used (Normally used) without interruption in the sound begins to show. For practical purposes, staccato playing (in a single string) can be used to accentuate "preparedness": here the finger is placed on the vibrating string to stop its sound, and only after a delay of this finger starts the chain. (Alteration finger is generally used: i, m, or different patterns)
The planting is essential for guitarists to get an intrinsic feeling of the location and position of the strings, although some teachers advocate the opposite.
No preparation time ("rapid repetitive plotting," "speed limit")
The "blow unprepared" occurs in progressions quick note, for example, the tremolo. Here starts the nail in the chain without any preparation: a pulse is shot in the chain, no time to "prepare." Most often this occurs when a finger nail or re-start a string that vibrates and to maintain its motion, for example, tremolo, this is where the fingers strike the same note in the same chain in rapid progression. Moreover, this movement, " unprepared "is also used in fast scales. fast scales have the added complication of requiring the coordination of the left hand (placing fingers on the fret right) with the tone of starting the production of the right hand.
Comparison
Note that this divided into two groups-plucking is not strict. Each variation between full preparation before the plucking, and immediately started without preparation. A guitarist individually choose the line-to-use depending on personal choice and that it will occur. Most guitarists that this intuitive choice and change and adjust movements to play, but pedagogical analysis purposes / the distinction may be important.
Guitarists often intuitively use a combination of "blow with the preparation" and "speed limit" (without preparation) to play the arpeggio patterns: Typically, the pattern of pluckings finger is such that starts off with your fingers on the ropes in the following manner - the thumb on a string bass and finger, middle finger, ring in each of the three high strings, respectively. Then the motion can be a consecutive arpeggio plucking strings with the thumb, for example, then the index, a half later, and then restore - this means that fingers one by one are removed from the strings of which were resting (due to plucking motion): The pluckings until now, were then "the preparation" and the fingers were resting on the ropes. But often the arpeggio pattern and then continues with the middle finger and start the chain - the whole pattern is then: pimami. This means that if the pattern is reproduced very rapidly, the m past and I have to start from their respective supply chains "without preparation."
Of course, it is actually possible to play the whole pattern (pimami) "without preparation" - and may be beneficial for teaching active guitarists experiment with these movements (and practice variations), instead of starting the chain in any way.
This separation is different from the so-called time-outs and without time: both the race and no other race can be used in the preparation and out.
Consequences
Angle (the following discussion presents the items may differ from guitarist to guitarist. In any case, the angle of the fingers of his right hand (when extended) for strings is not very variable.)
Slow: One angle parallel (fingers of right hand over left)
The hand is usually held at an angle such that the extended fingers point slightly to the left (rather than perpendicular) to the ropes. But this angle can be actively varied (but only slightly) and results in different tones, but also has some consequences:
The more the finger pointing to the left of the strings (parallel than are the strings), the greater the fingers is in contact with the strings, as the chain slides over several of the fingers: This angle requires preparation - the insertion of the nails (and fingers) on the chain and then following through in a controlled manner. This angle creates a warmer tone, but because the chain slips over more of your fingernail, this is not good to start fast repetitive.
Quick: more perpendicular angle (right finger)
To start repetitive fast the vibrating string is immediately started again with nail: a pulse is shot in the chain to keep the proposal - no time to "prepare."
At high speeds is not easily possible to produce a loud clear tone, if the fingers are angled too far left, because is no time for "preparation" "Preparation" is the placement of the left side of the nail (and often fingers) in the chain.
The faster the plucking, the most a gliding over the nail (more parallel) delay sound.
Thus, for a quick tap of the guitarist may choose to hold the fingers of right hand in a angle perpendicular to the strings (although the fingers seems therefore a bit to the left) and knock over with the tip of the nail.
The above discussion focused primarily on the angle as a dependency of the speed of plucking. Even more important is the pitch angle dependence. As usual there is always some sort of compensation involved and final details will depend on each individual guitar separately, and the players' fingers / nails.
Practical consequences of the accumulation rate
When practicing at low speed, hand position and time used should ideally be the same as the fast tempo.
Usually, the hand may be in different positions for fast and slow play. Most importantly, a different movement can be intuitively used to play more slowly (ie, with setup times) than the fastest game (without preparation time). This means that when building accuracy and consistency in the practice of pluckings (such as tremolo) at slow speeds, the hand position and time used in this practice should slow be identical to the hand position and stroke that is used when the pluckings are performed daily.
This means that the practice of the tremolo slow (for example) requires the practice of "hit unprepared!" This can be difficult as most guitarists intuitively choose a career with (at least) a little preparation for the game slower. However, in this sense, the practice-play approach with short bursts of speed in the middle slow practice can be useful, recalling the guitarist's hand position and stroke (without preparation).
Moreover, tremolo (etc) should not be exclusively practiced by "speed limit" but also at low speeds or with a "blow to the preparation" The reason is that the normal movement of funds from the guitarist to get a better feel for the location of intrinsic strings.
Right hand wrist / Hand position
There are a lot of freedom in the positioning of the right hand, which affects the angle at which the fingers strike the string. Guitarists spend a lot of time to find their individual position (could be more than one) that allow the fingers / fingernails to pluck the strings with
beautiful tone (possibly changes the tone in different positions)
minimal noise
a healthy position (without cables)
The hand position is influenced by the arm
change in the right arm rests on the guitar (or far left or far right)
changing what part of the right arm rests on the guitar (either)
The hand can vary as follows:
height (pitch) of the wrist
flexion of the hand to the left or right wrist (this is usually considered a strain, and guitarist today many of them are relatively simple hand compared with the arm. This usually implies that the fingers point to the left chain and provides an additional advantage of a beautiful tone, facilitating a smooth chain movement along the curve of the nail)
rotation of the hand (which can be rolled to the left or right. Often, the guitarist from time to time may roll slightly to the right hand - the opening of the hand and change the angle starting, while others can usually use an open position with hand rolled slightly to the right)
Nails
Modern practice generally uses the nails of his right hand in combination with the flesh of the fingers to press the strings. During the 19 th century many players, including guitarists known as Fernando Sor, Francisco Trrega Emilio Pujol and his student plays on the flesh of the fingertips, like the lute technique.
Strumming
Strum Title in Spain strumming. Or strum strum strum is a technique of flamenco guitar and classical, which includes the use of the back of the nails in sequence to give the impression of a very fast strumming. There are several types of features that use different combinations of fingers and the thumb that allows a variety of rhythmic accents and subdivisions of the beat.
Use the palm of the hand joint of the thumb lightly touching strings, producing a smooth sound and bass.
Use your thumb nail produce a bright sound.
A simple combination of the two fingers and thumb, the thumb on strike over low strings and the fingers picking up the higher notes of the string of lowest to highest strings in quick succession.
External Links
"Rest Stroke and Stroke Free Revisited" by Ricardo Iznaola, PDF or HTML formats
Left hand technique
While the right hand handles the guitar sound on the left hand performs two functions: pressing on the strings (to shorten its effective length and changing the tone) and the joint, ie dragging (commonly known as "hammer-ons and pull-offs') and vibrato. In musical notation, the fingers of the left hand is known as 1, 2, 3 and 4 (starting with index).
The base position for the left hand is very similar to that right, except in reverse. Unlike many players steel string and electric guitars, which have a narrower neck and fingerboard (with fourteen frets clear of the body to the classic twelve frets), the classical guitarist does not put his left hand thumb on top of the neck. Instead, he placed behind the neck, usually behind the second toe.
The thumb then pull back so that the thumb plays the 'bone'. The bone of the thumb hangs a shoulder that is carved into the back of the neck of the guitar and, eventually, a hard, dry callous on the thumb, allowing the left hand to change without stick to the guitar.
By keeping the thumb behind the second toe and playing outside the front of the third finger, the classical guitarist sets the shape of the left hand.
Playing with her left hand more or less parallel to the neck requires a certain amount of stretch between the fingers. There is a tendency, especially when starting the first guitar to close the first and second fingers, with reporters in the chain. For example, in the performance of the F on the first string, first fret (often the second note each time your fingers after E open, first-string) is a tendency to place the second finger on the top of the first to hold the note. Holding a note with two fingers, 1 and 2 without however, puts the stretch between your fingers between the second and third, the most difficult to reach. The easiest way to reach is actually between the third and fourth (pinky) fingers. The next easiest way between the first and second and most difficult among middle finger, between 2 and 3. Therefore, in order to put all the fingers on strings (a finger fret), the scope would be best between 1 and 2 and 3 and 4. Care must be taken to unlock 1 and 2. One way to train your hand to release 1 and 2 is to place a pencil between 1 and 2 with the other end behind the thumb during playback.
The classical guitar has a different set of calluses on his left hand reaches the player with steel strings. Steel chain, played with the guitar under his arm and right hip (called 'is played out from the hip), the fingers of the left of the steel guitar string work on the diagonal, or "to the extent" and the finger lands on the fingertips, forming a callus on the keyboard. The classical guitarist has a different set of calluses left hand as the player's hand falls more classical parallel to the neck and played on the "front" (nail side) of the fingertips. As a rule, in the classic, if the player is focused on playing in front of the third (or ring) finger, the fingers will follow.
To play a note clearly the tip of the fingers of the left hand should be pressed against the string, just behind the appropriate fret. Allow to relax your left shoulder allows higher finger on the string scale or slide against and rest on the fret, to the best soundnd the easiest way to get to the other fingers. The fingers are, therefore, placed as close to the frets.
Often, the finger is forced to play more than one chain, called the "slash" technique. Guitarist places the index finger through some or all the strings in a given fret and use the other three fingers to play other notes. Rather quell the bar first, it is often easier to put your fingers and add the last bar, according to which the notes are needed first.
When playing notes above twelfth fret, called "body", the left shoulder and thumb has fallen far behind in the neck (unlike the cello technique the thumb jumps on top of the fretboard).
It is possible to play the same note on different strings, called "registration" or "record." For example, the letter "e", first broadcast network, perhaps to play, or "registered" in any string.
The guitar usually has options to 'Register' notes on the guitar on the basis of:
The ease of typing. Beginners learn the open position, first before anything could be more and more comfortable recording notes open strings in the first place. Advanced players can find solutions in the higher positions on the basis of musical expression or using a change in a string as a guide.
Playing "in the string" - Keep a melody or a musical line in a chain of continuity of tone or expression.
The advent of nylon strings. Historically, the guitar early (before the Second World War) are strung with cat-gut instead of nylon to which we have become accustomed. Earlier editions often keeps the melody on the second string, because 1) the second string was a beautiful sound, romantic in the highest positions that it was appropriate for the style of the times and 2) the first string had a "thin" sound and intonation unreliable. With the advent of nylon strings, playing position (playing in a block style) became in vogue. More improvements in the manufacture of ropes and innovations in modern guitar design continue to bring this issue into focus.
Counterpoint reasons: to allow a voice in a string to vibrate during playback duration a voice moving in another string.
Insults
Slurs, trills and other ornaments have been played entirely with his left hand. For example, in a simple case of an insult halftone ascending (Hammer-on), a note of a detainee by the first finger of your left hand on the fifth fret is played for the first time in a normal manner and without the right hand doing nothing else, the second finger of the left hand is placed face down on the sixth fret on the same chain, with its drive to raise the pitch of the chain is playing a semitone. An insult descending (Pull-off) is simply the opposite of the above, the tie starts at the highest and it is common that when you press the highest score starts the chain actively, as elevators, so the string to vibrate from the fret that the lower finger is depressing. The lower finger is usually in the position and pushing before the procedure begins. Three specific insults down there, (1) active finger lifts straight up and off the chain, (2) active finger rests against the rope immediately adjacent later, and (3) a hybrid of the two in which the skin of the fingers adjacent string before removal.
If these procedures are repeated a few times you know the result as a trill. Because the paper was launched in several occasions that it is possible to continue indefinitely a trill. Sometimes, the highest note of a trill that is played by alternation of fingers as follows: 2-1-3-1 - etc.
Vibrato
The classical guitar vibrato is executed by rocking the finger tip of left hand (s) round and back flat on the same fret space (ie along the chain axis, and not through it as a vertical "bend" in the rock or blues) that produces a subtle variation in tone, both sharper and flatter than the starting note, without significantly altering the fundamental approach pitch of the note being played. When vibrato is required in the first or second fret is sometimes beneficial to push the chain through its axis, as it produces a remarkable vibrato sound there. This second method only vary the pitch, raising its sharper than the starting note is the most common method of vibrato used by steel chain and players electric guitar.
Harmonics
Natural harmonics can be played by touching a finger of his left hand on specific points along a process open string without pressing down, then playing the note with his right hand. The positions of both the left and right hand are important. The left hand should be placed in a nodal point along the chain. are nodal points in the divisions of a member of the chain length. The simplest example would be when the left finger chain is divided in two and placed at the twelfth fret. The note played is one octave higher than the open string. If the string is divided into three (finger of his left hand near the seventh fret), the note is an octave and a fifth above the open string. The player must be careful not to start the chain to another node (near the bridge), otherwise the harmonic not ring. This can be easily shown to rest a finger on his left hand on the fifth fret and trying to play the note the string starting at the twelfth fret right hand - no paper produced. Ideally, the right hand should grab the rope at an antinode.
Artificial harmonics are played to stop the chain, as usual with the left hand and then rest (no pressure) in the index finger of right hand on the string at a nodal position (usually 5, 7, 9, or 12 frets above finger of the left hand) and take the rope with the ring finger or the thumb of his right hand.
Left hand positions
Like other classical instruments strings, classical guitar notation and use formal positions of the left hand. Media 'n th position of the hand is placed with the index finger on the nth fret.
Fingerboard Knowledge
EDCAGE
External Links
Left Hand troubleshooting Peter Kun Frary, Professor of Music University of Hawaii, Leeward.
Classical Guitar Express free newsletter classical guitar practice by Tom Prisloe
Studies
There many exercises that can be used to develop the right and left hand technique in classical guitar.
Leo Brouwer
Simple Studies - Volumes 1-4
Matteo Carcassi
25 Studies Opus 60
Mauro Giuliani
Easy instructions agréables Et Studies, Opus 100
Xviii Leçons Progressives, Opus 51 (18 lessons Progressive)
Study for La Chitarra, Opus 1 (The study of the guitar)
Dilettevoli Studi, Opus 98 (Animation Studios)
Esercizio by La Chitarra, Opus 48 (Training for guitar) 24 Studies
Primi Lezioni Progressive, Opus 139 (First Lessons Progressive)
120 Studies for Right Hand Development
Fernando Sor
12 studies, the Opus 6
Douze Etudes, Opus 29
Vingt Quatre Leons, Opus 31
Vingt Quatre Exercises, Opus 35
Introduction to 'Etude de la Guitare, Opus 60
20 Studies for Guitar, (a collection of Andres Segovia)
Heitor Villa-Lobos
Douze Etudes (1929)
Classical Guitar Injuries playing
External Links
Complete Method for Guitar Otto Feder published by Ditson, 1858
The Human guitarist Site dedicated to technical and Health classical guitarist.
Musicians and Injuries
CREATIVE GUITAR - Classical guitar resource website and blog.
See also
Classical guitar pedagogy
Categories: Guitar performance techniques | Classical guitarHidden categories: Articles to be expanded since January 2007 | All articles to be expanded | All articles with no source statements | Articles with statements without power May 2009

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