Classical guitar technique

General				requires preparation - placing the nail (and finger) on
Classical guitar technique can be organized broadly				the string, and then following through in a controlled
into subsections for the right hand, the left hand, and				manner. This angle creates a warmer tone, but
miscellaneous. In guitar performance elements such as				because the string glides over more of the nail, this is
musical dynamic and tonal variation are mostly				not good for fast repetitive plucking.
determined by the hand that physically produces the				Fast: More perpendicular angle (right-hand fingers)
sound. In other words, the hand that plucks the				For fast repetitive plucking, the vibrating string is
strings defines the musical expression. Historically this				immediately plucked again with the nail: an impulse is
role has been assigned to the dominant hand which,				shot into the string so that it maintains its motion -
for the majority of players, is the right hand. Similar				there is no time for "preparation".
reasoning is behind string players using the right hand				At high speeds it is not easily possible to produce a
for controlling the bow. In the following discussion the				strong clear tone, if the fingers are angled too far to
role of the hands should be reversed when				the left, since there is no time for "preparation":
considering left-handed players.				"preparation" is the placing of the left side of the nail
An introductory overview of classical guitar technique				(and often also finger) on the string.
is given in the article Classical guitar (Section:				The faster the plucking, the more a gliding over the
Performance).				nail (more parallel) delays the sound.
For items such as accessories and construction, see				Thus for fast plucking the guitarist may choose to
the Classical guitar portal.				hold the right-hand fingers at a more perpendicular
Posture				angle to the strings (though the fingers might still
The classical guitar is generally held on the left leg				point slightly to the left) and strike them more with
which is supported by a foot stool or the guitar is				the tip of the nail.
raised by some other device to bring it to a position				The above discussion was mainly focused on the
central to the player's body. Basic considerations in				angle as a dependency on the speed of plucking.
determining a chosen playing position include:the				Even more important is the dependency of the angle
physical stability of the instrumentensuring the				on the tone. As usual there is always some sort of
freedom of both hands such that they have				trade-off involved and the ultimate details depend on
thorough access to the instrument and can meet all				each individual guitarist separately, as well as the
technical demands without having to support the				players fingers/nails.
instrumentelimination of general muscular tension in				Consequences on practising speed build-up
the assumed body position				When practising at slow speeds, the hand position
Guitaristic Technique and Freedom				and stroke used should ideally be the same as the
Since it is the thumb and fingers that pluck the string				one for the fast tempo.
and every person has different fingers, there are				Usually the hand might be in different positions for
great differences in playing between guitarists, who				fast and slow playing. More importantly a different
often spend a lot of time finding their own way of				stroke may be intuitively used for slower playing (i.e.
playing that suits them best in terms of specific				stroke with preparation) than for faster playing
objectives: tone-production ("beauty"/quality of				(stroke without preparation). This means that when
tone), minimum noise (e.g. clicking), large dynamic				building up accuracy and evenness by practising
range (from soft to controlled loud), minimum				pluckings (such as tremolo) at slow speeds, the hand
(muscle) effort, fast "motion-recovery" (fast plucking				position and stroke used during this slow practice
when desired), and healthy movement in fingers,				should be identical to the hand position and stroke
wrist, hand and arm.				that will be used when the pluckings are performed
There is not one definite way of reaching these				up to speed.
goals (there is not a single definite optimal guitar				This means that slow tremolo practice (for example)
technique): rather there are different ways of				requires the practising of "stroke without
reaching these goals, due to differences in the hands				preparation"! This may be difficult since most
and fingers (including nails) of guitarists.				guitarists intuitively choose a stroke with (at least) a
When guitarists are performing music (while playing),				bit of preparation during slower playing. However in
they continually search (by actively moving/changing				this respect, the practice-method of playing with
their plucking hand, fingers) for a good sound in				short speed bursts in-between slow practice, can
terms of tone/timbre, to enhance the musical				prove useful, by reminding the guitarist of the correct
interpretation.				hand position and stroke (without preparation).
Most guitarists focus their eyes on the left hand,				On the other hand, tremolo (etc.) should not be
since it is often difficult to place the left hand fingers				exclusively practised with "speed-stroke", but also at
on the correct fret and string. But, ironically, in terms				slower speeds with a normal "stroke with
of producing the note, it is the right hand that is				preparation": the reason is that this normal stroke
more important; it is perhaps sometimes given too				aids the guitarist in getting a better intrinsic feeling for
little consideration.[citation needed]				the location of the strings.
Right hand technique				Right hand wrist/hand position
The thumb and three largest fingers of the right				There is a lot of freedom in the positioning of the
hand pluck the strings. The normal position is for the				right hand, which affects the angle at which the
hand to be shaped as if it were loosely holding an				fingers will attack the string. Guitarists spend a lot of
apple with the wrist slightly bent, the forearm resting				time finding their own individual positions (could be
on the upper large bout of the guitar, and the fingers				more than one) that allow the fingers/nails to pluck
near the strings.				the strings witha beautiful tone (possibly variations of
The thumb is held at the side of the other fingers, so				tone with different positions)a minimum of noisea
that it can work independently of them. The height				healthy position (without strain)
of the wrist and hand depends on thumb: It is such				The hand's position is influenced by the arm:changing
that the fingers can comfortably move - the wrist is				where the right arm rests on the guitar (either more
normally not too low, but bent.				to the left or more to the right)changing what part
Plucking the strings usually involves making contact				of the right arm rests on the guitar (either)
first with the (usually lefthand side) fleshy part of the				The hand can be varied in the following ways:the
fingertip (and often also left part of the nail, or only				height (bending) of the wristbending of hand to the
the left part of the nail given very long nails) and				left or right from the wrist (this is usually considered
then letting the string glide smoothly along the				a strain, and today many guitarist hold the hand
curvature of the fingernail until the string is released				relatively straight compared to the arm. This usually
at the fingernails tip: the string is plucked. The two				implies that the fingers point to the left of the string
primary plucking techniques are:				and brings an added advantage of a beautiful tone,
Rest-stroke (apoyando), in which the finger that				by facilitating a smooth gliding of the string along the
plucks the string rests on the immediate upper string				curvature of the nail)the rotation of the hand (it can
afterwards; and				be rolled to the left or to the right. Often guitarist
Free-stroke (tirando), in which the finger hits nothing				might occasionally roll the hand slightly to the right -
after plucking the string.				opening up the hand and changing the angle of
Rest-stroke produces a more "deliberate" sound and				plucking; whilst others might generally use an open
may be used for bringing the melody out in music				position with the hand rolled slightly to the right)
where the harmony competes for attention.				Nails
Free-stroke sounds "lighter" and makes it possible to				Modern practice generally makes use of the nails of
play fast passages more easily, though some				the right hand in combination with the flesh of the
guitarists (esp. with long nails) use the free-stroke				fingertips in order to pluck the strings. During the 19th
exclusively and are able to produce a strong sound				century many players, including celebrated guitarists
with it.				such as Fernando Sor, Francisco Trrega and his pupil
Some guitarists with rather long nails avoid the				Emilio Pujol played using the flesh of the fingertip, in
rest-stroke altogether; others commonly avoid it				common with lute technique.
when they feel they have more control over the				Strumming
free-stroke. The free-stroke is the more natural				Rasgueado See main article Rasgueado. Rasgueado
stroke, since it can always be used. When two				or rasgueo is a technical strum in flamenco and
neighbouring strings are to be plucked simultaneously,				classical guitar that includes the use of the back of
the rest-stroke cannot be used. Also, arpeggios are				the fingernails in sequence to give the impression of
usually played free-stroke, except possibly for the				a very rapid strum. There are several types of
thumb or if appropriate (effective and possible due				rasgueado that employ differing combinations of
to nail-length / hand position) the annular finger if it				fingers and thumb allowing for a variety of rhythmical
plucks a melodic line. In the free-stroke, a finger's				accentuations and subdivisions of the beat.
motion is not brought to an abrupt stop on the				Use the palm-side of the thumb joint to lightly strum
following string, as is the case in the rest-stroke.				strings, producing a soft, low sound.
Guitarists that use both free-stroke and rest-stroke				Use the thumb nail to produce a bright sound.
require nails of the correct length: if the nails are too				A simple combination of both fingers and thumb, the
long, a well-sounding rest-stroke is no longer possible.				thumb striking the lowest strings and fingers picking
Many guitarists who prefer using quite long nails do				the upper notes of the chord from lowest to highest
not use the rest-stroke.				strings in rapid succession.
An important factor for a well sounding stroke is the				External links
angle that the overstretched finger would make with				"Rest Stroke and Free Stroke Revisited" by Ricardo
the strings. This angle is usually not held at right				Iznaola, in PDF or HTML
angles to strings, but at a more natural angle, where				Left hand technique
the outstretched fingers would point slightly to the				While the right hand is responsible for the sound of
left: this has the benefit of a warmer tone and less				the guitar, the left hand performs two functions:
noise due to nail-contact, since the string can glide				pressing on the strings (to shorten their effective
over the rounded nail, rather than being hooked				length and change the pitch) and articulation, i.e.
caught by it.				slurring (commonly known as 'hammer-ons' and
Holding the fingers and hand perpendicular to the				'pull-offs') and vibrato. In musical notation, the left
strings may cause difficulties, since the string is				hand fingers are referred to as 1, 2, 3, and 4
aligned with the groove between fingertip and nail:				(starting with index).
this may cause clicking noises or double-sounds				The basic position for the left hand is much the same
(fingertip sound, then nail sound). By holding the				as that of the right, except upside down. Unlike many
fingers and hand to the left (as opposed to				players of steel-string and electric guitars, which have
perpendicular), it is impossible for the string to land in				a narrower neck and fingerboard (with fourteen frets
the groove, since the left side of the nail will touch				clear of the body vs. twelve frets on the classical),
the string first (often together with the tip of the				the classical guitarist does not place their left hand
finger; possibly aiding an additional minimization of				thumb over the top of the neck. Instead, they place
clicking noise). The nail will be at an angle to the string				it behind the neck, usually behind the second finger.
and the string may glide smoothly over the nail's left				The thumb then rolls back so that the thumb plays
side until it is released.				'off the bone'. The bone of the thumb 'hangs' off a
One of the tenets of right hand technique in scale				shoulder that is carved into the back of the neck of
passages is alternation. That is, no right hand finger				the guitar and, eventually, a hard, dry callus forms on
should be used to play two notes in a row (excluding				the thumb, allowing the left hand to shift without
the thumb, which is often called upon to play a				sticking to the guitar.
sequence of bass notes). Typically, for scale-like				By keeping the thumb behind the second finger and
passages the index and middle fingers alternate.				playing off the front of the third finger, the classical
When an arpeggiated harmony is being played with				guitarist sets the left hand shape.
the thumb (p), index (i) and middle (m) fingers, the				Playing with the left hand more or less parallel to the
ring finger (a) may play a melody above the				neck requires a certain amount of stretching
harmony. In the tremolo technique the thumb plays a				between the fingers. There is a tendency, especially
bass note followed by the fingers which play the				when one first begins guitar, to collapse the first and
same treble note three times: pami, pami, pami etc				second fingers together to press on the string. For
(Recuerdos de la Alhambra by Francisco Trrega is a				example, in playing the F on the first string, first fret
famous example of this technique).				(often the second note ever fingered after open E,
The position of the right hand can be used to				first-string) there is a tendency to put the second
influence the tone of the sound produced by a				finger on top of the first to hold the note. Holding a
classical guitar. The wealth of sonic possibilities				note with two fingers, 1 & 2, however, puts the
enables performers to add contrast and color to their				reach between the fingers between the second and
performances well beyond the simple volume				third, the hardest reach. The easiest reach is actually
changes available to, say, pianists. When the strings				between the third and fourth (pinky) fingers. The
are plucked close to the bridge the position is called				next easiest between the first and second and the
sul ponticello and the notes sound "twangy" and				hardest between the middle fingers, between 2
"nasal". When the strings are plucked over the				& 3. Therefore, in order to put all the fingers on
fingerboard of the guitar the position is termed sul				the strings (one finger per fret), the reach would
tasto and the tone becomes fuller and "sweet"				best go between 1 & 2 and 3 & 4. Care
(termed dolce in Italian, see List of musical				should be taken to unlock 1 & 2. One way train
terminology page). The angle at which the fingers hit				the hand to unlock 1 & 2 is to place a pencil
the strings can also affect the timbre of the sound.				between 1 & 2 with the other end behind the
The term pizzicato simply refers to plucking the				thumb while playing.
strings in music for bowed instruments. In classical				The classical guitarist has a different set of left hand
guitar however, it refers to placing the side of the				calluses on their fingertips than the steel-string player.
hand below the little finger across all of the strings				In the steel-string, played with the guitar under the
very close to the bridge and then plucking the strings				arm and on the right hip (called 'playing off the hip'),
with the fingers. This produces a muted sound and is				the left hand fingers of the steel string guitarist play
referred to as palm-muting in electric guitar parlance.				on the diagonal, or 'for the reach', and the fingertip
Tambour is the technique where many or all of the				lands on the pad of the finger, forming a callus on
strings are played at once by hitting them (usually				the pad. The classical guitarist has a different set of
near the bridge) with the side of the (outstretched)				left hand calluses as the hand of the classical player
thumb. Both tambor and pizzicato can be heard in				falls more parallel to the neck and they play on the
Aconquija by Barrios.				"front" (nail side) of the fingertip. As a general rule, in
The right hand fingers are used to stop notes from				classical, if the player concentrates on playing on the
ringing past their duration as indicated by the music.				front of the third (or ring) finger, the other fingers
This is more often an issue with open string bass				will follow.
notes which tend to ring on for some time. To stop				To play a note clearly, the fingertips of the left hand
the notes the right hand thumb (usually) rests on the				should be pressed against the string just behind the
ringing string to stop it. This can pose a significant				appropriate fret. Allowing the left shoulder to relax
challenge to the guitarist as he or she needs to				lets the highest finger in the chord or scale slide
attend to each bass note twice, once to start it and				against and rest on the fret, giving the best soundnd
once to stop it. The same technique can be used to				the easiest reach with other fingers. The fingers are,
create a staccato effect.				thereby, placed closest to the frets.
Trills are usually played on one string using various				Often the index finger is required to play more than
combinations of left hand slurs, also known as				one string, called the "barre" technique. The guitarist
legados or hammer-on and pull-offs. Cross-string trills				places the index finger across some or all of the
utilising two or three strings are also possible. In this				strings at a particular fret and uses the remaining
case the trill usually takes the form of low-high-low				three fingers to play other notes. Rather putting
and can be executed thus: The left hand stops, say				down the barre first, it is often easier to place the
the D# on the fourth fret of the second string, the				fingers and add the barre last, according to which
right hand middle finger plays that note then the				notes are needed first.
index finger "strums" the first and second strings				When playing notes above the twelfth fret, called
producing: D#-E-D#. The difference between a				"on the body", the left shoulder is dropped and the
cross-string trill and an ordinary trill is that the				thumb stays behind, on the neck (as opposed to
cross-string trill allows both notes to sound against				cello technique where the thumb jumps on top of
each other. This technique is often used in Baroque				the fingerboard).
music although it is debatable as to whether it was				It is possible to play the same note on different
the most common practice of the period.				strings, called "registration" or "registering". For
There may be different hand positions depending on				example, the note "e", first string open, maybe be
the motion of fingers/hand/arm and effect that is				played, or "registered" on any string.
aimed at. Standard positions might include the				The guitarist often has choices of where to 'register'
following (or variations thereof):				notes on the guitar based on:
"arpeggio position", with the thumb playing bass				Ease of fingering. Beginners learn the open, first
strings and the index, middle and annular finger				position before anything else and might be more
plucking a pattern on 3 upper strings respectively.				comfortable registering notes on open strings in the
Scale playing: Usually an alteration of the index and				first position. Advanced players might find solutions in
middle finger; however other alterations using the				higher positions based on musical expression or using
annular finger (or even an alterations with the thumb)				a shift on a string as a guide.
are common as well				Playing "on the string" -- Keeping a melody or musical
Factors that influence the choice might be the speed				line on one string for continuity of tone or expression.
of the scale and the progression of the melody over				The advent of nylon strings. Historically, the early
strings, e.g. a scale usually starts on one string and is				guitar (pre-WW II) was strung with cat-gut rather
then continued on another.				than the nylon to which we have become
On the other hand, during slower movements				accustomed. Earlier editions often kept the melody
(especially of contrapuntal music) guitarists				on the second string because 1) the second string
occasionally do not alternate the fingers strictly, if this				had a beautiful, romantic sound in the higher positions
facilitates the interpretation through tonal similarity:				that was appropriate to the style of the times and
An example of this might be when the index finger				2) the first string had a 'thin' sound and unreliable
(possibly the thumb) is used to play one melody-line				intonation. With the advent of nylon strings,
on the 3rd string while the annular finger might be				position-playing (playing in a block-style) became more
used for a melody one the first string. However the				in-vogue. Further. refinements in the manufacture of
melody lines very often move over various strings so				strings and innovations in modern guitar design
that many adaptations and a flexible approach is				continue to bring this issue into focus.
needed. Moreover, there is no common rule or				For reasons of counterpoint: allowing a voice on one
guideline - there is no predefined guitaristic technique:				string to vibrate for its duration while playing a
a guitarist will experiment and use the pattern of				moving voice on another string.
finger pluckings that personally suit the player best.				Slurs
It is important to note that not only the fingers are				Slurs, trills and other ornaments are often played
involved in the plucking of the string, but the hand is				entirely with the left hand. For example; in a simple
also held comfortably loose and may move slightly as				case of an ascending semitone slur (Hammer-on), a
well - even the arm is involved. For example when				note stopped by the first finger of the left hand at
playing scales (usually with alternating fingers, e.g.				the fifth fret is first played in normal manner, then,
index, middle, index, middle, ...) and moving from the				without the right hand doing anything further, the
top strings down, or the bottom strings up, the hand				second finger of the left-hand is placed straight down
moves up and down as well in order to adjust the				at the sixth fret on the same string, using its
placement of the fingers to be at an optimum.				momentum to raise the tone of the still-ringing string
Main stroke types				by a semitone. A descending slur (Pull-off) is simply
There are two main ways a string can be plucked				the opposite of the above, the slur begins on the
with the finger:with preparationwithout preparation				higher note and it is common that the finger pressing
("in full flight", "speed-stroke") e.g. tremolo				the higher note actively plucks the string as it lifts,
This separation is distinct from the so-called				causing the string to vibrate from the fret that the
rest-stroke and free-stroke: both the rest-stroke and				lower finger is depressing. The lower finger is usually
free-stroke can be used with preparation and				in position and pressing before the procedure begins.
without.				Three specific descending slurs exist, (1) the active
Stroke with Preparation				finger lifts directly up and off the string, (2) the
"Preparation" (known as planting) is the placing of the				active finger rests against the adjacent string
(usually lefthand side) fleshy part of the finger (and				immediately after, and (3) a hybrid of these two in
often also left part of the nail, or only the left part				which the finger bumps the adjacent string before
of the nail given very long nails) on the string, before				lifting off.
a plucking motion is made.				If these procedures are repeated a few times the
This is the standard way of plucking a string and				result is known as a trill. Because the note is being
used in most "slow to moderately fast"				plucked repeatedly it is possible to continue a trill
pluck-progressions: Before plucking, usually both the				indefinitely. Occasionally, the upper note in such a trill
left side of the nail and the finger touch the string;				is played by alternating fingers thus: 2-1-3-1-, etc.
this enables the finger (and hand) to rest on the				Vibrato
string in a balanced way. When the plucking motion is				The classical guitar Vibrato is executed by rocking
made, only the nail-contact remains: The curvature of				the tip of the left hand finger(s) back and forth
the nail (starting from its left side) allows the string				horizontally within the same fret space (i.e. along the
to be pulled back while the string slides towards the				string axis, and not across it as for a vertical "bend"
tip of the nail where it is released. This occurs so				in rock or blues music) producing a subtle variation in
quickly that the gliding of the string over the fingernail				pitch, both sharper and flatter than the starting note,
is not perceived (but: a smoothly filed nail is				without noticeably altering the fundamental tonal
necessary and the position of the hand need to be				focus of the note being played. When vibrato is
adjusted if plucking metal wound strings using				required at the first or second fret it is sometimes
anything but the thumb, or else, the angle of attack				beneficial to push the string across its axis as it
will cause a very distasteful grating noise, unless of				produces a more noticeable vibrato sound there. This
course, this is the desired effect).				second method will only vary the pitch by raising it
The act of planting is quickly followed by the plucking				sharper than the starting note which is the most
of the string, so that this stroke can be used (is				common method of vibrato used by steel string and
usually used) without a break in sound becoming				electric guitar players.
noticeable. For practice purposes, the playing of				Harmonics
staccato (on a single string) can be used to				Natural harmonics can be played by touching a left
accentuate the "preparation": here the finger is placed				hand finger upon specific points along an open string
on the vibrating string to stop its sound, and only				without pressing it down, then playing the note with
after a delay this finger plucks the string. (Finger				the right hand. The positions of both the left and
alteration is usually used: i, m ; or different patterns )				right hand are important. The left hand must be
Planting is essential for guitarists to get an intrinsic				placed at a nodal point along the string. Nodal points
feeling for the location and position of the strings,				are found at integral divisions of the string length.
although some teachers advocate the opposite.				The simplest example would be when the left hand
Stroke without Preparation ("fast repetitive plucking",				finger divides the string in two and is placed at the
"speed-stroke")				twelfth fret. The note then played is one octave
The "stroke without preparation" occurs in fast note				higher than the open string. If the string is divided in
progressions, e.g. in tremolo. Here the nail plucks the				three (left hand finger near the seventh fret) the
string without any preparation: an impulse is shot into				note played is one octave and one fifth above the
the string: there is no time for "preparation". Most				open string. The player must be careful not to pluck
often this occurs when a finger/nail re-plucks an				the string at another node (nearer the bridge)
already vibrating string so that it maintains its motion,				otherwise the harmonic will not sound. This can be
e.g. tremolo: this is where fingers strike the same				easily demonstrated by resting a left hand finger on
note on the same string in rapid progression. On the				the fifth fret and trying to play the note by plucking
other hand this "stroke without preparation" is also				the string at the twelfth fret with the right hand - no
used in fast scales. Fast scales have the additional				note will be produced. Ideally the right hand should
complication of requiring the coordination of the left				pluck the string at an antinode.
hand (placing fingers on the correct fret) with the				Artificial harmonics are played by stopping the string
plucking tone-production of the right hand.				as usual with the left hand then resting (not pressing)
Comparison				the index finger of the right hand on the string at a
It must be mentioned that this split into two				nodal position (commonly 5, 7, 9, or 12 frets above
plucking-groups is not strict. Every variation exists				the left hand finger) and plucking the string with the
between a full preparation before the plucking, and				ring finger or thumb of the right hand.
an immediate pluck without preparation. A guitarist will				Left hand positions
individually choose which stroke to use, depending on				In common with other classical stringed instruments,
personal choice and the effect that is to be				classical guitar playing and notation use formal
produced. Most guitarists make this choice intuitively				positions of the left hand. The 'nth position' means
and vary and adjust strokes when playing; but for				that the hand is positioned with the first finger over
pedagogical/analysis purposes the distinction may be				the nth fret.
important.				Fretboard Knowledge
Guitarists often intuitively use a combination of				EDCAGE
"stroke with preparation" and "speed-stroke" (without				External links
preparation) when playing arpeggio patterns: Usually				Left-Hand Trouble Shooting by Peter Kun Frary,
the pattern of finger pluckings is such that it begins				Professor of Music University of Hawaii, Leeward.
with the fingers resting on the strings as follows -				The Classical Guitar Express Free newsletter on
thumb on a bass-string and index, middle, annular				practicing Classical Guitar by Tom Prisloe
finger each on one of the 3 treble strings				Studies
respectively. Then the arpeggio motion may be a				There are many exercises that can be used to
consecutive plucking of the strings, e.g. thumb, then				develop right and left hand technique on the classical
index, then middle, then annular - this means that one				guitar.
by one the fingers are removed from the strings on				Leo Brouwer
which they were resting (due to the plucking motion):				Etudes Simples - Volumes 1-4
The pluckings up to now, were then made "with				Matteo Carcassi
preparation", since the fingers were resting on the				25 Etudes Opus 60
strings. However often the arpeggio pattern then				Mauro Giuliani
continues with the middle, and index finger pluck the				Etudes Instructives Faciles Et Agreables, Opus 100
string - the complete pattern then is: pimami. This				Xviii Lecons Progressives, Opus 51 (18 Progressive
means that if the pattern is played very quickly, the				Lessons)
last m and i have to pluck their respective strings				Studio Per La Chitarra, Opus 1 (The Study Of The
"without preparation".				Guitar)
Of course it is actually possible to play the whole				Studi Dilettevoli, Opus 98 (Entertaining Studies)
pattern (pimami) "without preparation" - and it may				Esercizio Per La Chitarra, Opus 48 (Training for the
be didactically beneficial for guitarists to actively				Guitar) 24 Studies
experiment with these strokes (and practicing				Primi Lezioni Progressive, Opus 139 (First Progressive
variations), rather than just plucking the string in any				Lessons)
way.				120 Studies for Right Hand Development
This separation is distinct from the so-called				Fernando Sor
rest-stroke and free-stroke: both the rest-stroke and				12 Studies, Opus 6
free-stroke can be used with preparation and				Douze Etudes, Opus 29
without.				Vingt Quatre Leons, Opus 31
Consequences				Vingt Quatre Exercises, Opus 35
Angle of attack (the following discussion presents				Introduction a l' Etude de la Guitare, Opus 60
points that may differ from guitarist to guitarist. In				20 Studies for Guitar, (a compilation by Andres
any case the angle of the right hand's fingers (when				Segovia)
outstretched) to the strings is not varied greatly.)				Heitor Villa-Lobos
Slow: More parallel angle (right-hand fingers more to				Douze Etudes (1929)
the left)				Classical guitar playing Injuries
The hand is usually held at such an angle, that the				External links
outstretched fingers point slightly to the left (rather				Complete method for the guitar by Otto Feder
than perpendicular) to the strings. But this angle can				published by Ditson, 1858
be actively varied (albeit only slightly) and results in				The Humane Guitarist Site dedicated to the technique
different tones, but also has some consequences:				and health of the classical guitarist.
The more the fingers point to the left of the strings				Musicians and Injuries
(the more parallel they are to the strings), the longer				CREATIVE GUITAR - Classical Guitar resource
the fingernail is in contact with the strings, since the				website and blog.
string glides over more of the fingernail: This angle

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