ETUDE
April 1938
volume LVI
number 4
page 271, 275

Right Hand Technic for the Classic Guitar

By George C. Krick

ONE OF THE MOST important phases of guitar technic is the proper manner of attacking the strings. When we examine the works of the great masters of bygone days, most of whom were self-taught, it appears that they experimented for longer or shorter periods until they found the method most satisfactory to obtain their object – a clean cut, round, full tone. While there are some slight differences in their methods, results prove that a real artist instinctively finds the correct answer to his problems. The most commonly used system amongst the guitarists of an early period was based on using the thumb for the bass strings and the alternating first and second fingers to strike the treble strings. For rapid scale passages on the bass strings many used the alternating thumb and first finger. This is still used by a number of present day guitarists; and, when properly developed great speed can be obtained. The third finger was used principally for chords and arpeggios. The modern Spanish school makes use of the third finger more extensively and advocates that most of the scale passages be played with first and second fingers from lowest to highest including those on bass strings.

A subject that has caused considerable controversy amongst guitarists concerns the finger nails of the right hand. Should they be trimmed closely, so that they will not come in contact with the strings? Most of the classic guitarists, with few exceptions, kept the nails short and touched the strings with only the fleshy part of the finger tips

The so-called nail stroke was strongly advocated by Francisco Tarrega and is used almost exclusively by the modern guitarists of every country. In his later years Tarrega experimented, playing with his nails cut short; and Emilio Pujol, one of his pupils during this period, is one of the few adherents to this style of playing.

So that there may be no misunderstanding in connection with the “nail stroke,” let us state, right here, that it does not mean that the nails should be long enough to be used as a sort of plectrum. They should be filed and kept smooth and project only about one thirty-second of an inch beyond the fleshy part of the finger tips. One can readily see that, when striking the strings in this manner, the finger tip begins and the edge of the nail ends the stroke, giving the tone a certain amount of crispness and brightness impossible to procure with the fleshy part of finger tip alone. All those fortunate enough to hear Andres Segovia, have marveled at the beautiful, scintillating tone he gets from his instrument and the variety of color and other tonal effects resulting from his using this so-called “nail stroke.”

In the Manner of Tarrega

UP TO THE TIME of Francisco Tarrega the manner of striking the strings was to rest the thumb against one of the bass strings then to strike one of the treble strings with the first finger, drawing this finger slightly backward towards the palm of the hand. The Tarrega method is to force the finger across the string with a gliding downward movement towards the next string. By this method one is able to procure a strong round tone; and it is especially useful in slow or legato passages where it is desirable to have the melody stand out prominently above the accompaniment. It is obvious that this stroke cannot he used for chords, or arpeggios, or staccato passages.

The writer has met, personally, many of the foreign guitarists and prominent teachers in the European musical centers, he has heard them play and has been present during some of their practice hours. This, together with his many years of experience as concert guitarist and teacher, should suffice to enable him to make some additional suggestions to the young student of the guitar or to those players wishing to improve their technic. When selecting an instrument, see to it that it is made especially for gut and silk strings. The sound board is much thinner on this type of guitar, than on those constructed for wire strings. The guitar should be of fairly large size, strings adjusted close to fingerboard, evenly balanced as to treble and bass and responsive to the lightest touch of the fingers.

The playing position assumed by all the prominent artists is to sit on a chair of medium height, placing the left foot on a footstool six to seven inches in height, and resting the guitar on left thigh in almost vertical position, with neck of instrument slanting slightly upwards. Now hold neck in the crotch between thumb and first finger of left hand near first fret. The thumb should press against the neck on the side of the E bass string, and not project over and above the finger board. Place the right forearm lightly on top of the widest part of the guitar and let the hand hang in a relaxed position over the strings, the thumb near the center of the sound hole, with the first joint turned to the left. The right wrist should be slightly curved upwards and in this position place the thumb on the A string. Bend the fingers until they touch the treble strings, first for G, second for B and third for E. Hold the wrist well up, thereby keeping the fingers almost at right angles with the strings.

The Fingers Glide

PRACTICE WITH THE THUMB by gliding it across the A string until it touches the D, also gliding it across the E string until it touches the A string. This gliding stroke with the thumb produces the best tone and should be practiced with fingers resting on the treble strings and the hand kept steady. It is well to strike lightly at first and gradually to increase the force, avoiding all noises due to the pulling of the strings sideways. The best point of contact of thumb with strings is the fleshy part next to the left side of the thumb nail.

Practice with the first, second and third fingers should be begun by resting the thumb on one of the bass strings; the little finger should not he placed on the sound board, as this interferes with the action of the other fingers.

Having placed the finger nails in proper condition, practice the gliding stroke on the open strings at first, using the first finger for the G string, second for B and third for E. Glide first finger with an energetic movement over the G string towards the D string and repeat, using the second finger over B string towards the G string and third finger over E string towards B.

Use the same stroke by alternating first and second fingers on the same string and later practice all scales in the same manner. When this stroke is mastered begin again with the scales, using the orthodox manner of striking by letting the fingers turn towards the palm of the hand. Chords and arpeggios and other intricate movements can be done only with the stroke of this type. A common fault of many amateur guitarists is placing the fingers under the strings and pulling them upwards. When released the strings will snap back on to the fingerboard and create more noise than tone.

No matter what stroke is being used the hand should always be kept quiet and all action should come from the fingers which must be held closely together; the movement of each finger should be kept to a minimum, especially so in rapid passages.

QUESTION BOX

J. E. R., Washington, D. C.

The bass strings for classic guitar are made of silk wound with silver wire. The treble strings are made of gut and for these a good grade of first, second and third violin strings of medium thickness may be used. These gut strings must be true in their entire length on account of the fretted finger board. Some dealers carry a string made especially for the guitar. Try to obtain this, if possible. If you will send your name and address we will be pleased to give you the other information desired.