A Guide To The Fingering of Music For The Guitar

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SHERROD, RONALD JERONE
A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR
The University of Arizona A.MUS.D.
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A GUIDE TO THE FINGERING OF
MUSIC FOR THE GUITAR
by
Ronald Jerone Sherrod
A Dissertation Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements

For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
1 9 8 1
THE UNIVERSITY OF ARIZONA
GRADUATE COLLEGE
As members of the Final Examination Committee, we certify that we have read
the dissertation prepared by RONALD JERONE SHERROD
entitled A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR
and recommend that it be accepted as fulfilling the dissertation requirement
for the Degree of DOCTOR OF MUSICAL ARTS .
1Tj&A, pate '
J J,
/
yV>
Date ' '
j r- *? ^ 3 f¥ ^
Date
Date
Final approval and acceptance of this dissertation is contingent upon the

candidate's submission of the final copy of the dissertation to the Graduate
College.
I hereby certify that I have read this dissertation prepared under my

direction and recommend that it be accepted as fulfilling the dissertation
requirement.
Di.jpertation Director
^ n/n/fit
Date '
STATEMENT BY AUTHOR
This dissertation has been submitted in partial

fulfillment of requirements for an advanced degree at The
University of Arizona and is deposited in the University
Library to be made available to borrowers under rules of
the Library„
Brief quotations from this dissertation are allow

able without special permission, provided that accurate
acknowledgment of source is made„ Requests for permission
for extended quotation from or reproduction of this manu
script in whole or in part may be grated by the head of
the major department or the Dean of the Graduate College
when in his judgment the proposed use of the material is in
the interests of scholarship„ In all other instances, how
ever, permission must be obtained from the author.
SIGNED
ACKNOWLEDGMENT
My sincere appreciation is extended to Dr. John
Fitch of the University of Arizona School of Music for his
time, availability, and valuable assistance with this
dissertation.
iii
TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS vii
ABSTRACT xvi
1. INTRODUCTION 1
The Need for the Study 1

Fingering Defined 4
Purpose 6
Review of the Literature 11
Articles 13
Method Books 16
Books 17
Dissertations 20
Questions Arising from the Lack of
Literature 21
Musical Excerpts 25
2. NOTATION AND FUNDAMENTAL CONCEPTS 28
Letter Notation of Pitch 28

Left Hand Notation 28
Basic Left Hand Position 30
Name of Positions 32
Stretch and Squeeze Positions 36
The Bar 39
Hinge-Bar 41
Right Hand Notation 50
Basic Right Hand Position 52
Rest Stroke and Free Stroke 54
Summary 62
3. LEFT HAND FINGERING: MELODIES ON A

SINGLE STRING 64
General Considerations 64
Timbre 64
Guitaristic Effects 65
Technical Factors 71
Physical Factors 73
Specific Fingering Principles 76
Basic Position 76
Minimum Movement 81
iv
V
TABLE OF CONTENTS—Cont inued
Page
Finger Combinations 90
Summary of Fingering Principles 95
4. LEFT HAND FINGERING: MELODIES PLAYED

ON TWO OR MORE STRINGS 96
Timbre 96
Overlapping Sounds 97
Open Strings 99
Position Playing 102
Changing Position 105
Consecutive Notes on Different Strings . . 112
Open Strings 116
5. LEFT HAND FINGERING: HOMOPHONIC

AND CONTRAPUNTAL MUSIC

The Bar 120
Finger Preparation 125
Strong and Weak Finger
Combinations 127
Guide Fingers and Pivot
Fingers 130
Simultaneous Notes Behind
the Same Fret 136
Consecutive Notes on
Different Strings 137
Open Strings 140
6. RIGHT HAND FINGERING 142

Basic Position 142
Alternate Fingers 144
Combinations 153
vi
TABLE OF CONTENTS—Continued
Page
7. APPLICATIONS, EXCEPTIONS, AND SUGGESTIONS

FOR FUTURE RESEARCH 167
Application 167
Exceptions 170
Suggestions for Future Research ... 172
A SELECTED BIBLIOGRAPHY 174

LIST OF ILLUSTRATIONS
Figure Page
1. Letter Notation of Pitch 29
2. Left Hand Finger and String Designations .... 29
3. Application of Finger and String

designations to Music Notation 30
4., Le Roy, Branle de Bourgoine (Measures 1-4) ... 31
5. Basic Positions for the Left Hand 31
6. Coste, Study in A Major (Measures 9-12) .... 33
7. Paganini, Caprice, Op. 1, No. 21

(Measures 1-4) 34
8. Scarlatti, Sonata, L. 463 (Measures 1-5),

With Indications for Playing in Second
Position 35
9. Bach, Prelude for Lute, BWV 999

(Measures 3-6) 36
10. Tarrega, Study in E Major (Measures 9-12) ... 37
11. Beethoven, Variations on a Theme of

Paisiello (Measures 21-24) 38
12. A Chord Requiring the Use of Barring

Technique 39
13. Samples and Explanations of Bar Notation .... 40
14. Samples of Bar Notation Used in

This Dissertation 41
15. Corbetta, "Gavotte" from Suite in G Minor

(Measures 1-4) 42

(Measures 1-4) Using Bar Notation 43
vii
viii
LIST OF ILLUSTRATIONS—Continued
Figure Page

(Measures 1-4) Using Hinge-bar Notation . . . . 44
18. Cutting, Toy (Measures 1-4) 45
19. Carcassi, Study in A, Op. 60, No. 25

(Measures 1 and 2) 46
20. Albeniz, Asturias (Measures 7-10) 47
21. Giuliani, Sonate, Op. 15 (Measures 7 and 8) . . 48
22. Bach, "Der Lieben Sonnen Licht und

Pracht" (Measures 9-12) 48
23. "Der Lieben Sonnen Licht und Pracht"

(Measures 9-12) Using Bar Notation 49
24. "Der Lieben Sonnen Licht und Pracht"

(Measures 9-12) Using Hinge-Bar Notation ... 50
25. Letter Designations and Names of Right

Hand Fingers 50
26. Giuliani, Divertissments Pour La Guitarre

Op. 40, No. 4 (Measures 1-4). . 51
27. Carcassi, "Andantino" from Metado Per

Chitarra (Measures 1-4) . 52
28. Basic Right Hand Position 52
29. Tarrega, Prelude in A Minor (Measures 1-3) . . 53
30. Sor, Study in D, Op. 35, No. 17

31. Albeniz, Sevilla (Measures 77-80) To Be

Played With Rest Strokes 55
32. Sor, Study in A Minor, Op. 35, No. 3

(Measures 1-4) 56
33. Core Sound and Tonal Extremes as Suggested

by Charles Duncan 57
ix
Figure Page
34. Coste, Etude in E Minor (Measures 1-4) .... 59
35. Tarrega, Study in A Major (Measures 1-3) ... 60
36. Carcassi, Study in A Major, Op. 60,

No. 3 (Measures 1 and 2) 61
37. "El Noy de la Mare" (Measures 1-4) Played

on the First String 65
38. "El Noy de la Mare" (Measures 1-4) Played

on Strings One, Two, and Three 65
39. Ascending Ligado 66
40. Descending Ligado 67
41. Llobet, Scherzo-Vals (Measures 19 and 20) . . . 68
42. Arrastres (Ascending and Descending) 68
43. Portamenti (Ascending and Descending) 69
44. Tarrega, Pavana (Measures 1-4) 70
45. Robinson, Parajo Cantor (Measures 1-5) .... 71
46. Sor, Study in E Minor, Op. 60, No. 22

47. Sor, Variations on a Theme of Mozart

Op. 9 (Measures 1-4) 72
48. Dowland, Fantasia (Measures 1-4) 77
49. Albeniz, Sevilla (Measures 77-80) 78
50. Sagreras, El Colibri (Measures 9-13) 79
51. Logy, Capriccio (Measures 3-8) 80
52. "O Ewigkeit, Du Donnewort" (Measures 1-3)

Using Stretch Position 81
X
Figure Page
53. "O Ewigkeit, Du Donnewort" Measures 1-3)

Maintaining Basic Position 81
54. Guerau, El Invierno (Measures 1-4) Moving

to Eleventh Position 82
55. Guerau, El Invierno (Measures 1-4) Moving

to Ninth Position 83
56. Robinson, Prelude (Measures 1-4) 84
57. Carulli, Nocturne, Op. 90 (Measures 12-14)

Without Guide Fingers 85
58. Carulli, Nocturne, Op. 90 (Measures 12-14)

Utilizing a Guide Finger 85
59. Cutting, Fantasia (Measures 1-5) 86
60. Cutting, Fantasia (Measures 1-5) With

First Phrase Ending in Measure 2 87
61. Cutting, Fantasia (Measures 1-5) With

First Phrase Ending in Measure 3 88
62. Fingerings Corresponding to the Natural

Accents of the Music 89
63. "Viento de Primavera" (Measures 5-8) 90
64. Muscles Controlling the Fingers of the Hand . . 91
65. Extensor Tendons Controlling the Fingers ... 93
66. Phillips, Bon Jour Mo Cueur di Orlando

(Measures 11 and 12) Using Weak Fingers .... 94
67. Phillips, Bon Jour Mo Cuer di Orlando

(Measures 11 and 12) Using Strong Fingers ... 94
68. Paganini, Sonata No. 12, Op. 3, No. 6

69. Paganini, Sonata No. 12, Op. 3, No. 6

(Measures 1 and 2) Showing an Overlapping
of Sounds 98
xi
Fingers Page
70. Tarrega, Danza Mora (Measures 22-24)

Utilizing Open Strings 99
71. Tarrega, Danza Mora (Measures 22-24) Showing

Dampening of Open Strings 100
72. Tarrega, Danza Mora (Measures 22-24)

Fingered to Eliminate Open Strings 100
73. Purcell, "Minuet" from Suite No. 1 in G

(Measures 1-4) Utilizing Open Strings 101
74. Purcell, "Minuet" from Suite No. 1 in G

(Measures 1-4) Fingered to Eliminate
Open Strings 102
75. Carcassi, Study No. 18 from Melodic and

Progressive Studies, Op. 60 (Measures 1-4)
With Left Hand Movement 103
76. Carcassi, Study No. 18 from Melodic and

Progressive Studies. Op. 60 (Measures 1-4)
Without Left Hand Movement 103
77. G Major Scale as Played by Andres Segovia . . . 106
78. "Nieve Blanca de la Sierra" (Measures 1-4)

Employing a Simultaneous Change of String
and Position 107
79. "Nieve Blanca de la Sierra" (Measures 1-4)

Utilizing a Single String for the Change
of Position 108
80. Bach, "Fugue" from Sonata No. 1 in G Minor

for Unaccompanied Violin (Measures 93 and 94) . 109
81. Schentz, Etude Fur Violin (Measures 1-8)

Moving Away from the Final Goal of
Twelfth Position 110
82. Schentz, Etude Fur Violin (Measures 1-8)

Utilizing Direct Movement to the Final
Goal of Twelfth Position Ill
xii
Figure Page
83. Giuliani, La Tersicore del Nord. Op. 147,

No. 12 (Measures 9-12) Using the Same
Finger for the c#2 and in Measure 2 .... 113
84. Giuliani, La Tersicore del Nord, Op. 147,

No. 12 (Measures 9-12) Using the Hinge-
bar in Measure 2 114
85. Giuliani, La Tersicore del Nord. Op. 147,

No. 12 (Measures 9-12) Using Different
Fingers for the c^ and a^ in Measure 2 . . . . 114
86. "Suenos Tristes" (Measures 1 and 2) With

Awkward Fingering 115
87. "Suenos Tristes" (Measures 1 and 2)

Utilizing a Natural Position for the Hand . • • 116
88. Bach, Inventio VIII (Measures 1-4) With

Awkward Movement of the First Finger Between
Measures 3 and 4 117
89. Bach, Inventio VIII (Measures 1-4)

Utilizing an Open String 117
90. Carcassi, Study in A Major, Op. 60, No.

22 (Measures 1 and 2) 118
91. Sor, Study in A, Op. 6, No. 65 (Measures

5-9) Utilizing the Bar 122
92. Sor, Study in A, Op. 6, No. 6 (Measures 5-9)

Fingered to Eliminate the Use of the Bar . . . 122
93. Bach, "Bourrde" from the Lute Suite in E

Minor (Measures 13 and 14) Utilizing
the Bar 123
94. Bach, Bourr£e" from the Lute Suite in E

Minor (Measures 13 and 14) Fingered to
Eliminate Use of the Bar 123
95. Coste, Etude in A Major (Measures 1-4)

Utilizing the Bar 124
xiii
Figure Page
96. Coste, Etude in A Major (Measures 1-4)

Fingered to Eliminate Use of the Bar 125
97. Carulli, Country Dance (Measures 9-16) .... 126
98. Alb^niz, Asturias (Measures 31-37)

Utilizing Weak Fingers 128
99. Albeniz, Asturias (Measures 31-37)

Utilizing Strong Fingers 129
100. Sor, Study in C, Op. 6, No. 8 (Measures 1-5) . 130
101. Granados, Spanish Dance No. 5 (Measures

25-28) 131
102. Aguado, Estudio in A Minor (Measures 1-4)

Fingered Without Guide Fingers 132
103. Aguado, Estudio in A Minor (Measures 1-4)

Utilizing a Guide Finger for the Change of
Position 132
104. Logy, "Aria" from Partita in A Moll

(Measures 9-12) 133
105. Sor, Study in A Minor, Op. 35, No. 3

(Measures 1-4) 134
106. Sor, Study in B Minor, Op. 35, No. 22

(Measures 1-6) 135
107. Sor, Study in D Minor, Op. 31, No. 16

(Measures 1 and 2) Using an Awkward Fingering . 136
108. Sor, Study in D Minor, Op. 31, No. 16

(Measures 1 and 2) Using a Secure Fingering . . 137
109. "Spanish Romance" (Measures 1-4) With an

Awkward Fingering 138
110. "Spanish Romance" (Measures 1-4) With a

Secure Fingering 139
111. Llobet, El Mestre (Measures 1-6) 140

xiv
Figure Page
112. Carcassi, Study in C, Op. 60, No. 6

(Measures 1-3) 143
113. Carulli, Sonata in A Major (Measures 27-30)

Requiring Repetition of the i_ Finger 146
114. Carulli, Sonata in A Major (Measures 27-30)

Utilizing Alternation of i_ and m 147
115. de Visee, "Bourree" from the Suite in D Minor

(Measures 1-4) Requiring Excessive Repetition
of ^ and m 148
116. de Vis£e, "Bourree" from the Suite in D Minor

(Measures 1-4) Utilizing an Alternation of
Fingers 149
117. Sor, Study in A Major, Op. 31, No. 19

(Measures 40-42) Requiring p to Execute
Rapid Thirty-second Notes 150
118. Sor, Study in A Major, Op. 31, No. 19

Fingers on Rapid Notes 151
119. Aguado, Study in C (Measures 1-8) 152
120. Coste, Etude de Genre. Op. 36, No. 22

(Measure 1) Utilizing Weak Fingers 153
121. Coste, Etude de Genre, Op. 36, No. 22

(Measure 1) Utilizing Strong Fingers 154
122. Carcassi, Prelude in C (Measures 1 and 2) . . . 157
123. Aguado, Study in G Major (Measures 1 and 2) . . 157
124. Llobet, Estilo Popular Argentino No. 1

(Measures 18-20) 158
125. Sor, Study in D Major, Op. 35, No. 17

126. Tarrega, Lagrima (Measures 1 and 2) 160

XV
Figure Page
127. Zipoli, Fugue in A Minor (Measure 1)

Containing Awkward String Crossings 161
128. Zipoli, Fugue in A Minor (Measure 1)

Containing Secure String Crossings ....... 161
129. Mudarra, Fantasia (Measures 17-20) 162
130. Telemann, Concerto in A Ma.ior for Four

Violins (Measures 20 and 21) Containing
Awkward String Crossings 163
131. Telemann, Concerto in A Ma.ior for Four

Violins (Measures 20 and 21) Containing
Secure String Crossings 163
132. Call, Minuet (Measures 30-34) Containing

Awkward String Crossings in Measures 2 and 4 . . 164

Awkward String Crossing and Wide Reach
in Measures 1, 3, and 5 165

Secure Reaches and String Crossings 166
135. Sor, Study in B Minor, Op. 35, No. 22

(Measures 19-22) 170
136. Giuliani, Study in C Major (Measures 1-4) . . . 171

ABSTRACT
An important area of guitar education, whether in
a private studio or a public school classroom, is that of
guitar "fingering"—the exact, well-planned, and deliberate
designation of fingers to a musical passage. Knowledge,
understanding, and application of basic fingering princi
ples will aid students in such parameters as technical
proficiency, expression, phrasing, memorization, and per
formance security. This dissertation supplies the teacher
with a theoretical basis from which to present this impor
tant topic. The basis is built on two sets of principles:
(1) the physical properties of the guitar and its tone
production (guitar size, distance between the frets,
sustaining quality of the strings, and varying timbre of
the strings), and (2) the physiological structure of the
human hand and arm (length of the fingers, alignment of
hands with the strings, strong and weak finger combina
tions, changing positions, fatigue, and string crossing).
This study is divided into seven chapters. The
first serves as an overview of the currer.' status of
guitar education and provides an introduction to the topic
of fingering. Chapter 2 describes the notation used
throughout the document and defines such fundamental s as
xvi
the names of positions, stretch and squeeze positions, the
bar and hinge-bar, and rest and free strokes. Chapters
3, 4, 5, and 6 present information that constitutes the
main conclusions of this study. They deal with the left
hand fingering of melodies played on a single string, left
hand fingering of melodies played on two or more strings,
left hand fingering of homophonic and contrapuntal music,
and right hand fingering. Included in. these areas of
discussions are basic left and right hand positions,
minimum movement, pivot and guide fingers, position playing,
changing positions, strong and weak finger combinations,
and fingerings which compliment musical phrasing and
expression.
Chapter 7 summarizes the major concepts presented
in the dissertation, gives guidelines to teaching the
topic of guitar fingering, and supplies suggestions for
future research in this subject area.

CHAPTER 1
INTRODUCTION
The Need for the Study
In the elementary and secondary schools of the
United States guitar classes are rapidly becoming a regular
part of music programs. The reasons for this are two-fold.
First, the guitar is extremely popular among young people;
they readily identify with this instrument and are eager to
gain the ability to perform on it."'" Thus, the guitar
offers a reliable means of getting the students' attention
focused on music. Guitar study involves musical skills
that may be pursued and developed, and it provides a bridge
to all aspects of music—style, theory, and history„
Second, as a result of the concert performances of
great artists such as Andres Segovia, Julian Bream, and
John Williams, the guitar in the United States is consid
ered worthy of serious study. Guitar instruction has been
offered in colleges and universities since 1963, and guitar
is now accepted on a par with other solo and orchestral
1. Vahdah Bickford, "Guitar Forum," American

String Teacher (Winter, 1973), pp. 26 and 35.
1
2
2
instruments. This has opened the door to guitar programs
in lower grades and has allowed guitar classes to be formed
either as part of regular elementary, junior high, and
senior high school curriculums or as a supplementary part
of general music and fine arts classes„
Nevertheless, a perplexing discrepancy exists today
between the high interest in and enthusiasm for the instru
ment and the low quality of guitarists who complete public
school guitar programs. A primary reason for this discrep
ancy is the lack of trained teachers. A survey conducted
by the Guitar and Accessory Manufacturers Association of
America in cooperation with The American String Teachers
Association shows that in 1978 only 12% of all school guitar
classes were taught by individuals whose primary or second
ary instrument was the guitar. The remaining 88% were taught
by band directors, choir directors, and general music

3
teachers whose performance medium was not guitar. Often
such teachers, although well-qualified musically, are
acquainted with neither the mechanics and techniques of
the guitar and guitar playing nor guitar literature.
Again, the above-mentioned research shows that 66% of
2„ Thomas Hartman, "The Guitar: Then and Now,"

Perspectives in Music Education (Washington, D.C.: Music
Educators National Conference, 1966), p. 454.
3. Fact Sheet: Results of the 1978 GAMA/ASTA

School Guitar Survey, Guitar and Accessory Manufactor
Association of America, Chicago, Illinois.
3
American guitar teachers in the schools are self-taught.4
In reviewing this figure, Peter Miller of James Madison
University states, "It follows logically then that the

5
basic folk-style is the most common style taught." This
statement is supported by research which shows that clas
sical style and technique are taught in only 48% of the

g
schools offering guitar. This is unfortunate, as Clare
Callahan of the College Conservatory of the University of
Cincinnati states:
When a public school student signs up for

study on the violin, trumpet, piano or any other
instrument, he is taught basic technique, not
'pop' violin, 'western' trumpet, or 'folk' piano.
When he signs up for study on the guitar, what is
taught?
Basic guitar technique is rooted in classical

guitar technique. For some reason, this realization
can elicit a fear from teachers and students that
they will have to play the classics exclusively.
Classic technique is equated instantly with classical
repertoire and dismissed as too difficult or irrele
vant. This attitude is not found in the beginning
study of any other instrument, but on the guitar it
is allowed to prevail.^

School Guitar Survey, op cit.
5„ Peter Miller, "Promoting Quality Public School

Guitar Programs," (an unpublished paper presented to
American String Teachers Guitar Symposium) Lubbock, Texas
(October 1979), p. 2.

School Guitar Survey, op. cit.
7. Clare Callahan, "The School Guitar Class: A

Need for Redirection," The Instrumentalist (June, 1978),
p. 60.
4
Likewise, Peter Miller states, "We need to inform the
public and educators alike that the classical technique is

O
the foundation block on which all other forms evolve."
From the foregoing statements, it is clear that
there exists a need to improve the quality and change the
direction of guitar instruction in public school education.
This may be accomplished in part by production of adequate
classroom material and improvements in teacher training.
Efforts are being made in these areas. Worthwhile guitar
methods suitable for classroom use are beginning to appear;
more and more guitar ensemble music is available to the
teacher; and graded lists of classical solo literature are
being published. Workshops, methods classes, seminars, and
master classes are being conducted at national, regional,
and local levels. However, there exists a need to break
the elements of guitar playing into small, individual units
in order that the teacher be able to present them accu
rately and confidently to the students. The topic of
guitar fingering is one of these units.
Fingering Defined
"Fingering" in this study is defined as the exact,
well-planned, and deliberate designation of fingers to a
given musical passage. The teaching of this methodical and
8. Peter Miller, op. cit., p. 4.

5
meticulous choice of fingers is of utmost importance in
order that students become completely familiar with the
instrument, feel secure in a performance situation, and
present an authentic and artistic performance of the music.
This is verified by comments such as:
C. P. E„ Bach—
More is lost through poor fingering than can be

replaced by all conceivable artistry and good
taste. Facility itself hinges on it, for expe
rience will prove that an average performer with
well-trained fingers will best the greatest
musician who because of poor fingering is forced
to play against his better judgment,9
Carl Czerny—
You will already have remarked how necessary cor

rect fingering is in playing. A single ill-
chosen finger may often cause the complete fail
ure of a whole passage, or at least, make it sound
coarse, unequal and disagreeable.10
Carl Flesch—
The term 'fingering' may be defined as the choice

of the finger used to produce a certain tone . „ .
fingering represents a bridge, linking the per
sonal taste of the performer with the intentions
of the composer.H
9. C. P. E. Bach, Essay on the True Art of Playing

Keyboard Instruments, trans, and ed. by William Mitchell
(New York: Norton & Co., 1948), p. 41.
10. Carl Czerny, Letters to a Young Lady on the Art

of Playing the Pianoforte, trans, by J. A. Hamilton (Lon
don: R. Cocks & Co., 1842), p. 24.
11. Carl Flesch, Violin Fingering, ed. by Boris

Schwartz (New York: Da Capo Press, 1979), p. 5.
6
Richard Greene—
The way a passage of music is fingered and posi

tioned can greatly change the way it is perceived
by the listener. . . . Finding good fingerings
is as important as finding the right notes.
William Newman—
The choice of, and adherence to, a fingering on a
keyboard instrument can make or break a piece. It
can profoundly affect memorizing, stage poise,
technical mastery, speed of learning and general
security at the piano.13
David Oistrakh—
Fingering is one of the most important branches of

the violinist's art. The choice of the correct
fingering can simplify technical difficulties and
open up new artistic possibilities. . . .14
Franklin Taylor—
Among the essentials which contribute to the forma

tion of a good technique, none can be of greater
importance than a practical and systematic method
of fingering. °
Purpose
This dissertation presents a study of many consid
erations regarding guitar fingering in order to help guitar
12. Richard Greene, "Guitar Forum," American String

Teacher (Spring, 1979), p. 40.
13. William Newman, The Pianist's Problems (New

York: Harper & Row, 1950), pp. 75-76.
14. David Oistrakh, quoted in I. M. Yampolsky,

The Principles of Violin Fingering (London: Oxford Uni
versity Press, 1967), Preface.
15. Franklin Taylor, Technique and Expression in

Pianoforte Playing (London: Novello & Co., 1897), p. 27.
7
instructors at every level in their endeavors to teach stu
dents to play with security, a minimum of effort, and in a
legato style. Security and minimum effort are discussed
throughout this document; some comments on legato playing
are presented in the following paragraph.
The legato touch quality—the smooth, flowing con
nection of notes and phrases—is the one most often desired
in musical composition and performance. (Staccato and non-
legato touches usually constitute the elements of contrast
to the singing-like connection of notes.) With guitar, as
with other instruments, "The basic task of teaching tech-

16
nique to a beginner is teaching legato playing." As Pepe
Romero states, "... the ideal of modern guitar playing is

17
to . . . carry a beautiful legato line,," Execution of
the legato style is of equal value in the homophony of a
melody supported by accompaniment and the polyphony of
simultaneous melodies where the full independence of voices
can be realized only when each note is held for its entire
duration. But this style of musical expression is difficult
to teach on plucked instruments such as the guitar because
the sound begins to decay almost as soon as it is
16. Jozsef Gat, The Technique of Piano Playing

(London: Collet's Holding Ltd., 1965), p. 269.
17. Pepe Romero, quoted in Allan Kozinn, "Pepe

Romero," Guitar Player (January, 1981), p. 33.
8
produced.
18 It will be shown that the adherence to certain
fingering principles can enhance the teaching of legato
playing.
Due to the similarities of all guitars and the
structure of all human hands, a theoretical basis for guitar
fingering can be established to accomplish the stated objec
tive of this paper. This basis is founded upon the physical
properties of the instrument and its tone production (guitar
size, distance between frets, sustaining quality of the
strings, and varying timbre of the strings) and the physio
logical structure of the human hand (length of fingers,
alignment of hands with the strings, strong and weak finger
combinations, changing positions, fatigue, and string
crossing). Fingering principles will be drawn from this
theoretical foundation.
Such a statement of purpose presupposes that other
elements of guitar playing and musical expression will be
taught simultaneously with the topic of fingering„ Students
should be required to 1) practice music reading skills in
order that they be familiar with the notes throughout the
entire fingerboard and able to read homophonic and contra
puntal music, 2) refine technical skills in order to execute
18. George Sakellariou, in Ronald Sherrod, Guitar

Master Class (Melville, New York: Belwin Mills Publishing
Corp., 1980), p. 8.
9
the correct notes at the correct time, and 3) develop inter
pretive skills in order to express themselves musically.

The area of interpretive skills includes a study of
history, style, and performance practice. As Julien Musafia
points out, "The correct understanding of the musical objec
tive in a given passage will determine the correctness of

19
the fingering to be used." Thus, knowledge of fingering
principles (and knowledge of the results if the principles
are not adhered to) will allow the conscientious guitar
instructor to teach his/her students to select between
alternatives and arrive at the best solution for any given
passage according to the interpretive understanding of that
passage. Failure to bring students to this realization may
lead to undesirable results. Several points of attention
in this area are summarized as follows :
1. Many musicians blindly follow the fingering provided
in printed editions of compositions not realizing that this
reproduces the interpretations of the editor and demands the
editor's technique.^
2. Fingerings are often added to the music sine instru-
mentum: the fingerings look good on paper but have never
been tried on the instrument, or those that have been tried
19. Julien Musafia, The Art of Fingering at the

Piano (New York: MCA Music, 1971), p. 3.
20. Willian Newman, op. cit., p. 77.

10
may not have been done "up to tempo."
21 Likewise, a given
passage when repeated may be executed more efficiently if

22
fingered differently the second time. For example, a pas
sage may be written in such a manner that the fingers are
coming from a particular placement, but on a subsequent
appearance the same passage is approached from a different
placement. Thus, a different fingering may be required.
Also, a passage may be more effective musically if a change
in timbre occurs the second time the passage is heard* A
different position on the guitar, requiring a different

23
fingering, may accomplish this change. These alternate
fingerings are seldom notated in printed music.
3. The choice of fingerings depends on the performance
situation. For a player who performs in a large hall, the
room itself acts as part of the instrument in aiding legato

24
and covering slides, A musician (especially a guitarist)
performing in a smaller room has the advantage of a greater
use of dynamics and timbre. It should be noted from this—
reinforcing the statement in No. 1 above—that while most
students buy and study the music editions of players such
21. Ibid.
22. Carl Flesch, op. cit„, p. 285.
23. Ibid.
24. Warren Benfield, The Art of Double Bass Play

ing (Evanston, Illinois: Summy-Birchard Co., 1973), p. 36.
11
as Andres Segovia, Julian Bream, and John Williams, these
students do not perform in the same environment as these
masters. It is extremely important for students and their
teachers to realize this difference and adapt fingerings
appropriate to the individual situations.
As the principles presented in this writing are
applied to all types of guitar compositions, it will be
discovered that the same fingering principles used to pro
duce a legato style can be used in most situations to
execute all other styles of articulation. In playing the
guitar, the hands are held in close proximity to the strings
and can stop a string's vibration either by touching it or
releasing its tension. Thus, a note which can be held for
a long duration can be easily shortened, but the converse
is not true. A fingering that can produce only a staccato
touch, for example, cannot produce a legato touch.
Review of the Literature
An examination of writings regarding guitar finger
ing shows that a thorough and systematic study of the topic
has not been conducted. Guitarists before the twentieth
and late nineteenth centuries have made comments regarding
fingering. Many of the statements, such as those found in

25
Fernando Sor's Method for the Spanish Guitar, are
25. Fernando Sor, Method for the Spanish Guitar

trans, by A. Merrick (New York: Da Capo Press, 1971),
p. 48.
valuable; but discussions of fingering applied to the
contemporary classical guitar must express caution when
analyzing the works of guitarists before the establishment
of the Antonio Torres guitar as a model. With the adoption
of this instrument as a standard for size arid dimensions,
guitar technique and, consequently, fingering principles
changed. The changes in technique included the following:
1. A change in sitting position due to the instrument's
larger body size: "From his (Francisco Tarrega) time the
support of the instrument on the left leg became standard.
This playing position is in part a consequence of the larger

26
instrument initiated by Torres."
2. An abandonment of depressing strings with the left
hand thumb due to the wider fingerboard:
One aspect of technique advocated in a number of

tutors is the use of the left hand thumb to stop
down notes on the bottom string. This was made
possible by the narrower fingerboard of the early
nineteenth-century guitar; it would be an extremely
awkward movement on the larger fingerboard of the
modern instrument and is no longer employed.
3. The elimination of the practice of planting the lit
tle finger of the right hand on the face of the guitar due
to the raised fingerboard and the higher bridge and saddle:
Tarrega . . . established the use of the apoyando

stroke. To incorporate this into right hand tech
nique necessitates the abandonment of the practice
26. Harvey Turnbull, The Guitar from the Renais-

sance to the Present (New York: Charles Scribner's Sons,
1974), p. 106.
13
of supporting the hand by resting the little finger
on the table; in order to play either apoyando or
tirando with any of the fingers as the texture of
the music demands, the right hand must be poised
over the strings with complete freedom. A further
Torres' innovation may have contributed to this.
The fingerboards of the small nineteenth-century
guitars were either flush with the table . . . or
at most c. 2 mm„ deep; the fingerboards of modern
instruments are much deeper—6-7 mm. With the
modern bridge and saddle the height of the strings
above the table is raised, which makes the supported
position more awkward, particularly when complex
music is performed.2®
An overview of twentieth century writings which per
tain to the teaching of guitar fingering will be found in
the following paragraphs.
Articles
References to guitar fingering may be found in such
statements as, "Points to be stressed here are: . ..
Alternation of i [index finger] and m [middle finger] in the

29
right hand, no matter what the left hand is doing," "The
bass F sharp is muted and shortened to an eighth note to
finish the phrase and to permit an expressive left-hand

30
fingering of the next entry," and
28. Ibid., p. 106.
29. Robert Mayeur, "Classroom Guitar Forum," Sound

board (May, 1981), p. 98.
30. Charles Duncan, "The Segovia Sound: What Is

It?" Guitar Review (Fall, 1977), p. 30.
14
The difference between this scale . . . and those
in the older tuition manuals, is an important one.
The scales taught in the older manuals included
certain notes played on 'open strings,' where the
bone 'nut' acted instead of a finger. These scales
are 'fixed scales': they cannot be played anywhere
except in the 1st position because of the use of
the open strings. They must be learned, of course,
but they are useful only in 1st position. The scale
patterns I will set down for you do not use any open
strings. Each note must be fingered, it is there
fore possible to move the pattern to a different
part of the fingerboard without destroying its shape
or altering the pattern,31
Richard Greene, in "Guitar Forum" of American String Teacher,
offers several comments on guitar fingering such as:
„ . . in chording, sliding fingers can be of great

help as 'guide' fingers—anchoring the hand and
helping to set the position . . . avoid using the
same finger twice consecutively on different
strings. . . . Try to follow the natural align
ment of the fingers to strings when changing
strings [referring to the right h a n d ] . . . . Do
not use three fingers when two will do as well
[right hand].... at faster speeds or in more
complicated textures, repeating a finger will often
distort the tempo and cause tension (right hand.)
It is noted, however, that Mr. Greene does not elaborate on
how these principles were arrived at or why they are benefi
cial. Some comments by Mr. Greene which deal more with
technique and interpretation than with specific fingering
principles are valuable to an overall view of the topic and
guitar playing in general:
31. Terry Usher, "Scale Playing," Guitar Review

(Fall, 1955), p. 21.
32. Richard Greene, "Guitar Forum," American String

Teacher (Spring, 1979), p. 40.
15
Use all of your fingers. Do not shy away from using
the fourth finger. . . . Try to keep fingers in the
vicinity of their next uses ... be careful with
slides. In single lines, using the same finger on
two frets of the same string can be messy, noisy,
and uncontrolled. Slide only if there is no other
solution, or if the slide is interpretive. . . .
Finger 'backwards'. When planning a fingering, start
at the point where you want to end up, then work
backwards from there to see how to get there„ . . .
Use right hand patterns that are easily remembered. 3 3
Emilio Pujol, in the Guitar Review of 1954, provides
enlightening information regarding the rest (supported)

34
stroke as employed by Francisco Tarrega. Also included
are examples of right hand fingerings as employed by
Tarrega.3^ Also included are examples of right hand finger
ings as employed by Tarrega and the comment: "Tarrega . . .
never failed to specify the correct fingering for either
hand. Whether in dealing with the right hand or the left,
he always strove to establish a logical order of fingering
in accordance with the physiological possibilities of the

35
hand and the organic nature of the instrument."
33. Ibid.
34. Emilio Pujol. "The 'Supported' Stroke,"

Guitar Review, 1954, pp. 3-4.
35. Ibid.
16
Method Books
Method books commonly used in guitar education

36
which present the classical style based on the techniques

37
developed by Francisco T^rrega include the following:
Noad, Frederick. Solo Guitar Playing. New

York: Schirmer Books, 1976.
Parkening, Christopher. The Christopher

Parkening Guitar Method. Chicago: Sherry
Brener, 1973.
Pick, Richard. First Lessons for Classic

Guitar. Chicago: Forster Music Publisher,
Inc., 1971.
Pujol, Emilio. Escuela Razonada de la Guitarra,

vol. 1-4. Buenos Aires: Ricordi Americana,
1952, 1954, 1956.
Sagreras, Julio. Las Primeras Lecciones de

Guitarra. Translated by Bernard A. Moore.
Buenos Aires: Ricordi Americana, 1975.
Shearer, Aaron. Classic Guitar Technique,

vol. 1 & 2. Melville, New York: Franco
Colombo Publications, 1963 & 1964.
Each book discusses elements which apply directly or indi
rectly to guitar fingering. Included in this area are basic
left and right hand positions, position playing, rest stroke
and free stroke, alternation of right hand fingers, guide
and pivot fingers, ligados, arrastres, portamenti, and the
bar. The authors of these books indicate fingerings in the
36. "Curriculum in the Elementary, Junior High and

Secondary Schools." Panel Discussion, Jerry Snyder, moder
ator. National Guitar Convention, San Jose, California,
1973.
37. See "Musical Excerpts," p. 21.

17
music examples that" are congruous with the principles dis
cussed in this paper. They do not discuss fingering as an
isolated topic, however, and give very little rationale for
the fingerings they have marked onto the music.
Books
Two books, while not discussing fingering, give
information which pertains to all areas of guitar playing:
Duarte, John. The Bases of Classic Guitar

Technique. Borough Green, Great Britain:
Novello & Co., Ltd., 1975.,
Duncan, Charles. The Art of Classical Guitar

Playing. Princeton, New Jersey: Surnmy-
Birchard Music, 1980.
Numerous references to these books are made throughout this
dissertation.
The guitar teacher may gain substantial insights
into the values and principles of guitar fingering by read
ing works written on the topic of violin fingering. Both
the guitar and the violin are stringed instruments and both
are played with the same four fingers of the left hand.
Thus, both instruments will have in common certain physical
characteristics of a vibrating string, and the playing of
both is related by the physiological structures of the
fingers. Additionally, the two instruments employ music
written in the treble clef. A guitarist can easily read the
musical examples presented and grasp the points illustrated.
Two useful books which deal with violin fingering are:

18
Flesch, Carl. Violin Fingering. Translated
by Boris Schvvarz. London: Barrie &
Rockliff, 1966.
Yampolsky, I. M. The Principles of Violin

Fingering. Translated by Alan Lumsden.
London: Oxford University Press, 1967.
The material of special interest to the guitarist might
include discussions of anatomical peculiarities of the per
former in the build of the shoulder, hand and fingers, the
individual timbres of each string, the natural fall of the
fingers to the fingerboard, vertical and horizontal movement
of the hand in relation to the fingerboard; position play
ing; and fingering as applied to interpretation. The
following comments by Carl Flesch are typical of violin
writings relevant to guitar playing.
The fourth finger is recommended . . . because by

its use the change of strings is made to coincide
with a relatively strong accent. ... A leap is
less precarious if, as a result of a preceding short
note, a natural pause arises. . . [The] fingering
[in the excerpt] introduces a musically justified
portamento. . . . The use of the A-string forms a
welcome interruption, appropriately emphasizing the
subsequent crescendo on the D-string. When a
repeated musical phrase calls for increasing
intensity there is even greater justification for
a change of timbre.38
The thoughts on fingering piano music are of value
to the guitar teacher because on both the piano and guitar
the sound begins to decay soon after it is produced. The
players can neither increase the volume nor control the rate
38. Carl Flesch, op. cit., pp. 10, 140, 204, and
285.
19
of decrease in volume of a sustained pitch. Also, similari
ties between the physiological movements of the fingers on
both the piano and guitar and the psychological aspects of
fingering both instruments may be found.
One work which discusses musical, physiological,
and psychological factors pertaining to fingering at the
piano is The Art of Fingering at the Piano by Julien Musafia.
The book is based on the following statements which are given

39
as "explicative of the function of fingering." It may be
noted that these also relate to the function of guitar fin
gering.
1. The function of a good fingering is to secure

the maximum musical expression with a minimum
of effort.
2. Expression results from skillful manipulation

of note durations and intensities of the given
pitches.
30 Note durations are the components of rhythm

and tempo, legato and staccato„
4. Intensities—soft and loud playing, accents,

crescendo and descrescendo—are the main compo
nents of phrasing„
5. Effort in piano playing is both physical and

mental.
6. Minimum physical effort is that which results

from the least amount of motion and the least
amount of muscular strain.

20
7. Minimum mental effort, on the contrary, results
from a maximum of mental activity directed
towards the organization of all the elements 4Q
involved in performance into simple patterns.
Many references to Professor Musafia's work are made through
out this dissertation.
Dissertations
In recent years a number of dissertations have been
written on topics related to the guitar. It is noted that
these documents do not address the topic of guitar fingering
specifically, but they do give a vast amount of information
that may be of interest to the guitar teacher. In the field
of musicology, the following are available:
1. Sasser, William G. "The Guitar Works of Fernando

Sor." The University of North Carolina, 1980.
UM order no. 60-6995.
2. Hudson, Richard G. "The Development of Italian Key

board Variations on the 'Passacaglio' and 'Ciaccona"
from Guitar Music in the 17th Century." University
of California-Los Angeles [UCLA], 1967. UM order
71-16249.
3„ Heck, Thomas F. "The Birth of the Classic Guitar
and Its Cultivation in Vienna, Reflected in the
Career and Compositions of Mauro Giuliani (d.
1829)." Yale University, 1970. UM order no.
71-16249.
4, Pinnell, Richard, "The Role of Francesco Corbetta

(1615-1681) in the History of Music for the Baroque
Guitar. Including a Transcrintion of His Complete
Works." UCLA, 1976. UM order no. 77-1675.
5. Cox, Paul W. "The Evolution of Playing Techniques

of the Six-stringed Classic Guitar as Seen Through
Teaching Method Books from ca. 1780-ca. 1850."
Indiana University, 1978. UM order no. 7909683.
40. Ibid.
21
6. Pennington, Neil. "The Development of Baroque
Guitar Music in Spain, Including a Commentary on
and Transcription of Santiago de Murcia's
'Passacalles y Obras' (1732)." University of
Maryland, 1979. UM order no. 80-02075.
Of possible special interest to the educator is:
"The Development and Testing of a Guitar Method to Enable
Educators to Play and Teach the Guitar in the Schools" by
Roy E. Petschauer (University of Oregon, 1972, UM order no.
73-7943). As the abstract of this work states:
The purpose of this study was to plan, develop and

test a guitar method which would enable classroom
teachers and music specialists to incorporate the
guitar into the school music curricula with confi
dence and authority. Specifically, a method was
designed which presented the basic elements of guitar
technique to help the educator acquire the skills
and understandings needed to accompany class activi
ties and to instruct others in playing both folk-
style and classic-style guitar.
Questions Arising from the

Lack of Literature
Considering the lack of specific information on the
topic of guitar fingering two questions naturally arise:
"If principles of fingering do exist, why have they not been
discussed previously?" "If principles of fingering are used
by master guitarists, how did these guitarists learn them?"
Some responses to these questions are as follows:
1. As discussed previously, the placement of guitar
into academia is a rather recent event. A guitar division
of the American String Teachers Association was not

22
41
established until 1972. The Guitar Foundation of America
42
and its publication Soundboard began in 1973. Until these
channels of communication between guitarists were open, the
primary transmitter of guitar information was the Guitar
Review (first published in 1947); but it was directed, as a
survey of material in this publication shows, toward the
performer and historian. Thus, it might be concluded that
there has not been enough time for all issues of guitar
education to have been organized and expressed in formal
writings. Likewise, in terms of publications, the guitar
has become beneficial only recently to commercial enter
prise. "The Book-of-the-Month Club, which began by selling,
books, has turned to selling . . . guitar records. . . .
The Columbia Broadcasting System, in 1965, paid more money
to acquire a guitar-making firm than it had paid to buy

43
control of the New York Yankees. " This recent move of
the guitar into a position of commercial profit has placed
publication of guitar information behind that of other
instruments. The library of the University of Arizona,
Tucson, reflects this fact. The library has obtained 165
41. "ASTA Opens Ranks to Classic Guitar," The

School Musician (April, 1973), p. 52.
42. Date founded is printed on each issue of

Soundboard.
43. Fredrick Gruenfield, The Art and Times of

the Guitar (New York: Macmillan Publishing Co., Inc., 1969),
p. 2.
23
piano books and eighty-one violin books which contain texts
related to instruction, methods, performance, and interpre
tation. There are only twenty-four similar guitar books.
2. The placement of the guitar into a public school
situation often results in a non-guitarist teaching large

44
classes. The private studio, with a guitarist as teacher,
allows for fingering principles to be discussed in isolated
environments and with individual pieces. Also, the student
may learn as much through observing the teacher and listen-

45
ing to the teacher play as through verbal instruction.
There would seem to be little need for organizing large-
scale fingering principles in this situation and commiting
these principles to print. Only now that the instrument is
taught by non-guitarists to large groups of people does the
need arise to transmit large amounts of information to
teachers and students by verbal and written means.
3. Another question might be submitted in support of
the idea that basic fingering principles exist: "Is there
anything that master guitarists have in common?"
Christopher Berg states that, ". . . guitarists are aware
of the necessity of moving smoothly and accurately from one
44. Peter Miller, op. cit., p. 2.
45. Charles Duncan, The Art of Classical Guitar

Playing (Princeton, New Jersey: Summy-Birchard Music,
1980), p. 105.
24
46
string to another.'.' Lee Ryan submits, "At any given
moment, he (the master guitarist) is completely relaxing
those fingers which are not in use. He uses exactly the
energy needed to play well—no more, no less. He does more

47
with less. For him the music flows effortlessly." Thus,
it seems that at least three common qualities of fine gui
tarists are that they play smoothly, accurately, and effort
lessly. This dissertation will support the premise that
these qualities are only achieved by the application of
certain fingering principles. (Instead of the terms
"smoothly," "accurately," and "effortlessly" this paper will
use the phrases "in a legato style," "with security," and
"with the least amount of effort," respectively.) But did
master guitarists obtain these qualities by the conscious
application of fingering principles? Not necessarily. It
may have been that just as gravity was in effect long before
it was named and studied, so the use of fingering principles
was in effect long before they were identified. It will be
shown that performance security and musicality, learned by
the master guitarists through performing and listening,
demand the adherence to certain fingering principles. Thus,
46. Christopher Berg, quoted in Ronald Sherrod,

Guitar Master Class (New York: Belwin Mills Publishing
Corp., 1980), p. 43.
47. Lee Ryan, quoted in Ronald Sherrod, Guitar

Master Class (New York: Belwin Mills Publishing Corp.,
1980), p. 33.
25
all master guitarists use fingering principles in common
with other master guitarists.
Musical Excerpts
The musical examples presented in this paper are
drawn from elementary and intermediate guitar literature.
Some excerpts from such sources as vocal music, chorales,
and folk songs are used as illustrations because of their
ease in clarifying specific points.
The performance of the musical excerpts requires a
knowledge of basic guitar technique. This knowledge may be
acquired from the study of any of the guitar method books
described previously in "Review of the Literature." All of
these books follow the fundamental technical concepts (sit
ting position, left hand approach to the fingerboard, and
basic right hand approach to the strings) founded by
Francisco T&rrega. This master's influence on guitar playing
is discussed in an article by Theodorus Hofmeester, Jr. in

48
the Guitar Review of October, 1946. As Harvey Turnbull
states, "It was T^rrega who laid the foundations of modern

49
technique."
48. Theodorus Hofmeester, Jr., "Is There a School

of T£rrega?," Guitar Review (October, 1946), pp. 2-4.
49. Harvey Turnbull, op. cit., p. 106.

26
To some public school teachers, the excerpts pre
sented in this dissertation may seem too complex. However,
these teachers might consider the following:
1. By surveying the aforementioned method books, it
will be discovered that none of the musical examples in this
dissertation exceed the technical levels arrived at in these
manuals. As was indicated earlier, there exists a need to
change the direction of public school guitar education from
the most commonly taught folk style technique to classical
style technique. It is the desire of this writer that
guitar teachers seriously analyze their programs with the
following questions in mind: "Are adequate demands being
made of the students in order that they might reap every
possible benefit from the study of the instrument?" "Am I
qualified to teach guitar as I am other subjects?"
2. The words "elementary" and "intermediate" as used
above are congruous with Guitar Music Index, a graded list-

50
ing of music in print for classical guitar and lute.
Every musical passage drawn from guitar literature in this
dissertation is included in this index. At no time does an
example exceed the level of performance indicated as
"medium." Another indication of "intermediate" level may
be found in Charles Duncan's comments relating to
50. George Gilrnore and Mark Pereira, Guitar Music

Index (Honolulu, Hawaii: Galliard Press, Ltd., 1976).
27
Andres Segovia's arrangement of "Sarabande" from Partita
No. 1 for Unaccompanied Violin by J. S. Bach.51
3. In order to present the topic of guitar fingering, a
level of proficiency must be maintained in order that the
topic be thoroughly presented. For example, should the
topics of "rest stroke and free stroke," "changing posi
tions," "the use of the bar," or "playing contrapuntal
music" be left out of this writing because a certain number
of teachers have not had experience with them? This would
hardly be justifiable in a research document. Rather, it is
hoped that this work will encourage educators to explore
these areas if not already familiar with them. It should be
emphasized,.however, that the application of the considera
tions presented in this dissertation are not restricted to
the same technical level required to perform the musical
excerpts. The principles are equally valid for elementary
and advanced guitar performance and, as discussed in Chapter
7 of this document, should be presented at all levels of
guitar instruction.
51. Charles Duncan, "The Segovia Sound: What is

It?" Guitar Review (Fall, 1977), p. 30.
CHAPTER 2
NOTATION AND FUNDAMENTAL CONCEPTS
This chapter briefly outlines guitar notation and
presents technical elements which have a relationship to the
fingering of guitar music„ A thorough discussion of guitar
technique is not included, however, because such a discus
sion is beyond the scope of this dissertation topic. Method
books, such as those cited in "Review of the Literature" in
Chapter 1, may be consulted for that purpose and, unless
otherwise noted, constitute a primary source for the infor
mation contained herein.
Letter Notation of Pitch
When it is necessary to identify exact pitches
within text material, the designations of octave registers
as shown in Figure 1 will be used throughout this writing.
It is to be noted that the guitar sounds one octave lower
than written or stated.
Left Hand Notation
A number placed beside a note designates the left
hand finger to be used. A circled number or, less commonly,
a number in parenthesis near a note designates the string on
which the note is played. These notations are summarized in
Figure 2. This dissertation will utilize the circled number
28
29
Figure 1. Letter Notation of Pitch
0 or (1) = first string
1 = index finger <D or (2) = second string
2 = middle finger © or (3) = third string
3 = ring finger © or U) = fourth string
A = small finger © or (5) = fifth string
© or (6) = sixth string
Figure 2. Left Hand Finger and String Designations

30
to designate the string. Thus, there might be located near
a note an uncircled number and a circled number. In Figure
3 the 2nd finger of the left hand is used to depress the e^
on the third string.
Figure 3. Application of Finger and String

Designations to Music Notation
If several notes are to be played on the same
string, a circled number to indicate the string and a hori
zontal line to designate the notes to be played on that
string may be used. The notation used in an excerpt from
Branle de Bourgoine by Adrian Le Roy serves as an example

(Figure 4).
Basic Left Hand Position
Basic position for the left hand is a span of four
adjacent frets. As can be seen in Figure 5, if the 1st fin
ger is in the area behind the first fret, the 2nd finger is
held within the area behind the second fret, the 3rd finger
is held within the area behind the third fret, and the 4th
finger within the area behind the fourth fret. This

position is sometimes referred to by its Spanish name
31
Allegro U
(D i 0( D i©_
A 2 1
ii£i
(D—| Od>-
1 2 31 2 1
it
1 i + f
Figure 4. Le Roy, Branle de Bourgoine (Measures 1-4)
© ,
=d L_^_
-4•i
«
Figure 5. Basic Positions for the Left Hand

32
cu£druplo. There are many instances when, because of
countermelody, chords, phrasing, or expression, the basic
position cannot be maintained„ Also, because of the differ
ent distances between frets along the fingerboard (the frets
become closer together proceeding from the head of the guitar
toward the bridge), some variance from basic position may be
employed. But, as will be emphasized in Chapter 3, guitar
masters have adopted the four-fret position as the basis of
their technique and fingering.
Name of Positions
Positions are given names according to the location
of the 1st finger of the left hand. In basic position, if
the 1st finger is behind the first fret, the player is said
to be in "first" position. If the 1st finger is behind the
seventh fret, the player is said to be in "seventh" posi
tion „ The passage given in Figure 6, from Napoleon Coste's
Study in A Major, is played in ninth position. In Figure 7,
Caprice, Op. 1, No„ 21, by Niccolo Paganini, two positions
are used—the second and the fourth. The shift occurs
between beats three and four of measure two.
Some guitarists indicate the position used for play
ing a passage of music with Roman numerals, abbreviations
for the Spanish ordinal numbers, or abbreviations for c.u£-
druplo. An excerpt from a sonata, L. 463, by Dominico

33
Moderato
<2>
<D
Figure 6. Coste, Study in A Major (Measures 9-12)

34
Andante
® CD 1 (2)—i O 1 <3>—
| M u l r J-Jijlfj
Shift
r (3) , ® ,
I' 1 ' ^ 1 1L r r1
Figure 7. Paganini, Caprice, Op„ 1, No„ 21 (Measures 1-4).
Scarlatti illustrates these three methods (Figure 8). The
notations in Figure 8, even though they would allow the
guitarist to move to the correct position at a glance, have
not been widely adopted„ This is due possibly to the obser
vations that 1) the notation of string and finger as
discussed previously is sufficient to place the guitarist
in the desired position, 2) the notation might be confused

35
Tempo dl ballo
-4
3
0
—P
EI
m + H—i=J=i
-*—
=
=
m. —^L_
•}
IU
« 4
2a
<9
jr F f N= =&=:
i
L-U * —fj-
-f * *
• J
Cplo 2 i
^
n ¥" 9
Figure 8. Scarlatti, Sonata, L. 463 (Measures 1-5), With

Indications for Playing in Second Position
with notation for the bar discussed on the pages which
follow, 3) notation of the frequent position changes within
even a few measures of most guitar compositions would cause
the music paper to appear cluttered, and 4) the use of
notation to indicate position would necessitate the use of
another notation to indicate stretch and squeeze positions.
(Stretch and squeeze positions are discussed below.) Posi
tions will not be indicated in the guitar notation used in
this dissertation.
36
Stretch and Squeeze Positions
When the left hand fingers roust spread wider than
the four frets of basic position they are said to be in a
"stretch," "extended," or "expanded" position. This is
illustrated in a portion of the Prelude for Lute, BWV 999,
by Johann Sebastian Bach (Figure 9). Where the word
"stretch" first appears in measure three, the player must
place the first finger two frets behind the 2nd finger
instead of on the adjacent fret.
Presto
f#l r 4 . J J
- / .
1 .• V*
f 0— J— —J- j 4
4 #
—J-
—*— —j—
7
-If-.
J
—f
• 5 r H
!
stretch Stretch b 1iretch atr
k> 1
;:t
J1
. +\M - J
t u—ah
tI
«
» f LF
1
bf -
1 <s>—
Figure 9. Bach, Prelude for Lute, BWV 999 (Measures 3-6)

37
The opposite of the stretch position is "squeezing"
the fingers into less than four frets. This is commonly
called the squeeze or "compressed" position. The squeeze
position is shown in Study in E Major by T£rrega (Figure 10).
squeeze
Allegro
squeeze
squeeze
Figure 10. TSrrega, Study in E Major (Measures 9-12)
The measures given in Figure 11, from Variations on a Theme
of Paisiello by Ludwig van Beethoven, utilize the squeeze
position in measure two and the stretch position in measure
four.
38
Andantlno quasi allegretto
<2> ,© Q>~
b Ifu /
V
L
0 1 ft J
^ i; •u f
f
A J+ 11
•
squeeze
© • <3)
© © , ©•
1
i
© •
2
k a.
k
© © © ©
M •- . if V " 1r—*^ y "4a —
J- J
-4 4 —V
• '—i J 3
stretch
Q> I \ © @ ©
i *
I
Figure 11. Beethoven, Variations on a Theme of Paisiello

(Measures 21-24)
39
The Bar
One finger placed across and depressing two or more
strings simultaneously is known as the "bar." Except in
rare instances the bar is executed with the 1st finger of
the left hand. The finger may extend over as many as six
strings or as few as two. An example of the use of the bar
is given in Figure 12.
Figure 12. A Chord Requiring the Use of

Barring Technique
A survey of guitar music shows that there are many
ways used to notate the bar. Some guitarists distinguish
between the bar and the "half-bar" in their notation.
Others indicate bar, half-bar, and "small-bar." However,
there is no standard description or definition of these
terms. Some of the possibilities of notating the barring
of two strings at the second fret are shown in Figure 13.

40
Cj2 Ca2 CII CII CI]® iC2 )j2 -62
I(W -0
I!
0
ii II
0 ^0
Lll
0
11
0
Ii
0
H
0-
11
fa MC2 c2 B2 BII BII BIIV iB2

-0 0 0 0~ -0 0-
M ii it « it ii II « «
p DBII b2 II 6H II
m ii
-0-
ll
0
« ii
0- -0
ll
0-
ii If
£'It
¥i
Cj, Ca = Spanish "ceja" (bar, literally

"ridge")
C = Spanish "ceja" or Italian "capotasto"

(literally, "head of the fingerboard")
jrCf §>•> MC = media-ceja or mezzo-capotasto

(half-bar)
c = cejilla or capotastino (small-bar)
B = French "barre" (bar)
-g-B, t ft* DB = demi-barre (half-bar)
b = petite barre (small-bar)
Figure 13. Samples and Explanations of Bar Notation

41
Throughout this dissertation a large "C" will indi
cate the bar and a Roman numeral will indicate the fret at
which the bar occurs (Figure 14). Also, as demonstrated in
Figure 14, brackets may be used to clarify the number of
strings included under the bar.
pv cv
-&• • O"
— 41
V 4f
p
VL#
ft)
Figure 14. Samples of Bar Notation Used

in This Dissertation
Hinge-bar
A subtle technique called the "hinge-bar" is used by
advanced guitarists. It consists of using a portion of the
1st finger other than the tip to stop a string. A part
of the "Gavotte" from Suite in G Minor by Francisco Corbetta
serves as an example (Figure 15). In measure three, the 1st
finger is required to play different notes (b^ and f^) on
beats one and two. In order to smoothly connect these two

O
notes, the f_ should not be held with the tip of the 1st
finger, but should be held with a portion of the finger close

42
Tempo di gavotte
4h*ik,'
4i ^ ^ i =
-JL _.. a -ti—*
5—•!
# — J—/-
f
*
•J-h
•
T j r r r f
?r
=1 2-
s34—J—
?
r«LU. J
•
TT I J Qjj f r =f tr
Figure 15. Corbetta, "Gavotte" from Suite in G Minor
(Measures 1-4)
to the hand. This finger placement is called the hinge-bar.
As the music continues, beat three requires a bar; but in
order to sound the open d"*" on beat four, another hinge-bar is

2 1
required in order to simultaneously sound the _f and the d .
There is no standard notation for the hinge-bar. It
has generally been left to the guitarist to discover and
apply opportunities to use the hinge-bar. In Figure 15 it
appears that the tip of the 1st finger moves from the b to
43
o
the f in measure three. This action would cause a break in
the melody line because the string on which the b is pro

duced would cease to vibrate when the 1st finger moved away
from the bb and toward the f2„ Therefore, in order to hold
each note for its correct duration, the only solution is the
hinge-bar. Another notation for the hinge-bar is that of the
regular bar. This can be seen in Figure 16. This notation
may be confusing, however. In Figure 16 there is no indica
tion of how to sound both of the open d^'s in measure three.
Tempo c Li gavotte
-for ^
J IJ
Q
J J — f— «—
i
J RT R R F R R F
CJ . . , .,
,i DnJ.
l
R F OB RR R
Figure 16. Corbetta, "Gavotte" from Suite in G Minor (Mea
sures 1-4) Using Bar Notation
44
This dissertation will indicate the hinge-bar by
adding a small "h" (hinge) to the notation of the bar. This
method of notation is shown in Figure 17. It will be noted
that when the hinge-bar is executed before the regular bar,
the "h" is placed before the notation of the bar. When it
is executed after the regular bar, the "h" is placed after
the notation of the bar.
Tempo dli gavotte
-M—'
/
(o
? I
^
ju
J | j J }=\
t f 'r f r f 1
r T
A „
¥U u r-j ^ r
hc;i—,c
3 Jf j
J T
0
,0
f 'lj
Figure 17. Corbetta, "Gavotte" from Suite in G Minor
(Measures 1-4) Using Hinge-bar Notation
45
Excerpts from Toy by Francis Cutting (Figure 18),
Study in A, Op. 60, No. 25, by Mateo Carcassi (Figure 19),
Asturias by Isaac Alb£niz (Figure 20), and Sonate, 0p„ 15,
by Mauro Giuliani (Figure 21) demonstrate additional types
of hinge-bars.
Animato
Civi.,
on h -___
'ij .
i ii
a •MJ
1 f
J
lT
-J z:
'r-Tf f'T T
W 'I I I I I I N
J r rr i "
Figure 18. Cutting, Toy (Measures 1-4)

46
Allegro brillante
h.
CII.
2 2
ME
3 0^3-
CII
i Mfc
3
2 a
i
0 4
<3> —
®_-= © G>
© ®- f f f l
i W '
-0-
; i w 1 -T ^
0 3-1 3 Q'
Figure 19. Carcassi, Study in A, Op. 60, No. 25 (Measures

1 and 2)
47
Moderato
CVII
Figure 20. Alb^niz, Asturias (Measures 7-10)

48
h<
31—
Allegro spiritoso
I 4 10 10 0 2
7Jf. w
J
'; h
p— * J
-—^
/
i
m4
0
v *
,
—•m —
* i
^Ti u_ r T r T
Ljt-
•
Figure 21. Giuliani, Sonate, Op. 15 (Measures 7 and 8)
Another use of the hinge-bar is in melodic playing.
In a passage from the chorale "Der Lieben Sonnen Licht und
Pracht" (Figure 22), if the "tip" of the 1st finger were
© g, © ,
U A t • ! l l ' / n l 1 * = .
-t:H * - 1 HZ * ' J
0 -1 1 ^ 3 1 4
Î'r > r y r \ 3f rr r
f 1 i i LI 11 Lf f 1
Figure 22. Bach, "Der Lieben Sonnen Licht und Pracht"

(Measures 9-12)
49
1 2
used for both the g and c in measure one, a break in the
sound would occur because of the time it takes to move the

1 2
tip of the first finger from the g to the c . If a bar
were used to play the two notes, as in Figure 23, the g1

o
would continue to sound when the c is produced, thus caus
ing the melody notes to ring together. A solution to these
problems is the hinge-bar. The 1st finger being placed ini-
tially across both the g1 2

and c is rocked away from the g1
2
at the instant when the c is sounded. This action will
2
require that the c be held with the middle portion of the
1st finger, but it will smoothly connect the melody notes.

This use of the hinge-bar is shown in Figure 24.
V ,
3
s
r
r
1 Ji rr U
r f 1J;' i1 /1 f 11 1
3 1 3 1 4
%
f
Mgs r Q r
Figure 23. "Der Lieben Sonnen Licht und Pracht" (Measures
9-12) Using Bar Notation
50
cv11 f
3 A i 2
—*— I I f f f—J—1 —
—{fV—t: I—t — J— J—
a 1 3 1 A
3 1 3 1 A
r — r t — — IP— W f m f •» •
*2—
-¥ U 11 Lf f=
•
Figure 24. "Der Lieben Sonnen Licht und Pracht" (Measures
9-12) Using Hinge-Bar Notation
Right Hand Notation
The thumb and three fingers of the right hand are
used in guitar performance. These fingers are notated by
letters which correspond to their Latin derivations (Figure
25). In guitar music these letters appear as demonstrated
Latin French Italian Spanish
thumb = p pollex pouce pollice pulgar
index = i index index indice indice
middle = m medius majeur medio medio
ring = a anulus annulaire anulare anular
Figure 25. Letter Designations and Names of Right Hand

Fingers
51
in Divertissments Pour La Guitarre, Op. 40, No. 4, by Mauro
Giuliani (Figure 26).
Allegretto a a a m
. m i m m i
-X-%
-4)4
^
\ «
*> •f
J A
^——f
i
r—r-Z
%
tJ= tiJ "tJJv'
p i p i p i p i p i p i p
a a a a
m
J J
—^
j r—
4
tj=J IM u=U
*~
+
_J
P f *-
j
r
p i p i P i p i P i P i p
Figure 260 Giuliani, Divertissments Pour La Guitarre, Op.

40, No. 4 (Measures 1-4)
Another system of notating the right hand fingers
consists of the use of a "+" (or sometimes "x") to designate
the thumb and dots to designate the index (.), middle (..),
and ring (.. „ or .'.) fingers. An example of this notation
is given in "Andantino" from Metodo Per Chitarra by Mateo
Carcassi (Figure 27). This method of right hand notation,
while widely used in the past, is seldom seen in recent pub
lications and will not be utilized in this dissertation.

52
n
•• •• •• ••• •
Andantino
ISH >,'•> A
f f
m m
M Jt-
& -r-
-Y-
f
• + • + • + • +
Figure 27. Carcassi, "Andantino" from Metodo Per Chitarra

(Measures 1-4)
Basic Right Hand Position
Basic position for the right hand fingers is con
sidered to be the placement of fingers i^ (index), m (middle),
and a (ring) on the third, second, and first strings, respec
tively, and the thumb on either the fourth, fifth, or sixth

string., This is shown in Figure 28a, 28b, and 28c.
i i 0
Figure 28. Basic Right Hand Position

53
As illustrated in Francisco T£rrega's Prelude in A
Minor (Figure 29) and Fernando Sor's Study in D, Op. 35, No.
17 (Figure 30), the natural position of the hand when
approaching the strings in this manner can be observed in
the construction of many guitar works.
Moderato
CV_ .
m
4J m i
m
HU"
i
m
2
MUL.
IE
J. A.
=3=
i
f fF
Figure 29. T^rrega, Prelude in A Minor (Measures 1-3)
Allegro grazioso (
:n ,
a ma a m
fitlr yJ- H J>| j .
J r. 71 m
p p p P
Figure 30. Sor, Study in D, Op. 35, No. 17 (Measures 1 and

2)
Rest Stroke and Free Stroke
The maximum volume and fullest tone of a guitar
string is produced when the. string is set into motion in a
direction parallel with the soundboard.^ In order to cause
a string to vibrate in this manner, the finger, after
striking a string, must touch an adjacent string. The
finger will, in fact, come to rest on the adjacent string.
This is appropriately called the "rest" stroke„ Fingers i_,
m, and a will rest on the next lower-pitched string; £ will

rest on the next higher-pitched string. The terms "sup
ported stroke," "top stroke," "hammer stroke," or the
Spanish word apoyando (literally "leaning) are frequently
used in place of the term "rest stroke." The rest stroke
may be utilized throughout the portion of Sevilla by
Isaac Alb^niz given in Figure 31.
A right hand stroke which contrasts the rest stroke

allows the finger to set a string into motion while missing
(or "moving free of") adjacent strings. This is called the
"free" stroke. The term "unsupported stroke" or the Spanish
word tirando ("flinging" or "casting away") is frequently
used instead of the term "free" stroke. The free stroke

must be used for the upper parts throughout the excerpt
1. John Duarte, The Bases of Classic Guitar Tech

nique (Borough Green, Great Britain: Novello & Co., Ltd.,
1975), p. 17.
55
Molto legato
Figure 31. Alb£niz, Sevilla (Measures 77-80) To Be Played

With Rest Strokes
from Study in A Minor, Op. 35, No. 3, by Fernando Sor
(Figure 32).
The sound of the free stroke probably will be weaker
than that of the rest stroke because the angle of attack
"displaces the string from the sidewise plane in which much

2
of its natural vibration takes place." But the rest stroke
is not always practical to execute due to the physiology of
the hand and because the rest stroke would dampen any

1980), p. 37.
56
Larghetto
©-
-+=:
I k zzt
Hrf-
r
%
-'-2
T
r * -J .
Jl-^-2, y
7=
7T ' 3
—*
r r
Figure 32. Sor, Study in A Minor, Op. 35, No. 3 (Measures
1-4)
desired vibration of the adjacent string. Also, musical
interpretation and expression based upon contrast may be
enhanced by the different, yet complementary sound qualities
of the two strokes. It is suggested, however, that teachers
persuade their students to follow the example of T£rrega by
executing free strokes which produce full, round tones
similar to those produced by the rest stroke. "Indeed by
practicing this stroke (the rest stroke), T^rrega had

developed the precision and sensitivity of his fingertips to
such a degree that even when playing without supporting the
finger on the next string he was able to produce a volume of
sound comparable to that obtained by using the supported

3
stroke." Charles Duncan concurs with this method of exe
cuting the free stroke as his diagram (Figure 33) indicates;
and he states that the guitarist "... will eventually
develop a core sound that is the same whether played rest
stroke or free stroke, and this can be varied at will for

4
interest."
Tonal Extreme Tonal Core Tonal Extreme

delicate, light; mezzo forte; forte, accented;
maximum clarity clear, yet full maximum fullness
of tone
free stroke rest stroke

>
Figure 33. Core Sound and Tonal Extremes as Suggested by
Charles Duncan^
3. Emilio Pujol, "The 'Supported' Stroke," Guitar

Review (1954), pp. 3-4.
4. Charles Duncan, op. cit., p. 107.
5. Ibid.
58
There is no standard notation to designate rest
stroke or free stroke. At times the direction of stems, the
placing of accents, expression markings, or some other vis
ual sign may be a signal that a particular kind of stroke is
needed; but generally it is left to the performer to analyze
the music and decide upon the type of stroke to use. Pujol
states that T£rrega "... used the supported stroke not
only for scales or for the notes of a melody, but as a
general rule for all the notes which did not form part of a
chord or rapid arpeggio where the use of the supported
stroke would interfere with the sustaining of the note

6
played on the next string below." Even with this extensive
use of the rest stroke ". . . most guitar playing consists

7
of free stroke work. ..." because more notes are used for
chords and arpeggios in support of scales and melodies than
for the actual scales and melodies themselves. However, it
is suggested that guitar teachers emphasize the importance
of developing rest stroke technique and the ability to com
bine rest strokes with free strokes. Figures 34-36 demon
strate the combination of rest and free stroke. In Figure
34, an excerpt from Etude in E Minor by Napoleon Coste,
the melody notes (stems going up) may be played with rest
strokes for added emphasis. All other notes are played with
6. Emilio Pujol, op. cit.
7. Charles Duncan, op. cit.

59
Allegro
Figure 34. Coste, Etude in E Minor (Measures 1-4)
free strokes. A passage from Study in A Major by Francisco
Tarrega is shown in Figure 35. The use of rest stroke or
free stroke depends on the musical wishes of the performer.
Those who use rest strokes for measures one and two would
emphasize that this passage is from a late nineteenth
century Spanish work and that, in all likelihood, TSrrega

g
would have used rest strokes. The guitarists who advocate
free strokes for this passage point out that it is a minuet.
8. Emilio Pujol, op. cit.

60
Tempo di ninuetto
Figure 35. T£rrega, Study in A Major (Measures 1-3)
This implies a "graceful," "whimsical," "dance-like" char-

9 10
acter which is best achieved with the free stroke.
Figure 36 is a portion of Study in A Major, 0p„ 60, No„ 3
by Mateo Carcassi. The rest strokes are indicated.11
9. Willi Apel, Harvard Dictionary of Music,

2d ed. (Cambridge, Massachusetts: The Belknap Press of
the Harvard University Press, 1973), p. 532.
10. Charles Duncan, op. cit.
11. Suggested by Michael Lorimer in Ronald Sherrod,

Guitar Master Class (Melville, New York: Belwin Mills Pub
lishing Corp., 1980), p. 11.
All other notes are played with free strokes. The rest
strokes add emphasis to the melody and bass lines.
rest strokes
Andantino
rest strokes
rest strokes
rest strokes
Figure 36. Carcassi, Study in A Major, 0p„ 60, No. 3

(Measures 1 and 2)
62
Summary
This chapter presented fundamental guitar notation
and basic technical concepts. Briefly summarized they are
as follows:
1. Guitar music includes, along with indications of
pitch and duration common to other instruments, the use of
Arabic numbers to designate left hand fingers, letters to
designate right hand fingers, and circled Arabic numbers to
designate strings.
2. Basic position for the left hand fingers is a span
of four adjacent frets. Variants of this position consti
tute the "stretch" position (more than four frets) and the
"squeeze" position (less than four frets).
3. Positions are given numerical names according to
the fret location of the left hand index finger. Generally,
the position used is not included in guitar notation.
4. The technique of barring—depressing two or more
strings simultaneously with a single finger—is notated by a
letter "C" to indicate Ceja (bar). This letter is followed
by a Roman numeral to indicate the fret on which the bar
occurs. The hinge-bar, a variant of the bar, uses the same
notation as the bar with the addition of an "h" to indicate
"hinge."
5. Basic right hand position consists of placing the
index, middle, and ring fingers on the third, second, and

first strings, respectively, while the thumb rests on either
the fourth, fifth, or sixth string.
6. Two types of right hand strokes are used in funda
mental guitar technique. A "rest" stroke results when the
finger of execution comes to rest on a string adjacent to
the string sounded. With the "free" stroke, the finger of
execution misses the adjacent string.

CHAPTER 3
LEFT HAND FINGERING: MELODIES
ON A SINGLE STRING
The study and fingering of melodic passages played
on a single string is important for two main reasons.
First, there are musical and technical advantages to playing
some melodic passages on one string. Second, in analyzing
various concepts of playing a melody using only one string,
factors that apply to all aspects of guitar playing, such
as basic position, minimum movement, and finger combinations
will be discussed.
General Considerations
Timbre
A consistent timbre is maintained when a melody is
played on a single string, whereas a change in tone color
occurs when the melody is played on two or more strings. "*"
This can be observed in different versions of four measures
of the Catalan melody "El Noy de la Mare." Figure 37 shows
the melody line played entirely on the first string. Figure
38 is the same melody played on strings one, two, and three.
1. Fredrick Noad, Solo Guitar Playing (New York:

Schirmer Books, 1976), p. 117.
64
65
Andante
<D-
-3 4 3 1 3
A 1 3
1 2
i f tif r
Figure 37. "El Noy de la Mare" (Measures 1-4) Played on
the First String
Andante
©
T
®—n i
2 1 0 i
R > , r r . T 1 f tM* f* I f
' if
• fI
— ^=-1 K- ! !
«
Figure 38. "El Noy de la Mare" (Measures 1-4) Played on

Strings One, Two, and Three
Guitaristic Effects
Several expressive sounds which are idiomatic to
the guitar can be produced on a single string and would be
impossible to imitate if more than one string were used..
The "ligado," "arrastre," and "portamento" are examples of

66
these. The following brief descriptions may be augmented
by the discussions of these terms in guitar method books.
Ligado (literally "tied"): Two types of ligados
exist—the ascending ligado (also called "slur") and the
descending ligado (also called slur or "snap"). In the
execution of an ascending ligado the right hand strikes the
first note only; the second note is sounded by the left hand
finger responsible for that note. The finger is placed
(driven) onto the string with enough force to cause the
string to vibrate without the use of the right hand. In
Figure 39 the second note is sounded by the force of the
3rd finger being driven to the string.
Figure 39. Ascending Ligado
In the execution of the descending ligado the right
hand strikes the first note only; the left hand finger used
to hold the first note then plucks the string to sound the
second note. (The right hand is not used in the production

67
of this note.) In Figure 40 the second note is sounded by
the 3rd finger plucking the string.
Figure 40. Descending Ligado
A ligado may occasionally occur across two strings.
This type of ligado is called a ligado de vibracion (vibra-

2
tion slur). It is generally avoided due to lack of control
of volume and timbre, but it is acceptable in rapid passages.
The ligado de vibracidn is used in Scherzo-Vals by Miguel
Llobet (Figure 41). (The sole purpose of the bar at the
sixth fret in this example is to give a "clean" sound and
more volume to the ligado de vibracic5n.)
2. Vahdah Bickford, Method for Classic Guitar

(New York: Peer International Corp., 1964), p. 72.
68
Allegro vivace
CVI _
i
Figure 41. Llobet, Scherzo-Vals (Measures 19 and 20)
Arrastre (literally "dragged"), also called glis-
sando ("gliding" or "slide"): In the execution of the
arrastre, the right hand strikes the first note only; the
second note is sounded by quickly sliding (dragging) the
left hand finger to the new position. Examples of the
arrastre are given in Figure 42.
i! i
Figure 42. Arrastres (Ascending and Descending)
Portamento (literally "carrying"): The portamento
is a ligado followed by an arrastre, or an arrastre followed
by a ligado. As indicated in Figure 43, specific notation
must be used in order to determine whether the ligado or
arrastre is executed first„ The indicated notation for the
portamento, while used throughout this dissertation, is not
adopted universally by writers and editors of guitar music.
As Emilio Pujol points out, some confusion exists in the
notation of the portamento: "Los autores de musica para
guitarra en general, lo indican con una lfnea recta como

O
el arrastre o con una lfnea curva como el ligado„" (The
writers of music for the guitar in general indicate it
[the portamento] with a straight line as for the arrastre
or with a curved line as for the ligado.) This lack of

distinction between portamento and arrastre, or portamento
and ligado, seems unfortunate since the portamento differs
Figure 43. Portamenti (Ascending and Descending)
3. Emilio Pujol, Escuela Razonada De La Guitarra,

vol. 1 (Buenos Aires: Ricordi Americana, 1956), p. 69.
70
in sound from both the others and since all three of these
technical devices may be desired in a single composition.

An except from Pavana by Francisco Tarrega combines the
ligado, arrastre, and portamento (Figure 44).
Moderato
1 3 . ® c,¥II !
1 3
-fj ' L
f t^ 3J1
0
r f
CIV
f?
, Q .p^-O
— — r-')
f r lEfcJ'
©©©
Figure 44. Tarrega, Pavana (Measures 1-4)
The intentional composition or arrangement of a
passage to be played on a single string can result in an
effect which would not be present if played on two or more
strings. This can be seen in an arrangement by James Robin
son of the Mexican folk song Para.jo Cantor (Figure 45).

71
Grazioso
Figure 45. Robinson, Parajo Cantor (Measures 1-5)
Technical Factors
Playing a melody along a single string leaves the
other strings free for use in accompaniment or counter-
melody. This advantage has been used by many composers and
arrangers of guitar music. In an excerpt by Fernando Sor,
Study in E Minor, Op. 60, No. 22, the accompaniment is easy
to execute because the melody is confined to the first
string (Figure 46). In a portion of another work by Sor,
Variations on a Theme of Mozart, Op. 9, a "campanella"
(bell) effect is produced by the constant, recurring sounds
of the second string (Figure 47).

72
Allegro noderato
^^ Aj, J>
1' ^ ' p r i j i ' ^ r ^ P
Figure 46. Sor, Study in E Minor, Op. 60, No„ 22 (Measures

1 and 2)
Andante noderato
/
^} » 2 1
-^TT—t h^—f -
2 U ni 1c
^ —f— — r
—D 4-
t
=i±s==
V7
p
^ —f —
^
Y
1
r~r ^
-J.
r ^ r
s. <
^ *=M
——ffc-=v
=m=
y1 L
Figure 47. Sor, Variations on a Theme of Mozart, Op. 9
(Measures 1-4)
73
Physical Factors
As the following quotations indicate, the ideal
performance is that which produces the best musical results
with the least amount of movement and/or physical exertion;
Carl Flesch—
The rule of minimum effort precludes any movement

that does not actually contribute to the production
of the desired tone quality or that detracts from
it; such movements are superfluous and represent a
waste of energy.4
Julio Sagreras—
Respecto a . . . mano, poco tengo que decir, sino

que, en general se deben evitar todos los movimien-
tos intitiles. . . .^
[With respect to . . . (the) hand, I have little to

say, except that, in general one ought to avoid all
unnecessary movements. . . .]
Louis Kentner—
It is generally agreed that modern pianoforte tech

nique is based on the idea of relaxation, weight
and economical use of shoulders, arms, hands and
fingers, uii3 operative word 'economical' meaning that
as little effort as possible should get the greatest
possible results, in terms of speed, accuracy and
volume.®
4. Carl Flesch, op. cit., p. 5.
5. Julio Sagreras, Tecnica Superior De Guitarra

(Buenos Aires: Ricordi Americana, 1922), p. 2.
6. Louis Kentner, Piano (New York: Schirmer Books,

1976), p. 60.
74
Jozsef G&t—
. . . a cramp of any part of the body, even the

clenching of one's lip, will hinder the appropriate
functioning of the muscles.'''
Yehudi Menuhin—
The violinist's enemy is any tightness of hold,

whether of fingers, hands, arms, shoulders, head,
neck, chest (right or left side), shoulder-blades,
waist, hips, knees, ankles or feet; in fact, any
impediment whatsoever to the instantaneous trans
lation of a total impulse—emotional, physical,
spiritual or intellectual—into the reality of
sound.8
Thus, the lack of any physical exertion, i.e., a state of
rest, would be ideal for a performer. If it were possible
to "think" the strings into vibration or shorten the length
of a string by thought, such elements as missed notes,
slides, and buzzes would not exist. "One of the reasons
conductors seem more musical than many solo performers is
that their musical thought is not: handicapped by the physi
cal limitations of producing the music.However, physical
effort, the contraction of muscles, is required; and when
a signal is sent from the brain to a contracting muscle,
sending a finger toward its destination, the possibility is
7. J6zsef Gat, The Technique of Piano Playing

(London: Collet's Holding, Ltd., 1965 ), p. 2.
8. Yehudi Menuhin, Violin and Viola (New York:


75
introduced that the brain may "have miscalculated the precise
location of the desired fret and string. This is often the
case, in fact, requiring what J6zsef Gat terms as "adapting
movements"—the movements which bring the fingers into proper
striking position.1° "There are many kinds of these move
ments, but a common feature of all of them is that they are
always decided by the momentary requirement as to what [sic]
and to what extent they must be utilized. It follows
logically that the farther a particular finger must move to
reach its goal, the more adapting movements are necessary.
John Duarte concurs with this as he states : "The further a
finger is from the strings, the further it has to travel in
returning to the fingerboard to depress a string; this makes
timing more difficult, since the necessary journey is longer,
and increases the risk of inaccuracy, as it is obviously
easier to 'hit' a target that is close than one that is
further away."12 Because each of these adapting movements
require the use of muscles, it can be concluded that a small
amount of movement requires less physical effort than and is
preferable to a large amount of movement. In the material
which follows, this concept is the basis for the principles
of "Basic Position" and "Minimum Movement."
10. Jozsef G£t, op. cit., p. 33.
11. Ibid.
12. John Duarte, The Bases of Classic Guitar Tech-
1975), p. 29.
76
Specific Fingering Principles
Basic Position
When the average human hand is completely relaxed
there is a span of approximately five centimeters between
the playing portion of the tips of the first and fourth
fingers.-^ At the middle area of the guitar fingerboard,
between frets five and eight, there is a distance of approxi
mately five centimeters between the playing areas of any four
adjacent frets. It follows that within the middle area of
the fingerboard the fingering which keeps the fingers within
four adjacent frets, i.e., basic position, requires the least
amount of physical effort. Some muscle contraction is
required to keep the hand in basic position at other areas
of the fingerboard, but the principles of least physical
exertion and minimum movement generally result in the use of
of basic position. As Emilio Pujol states:
Llamamos 'posicion,' aquella en la cual cada dedo

ocupa el traste que le corresponde en orden de
numeracidn,o sea, en un cuadruplo cualquiera el
dedo 1, ocupa el traste I; el dedo 2, el traste
II; el dedo 3, ocupa el traste III y el dedo 4,
el traste IV.^
13. Measurements taken by the author of 25 students

at the University of Arizona, Tucson, May, 1981.
14. Emilio Pujol, Escuela Razonada de la Guitarra,

vol. 2 (Buenos Aires: Ricordi Americana, 1952), p. 23.
77
[We (guitarists) call 'normal position' that in which

each finger occupies the fret that corresponds in
numerical order to it. That is to say, in a group of
four adjacent frets, whenever the 1st finger occupies
the first fret, the 2nd finger occupies the second
fret; the 3rd finger, the third fret; and the 4th
finger, the fourth fret.]
Pujol's term "normal" indicates that basic position is the
rule; stretch and squeeze positions constitute the excep
tions. The consistent maintenance of basic position is
shown in the fingerings for Fantasia by John Dowland,
Sevilla by Isaac Albdniz, El Colibri by Julio Sagreras, and
Capriccio by Johann Anton Logy (Figures 48-51).
©
^ 1 ^ 2 1 3
-jjUjlf-j, f
11 F ! 1
f it r
! _ 1 i
- p
«
;iv
I
1 *
r r r rT
2 2
4M-4
=F 5+
. it>
^— —
—
Figure 48. Dowland, Fantasia (Measures 1-4)

78
Molto legato
Figure 49. Alb^niz, Sevilla (Measures 77-80)

79
Allegro
Figure 50. Sagreras, El Colibri (Measures 9-13)

80
Allegro
} 'I ^ | iH3 Ji -HH

J °Li i sr f
-4—H A—,— —
y ( ju ,— r
L
2L5 Lf T
i °j /j n i fl r °i
T o r I = '
' ' r r
Figure 51. Logy, Capriccio (Measures 3-8)
In an excerpt from the chorale "0 Evvigkeit, Du
Donnewort," the fingering given in Figure 52, while striv
ing to connect the notes, creates tension in the hand
because of the muscles required to hold the hand in the
stretch position. The fingering given in Figure 53 requires
less physical exertion by maintaining basic position
throughout.
81
© —i
1 2 4-
—$ ^ *:
f- P T ^ fr
•-
1 1 1
t
Figure 52. "O Ewigkeit, Du Donnewort" (Measures 1-3) Using

Stretch Position
© "l
3
ig
r- fit f i f T f 1
1 »-*
1
Figure 53. "0 Ewigkeit, Du Donnewort" (Measures 1-3) Main

taining Basic Position
Minimum Movement
As melodies are played on a single string utilizing
basic position, shifts of position are likely to be required.
In such instances the concept of minimum movement can be
applied in the following ways: 1) The smallest number of
shifts necessary should be used; 2) shifting farther than
necessary should be avoided; and 3) guide fingers should be
utilized. These principles can be observed in previous

82
excerpts (Figures 48-51, for example) but are clarified
specifically as follows: In a portion of El Invierno by
Francisco Guerau, three shifts create excessive left hand
movement (Figure 54). Additionally, it will be noticed in
the example .that the hand moves to the eleventh position.
Allegretto
G>-
•i
Figure 54. Guerau, El Invierno (Measures 1-4) Moving to

Eleventh Position
As demonstrated in Figure 55, the Guerau passage can be
played with only two shifts with the hand never going beyond
the ninth position.

83
Allegretto
Figure 55. Guerau, El Invierno (Measures 1-4) Moving to

Ninth Position
A "guide" finger is one that lightly remains on a
string during a shift from one position to another. As
John Duarte indicates, constant contact with the strings
adds to the player's security, confidence, and accuracy.
The sensation of steadiness and stability orig

inates in the proper development of the use of the
hands as compact power units; it is emphasized by
the contact of the hands with the strings and with
the back of the instrument's neck in the course of
playing. Its endpoint is the establishment of a
feeling of unity between player and instrument,
negating the sensation that the hands are things
which are held 'outside' the guitar and from which
fingers are 'sent out' to make contact as and when
required—like satellites radiating signals.
In the case of the left hand. . . . The prac

tice of lifting left-hand fingers only when neces
sary, of using pivot fingers during chord changes,
84
and of using guide fingers when making changes of
position, assist in reinforcing this feeling.15
In a portion of Prelude by John Robinson (Figure 56) the 1st
finger should act as a guide finger during the shift from
fourth to eighth position, remaining in constant contact
with the string. (The pressure on the string is released,
however.)
Maestoso
Figure 56. Robinson, Prelude (Measures 1-4)
In two versions of Nocturne, Op. 90, by Ferdinando Carulli
(Figures 57 and 58), both fingerings keep the hand in basic
position and both use three shifts. The second fingering
(Figure 58) is stronger, however, because of the use of a
guide finger.
15. John Duarte, op. cit., p. 36.

85
Allegro
CD
2
1 • 2 .4 1 3 0
r "1 —
9
=H
—
=(—
l=M M n —f— jgk
-c*— ^f=
«
Figure 57. Carulli, Nocturne, Op. 90 (Measures 12-14) With

out Guide Fingers
Figure 58. Carulli, Nocturne, Op. 90 (Measures 12-14)

Utilizing a Guide Finger
86
When shifts are required, the music should be analy
zed in terms of expression and phrasing before the fingering
is added. This is because, "Large movements (changes of
positions) . . . are more time consuming than small ones,
and, thus, can easily be used to create a slight break in
the musical line. The measures given from Francis Cutting
(Figure 59) leave the phrasing to the discretion of the
performer.
Moderato
i
Figure 59. Cutting, Fantasia (Measures 1-5)
16. Julien Musafia, op. cit., p. 3.

87
In the two views shown in Figures 60 and 61, the fingerings
complement the indicated phrasing and help reflect the
musical thought of each. The basic principle utilized in
Figures 60 and 61 is that a change of position on the guitar
can easily be used to produce a slight accent to draw
Moderato
Q>
Figure 60. Cutting, Fantasia (Measures 1-5) With First

Phrase Ending in Measure 2
88
Moderato
Figure 61. Cutting, Fantasia (Measures 1-5) With First

Phrase Ending in Measure 3
attention to a new phrase. Both of the melodies of Figure
62 use exactly the same notes and both are played on the
same string. But their inherent character is distinctly
different due to contrasting beat groupings. The given
fingerings correspond to the natural accents of the music
and bring out these musical elements of each. It can be
observed that the stretch position was used in Figure 62
in order to smoothly connect the notes. (The use of the

89
Allegretto
Q (
K i ik 2*. 2 1 2 U 2
; tirjrrir
«
Allegretto
stretch
Finger 62. Fingerings Corresponding to the Natural Accents

of the Music
stretch position in this instance should be compared with
that in Figure 52.) At times, the squeeze position is
also valuable in this respect, as is shown in an arrange
ment of the Mexican folk song "Viento de Primavera" (Figure
63).
90
;ante
Allegro c .bile squeeze s queeze
0 A A •i
* 1 2 ^' 2 1/ V 1 2
Mgf 1 f=¥\ F=f=

—^ f— I
Figure 63, "Viento de Primavera" (Measures 5-8)
Finger Combinations
Even though all fingers should be exercised and
made as strong as possible, certain fingers and combinations
of fingers will always be stronger than others. This can be
realized through a brief description of the physiology of
the fingers and hand.
The left hand fingers used in guitar playing are
controlled by the muscles shown in Figure 64. From this
figure it is observed that the index finger and the small
finger have four more controlling muscles than the middle
and ring fingers. This makes the index and small fingers
more independent than the other two.17
17. Otto Szende and Mihaly Nemessuri, The Physi-

iology of Violin Playing (London: Collet's Publishers,
Ltd., 1971), p. 59.
91
finger muscle
index flexor digitorum profundus

flexor digitorum superficialis
interossei dorsales
interossei palmares
lumbricales
extensor indicis
adductor pollicis
abductor pollicis brevis
abductor pollicis longus
niddle flexor digitorum profundus

interossei dorsales
interossei palmares
lumbricales
ring flexor digitorum profundus

interossei dorsales
interossei palmares
lumbricales
small flexor digitorum profundus

flexor digiti minimi brevis
interossei dorsales
interossei palmares
lumbricales
extensor digiti minimi
abductor digiti minimi
opponens digiti minimi
Figure 64. Muscles Controlling the Fingers of the Hand

92
The middle finger is the strongest because its
muscles are larger than the muscles of the other fingers.
Similarly, the small finger is the weakest of the fingers
because its muscles are smaller. The strength of the index
and ring fingers is about equal. However, the independence
of the ring finger is greatly restricted because, as can be
seen in Figure 65, its extensor tendon is connected to the

18
tendon of the middle and small fingers. "This anatomic
characteristic of the hand does not limit the flexing capa
bility of the ring finger (its playing power) but impairs

19
its lifting ability when the adjacent fingers are down."
Thus, it can be concluded that: 1) the alterna
ting abilities of finger combinations 1-2, 1-3, and 1-4 are
strong; 2) finger combination 2-4 is moderately strong; and
3) finger combinations 2-3 and 3-4 are weak.
In the fingering of guitar music, if all other
factors are equal, the use of strong finger combinations
instead of weak ones will result in more controlled play
ing. This can be observed in the differing versions of
Bon Jour Mo Cueur di Orlando by Peter Phillips (Figures 66
and 67). The second version (Figure 67), even though it
requires shifts, is better because of the use of a stronger
finger combination in executing the thirty-second notes.
19. Ibid.
93
Kiddle
Little
Thumb
Figure 65. Extensor Tendons Controlling the Fingers

94
Adagio
©
;)_o
c-JL_
—JsV —J—in •—a -JSsr^
L_J -J —a-Jr—
-(f>-2—* J x/ —J -J •A
1 3 "3 -4 3 "3 4 3 3 3 1
* * A
A
« A
>—I FF=1
/
-e J J *
« A k 1 n 1
Figure 66. Phillips, Bon Jour Mo Cueur di Orlando (Measures
11 and 12) Using Weak Fingers
Adagio
Figure 67. Phillips, Bon Jour Mo Cuer di Orlando (Measures

11 and 12) Using Strong Fingers
Summary of Fingering Principles
1. Basic left hand position should be utilized.
2. For any melody, the smallest number of shifts neces
sary to play that melody should be used.
3. For any melody, shift only as far as necessary to
play that melody.
4. Guide fingers should be utilized when changes of
position are required.
5. When shifts are required, the music should be
analyzed in terms of expression and phrasing in order that
the fingering corresponds to the musical thought.
6. Strong finger combinations instead of weak ones
should be utilized.
CHAPTER 4
LEFT HAND FINGERING: MELODIES PLAYED
ON TOO OR MORE STRINGS
One string has a melodic range of approximately an
octave and a half, whereas the six strings provide a span
of three and a half octaves. Also, in any one position
many notes are available to the fingers without the need to
move the left hand. The material in this chapter will deal
with the utilization ,of two or more strings in playing
melodic passages. All of the information of previous
chapters should be considered when, supplying fingerings to
melodic passages that are played on two or more strings,
but previous material will be restated only if additional
comments relating to the subject of this chapter are neces
sary „
Timbre
When changing from one string to another the tone

color may change. "There is a distinct difference in tone
between the same note played on different strings.""*" In
the practice of scales and melodic lines, every attempt
1. Fredrick Noad, Solo Guitar Playing (New York:

96
97
should be made to maintain as consistent a timbre as pos
sible. As Charles Duncan points out:
Whether we use free or rest stroke . . . the dif

ferent tonal characteristic of each string will
produce inconsistent color in the progress of a
scale unless the angle of attack is varied. The
same attack that gives a pleasing first-string tone
will yield a muddy-sounding third string and a
scratchy bass. If the attack is angled so as to
produce attractive tone on the bass strings, then
the higher strings will sound thin„ The truth is
that the angle of attack must change during a scale,
from perpendicular on the sixth string to some 30
degrees on the first.2
Overlapping Sounds
A possible danger exists with the utilization of two
or more strings that could not exist if only one string were
used. If two melody notes are played on different strings,
it is easy to continue holding the first note while playing
the second. In an example from Sonata No. 12, Op. 3, No. 6,
by Niccolo Paganini (Figure 68), if the 1st finger continued

#2 2
to press the f_ while going on to the e on the second
string, the result would be like that shown in Figure 69„
This overlapping of sounds creates dissonance and demon
strates an "impure" concept of the melody and an unmusical
approach to the guitar. As guitar teachers familiar with a
variety of musical styles are aware, however, dissonance
caused by the overlapping of sounds is part of the perfor
mance practice of some music.

1980), p. 107.
98
Andante
i! & 5
Figure 68. Paganini, Sonata No« 12, Op. 3, No. 6 (Measures

1 and 2)
Andante
i B i
Figure 69. Paganini, Sonata No. 12, Op. 3, No. 6 (Measures

1 and 2) Showing an Overlapping of Sounds
Open Strings
The use of open strings in melodic playing presents
several concerns to the guitarist. First, lack of control
of duration of the open strings may produce the problem of
"overlapping sounds" as previously discussed. This is demon
strated in an excerpt from Danza Mora by Francisco T£rrega
(Figure 70). The guitarist may resolve this problem by sub
tly dampening the open strings with the finger that plays
The open strings continue to

sound as the next notes are played
Leggiero
Figure 70. T£rrega, Danza Mora (Measures 22-24) Utilizing

Open Strings
the next string (Figure 71), but a fingering for the pas
sage that eliminates the open string would probably be
preferred (Figure 72). Second, open strings produce timbres
different from the timbres of stopped strings. "An open
string in the middle of a passage ... is not entirely

100
As the second finger plays, it may

simultaneously dampen the open string
Leggiero
Figure 71. T&rrega, Danza Mora (Measures 22-24) Showing

Dampening of Open Strings
Leggiero
Figure 72. T£rrega, Danza Mora (Measures 22-24) Fingered

to Eliminate Open Strings
101
satisfactory, for the suddenly introduced tone of the open
string will always remain somewhat 'foreign' in quality."
Third, the use of open strings results in a lack of control
of vibrato. A vibrato may be produced on a sounding open
string by the hand moving in "vibrato fashion" on another
string. (The other string is not sounded.) However, this

4
vibrato, called "bebung," is noticeably weaker and less
controlled than a vibrato produced on a closed string.
The above elements may be considered by comparing
contrasting fingerings to a portion of the "Minuet" from
Henry Purcell's Suite No. 1 in G (Figures 73 and 74).
Tempo di minuetto
© @
I* -Q-
-* 5*—ar
0 1 3
Figure 73. Purcell, "Minuet" from Suite No. 1 in G (Mea

sures 1-4) Utilizing Open Strings
3. Carl Flesch, Violin Fingering, ed. by Boris

Schwarz (New York: Da Capo Press, 1979), p. 118.
4. Willi Apel, Harvard Dictionary of Music, second

edition (Cambridge, Massachusetts: The Belknap Press of
Harvard University Press, 1973), p. 87.
102
Tempo di minuetto
0 , © n © 1
— t— )—
-4 y ^ J J J— J mh u
j -J J —J *
=1
f
1
« A
w
1 3 A
Figure 74. Purcell, "Minuet" from Suite No, 1 in G (Mea

sures 1-4) Fingered to Eliminate Open Strings
Position Playing -
Most melodic passages can be played with little or
no left hand movement. This greatly enhances legato playing
because of the concept of "least physical exertion" and the

principle of "minimum movement" as discussed in the previous
chapter. As Warren Benfield says, "Something is wrong if
there are eight notes on one string, only one note on the
5
next, and six notes on another." By comparing contrasting
fingerings to a portion of Study No. 18 from Melodic and
Progressive Studies, Op. 60, by Mateo Carcassi, it can be
observed that much left hand movement occurs in Figure 75
while no left hand movement occurs in Figure 78.
5. Warren Benfield, The Art of Double Bass Playing

(Evanston, Illinois: Summy-Birchard Co., 1973), p. 19.
103
Figure 75. Carcassi, Study No. 18 from Melodic and Progres

sive Studies, Op. 60 (Measures 1-4) With Left
Hand Movement
Allegretto
® 1 «> 1®
1 2
© ® >© o—,
±. A 1
3 1 -r- / 1 3
Tf f —*—f-—j-—«—p—*
© ,© g © —, © ©
3 A 1
M ' 1 ^ 3 r 1r
r f i—•
r L -U [ J j ^ =L — L 1 ^
Figure 76. Carcassi, Study No. 18 from Melodic and Progres

sive Studies, Op. 60 (Measures 1-4) Without Left
Hand Movement
104
Because of the small amount of movement necessary to
play a melodic line when the proper position is used, the
reasons for changing positions are limited to maintaining
the consistent timbre that can be produced only by moving
along a single string, adding expressive effects to the
music, and moving into a position that will prepare the hand
for material to follow. Thus, the knowledge and practice of
utilizing positions in melodic playing can be of great
value to students. As I. M. Yampolsky indicates in regard
to violin playing: "The division of the finger-board [sic]
into positions is a convenient way of helping beginners to
gain command of the finger-board. Numbering the positions
makes it possible to specify the precise movements of the

6
fingers along mentally predetermined divisions. . . ."
However, as will be seen on pp. 112 and 116 in the sections
concerning "consecutive notes on different strings" and
"open strings," position playing must involve flexibility.
Yamplosky indicates this as he states:
Such a numerical division (a position) is less

necessary for the more advanced violinist. The
concept of positions loses its significance, and
can indeed be a bar to progress, as it limits
freedom of orientating oneself on the finger
board. The actual position of the left hand
during playing is often in contradiction to the
generally accepted numerical position. This leads
6. I. M. Yampolsky, The Principles of Violin Fin

gering (London, Great Britain: Oxford University Press,
1967), p. 32.
105
to an unnecessary confusion in the violinist's mind,
and is the source of serious errors in the choice of
fingering.?
Changing Position
Changes of position should be executed along a
single string. Or, stated conversely, the simultaneous
change of strings and position should be avoided. This
well-known teaching principle of Maestro Andres Segovia is
clearly visible from an analysis of the fingerings in his

g
Diatonic Major and Minor Scales. In the entire pedagogical
collection every change of position (ninety-four of them)
is executed along a single string. Figure 77 shows Maestro
Segovia's fingering for the three-octave G major scale.
Another example of this consideration is shown by the com
parison of contrasting versions of the Mexican folk song
7. Ibid.
8. Andres Segovia, Diatonic Ma.jor and Minor Scales

(Washington, D.C.: Columbia Music Co., 1953).
106
© 1
K I © 10 1@ : I® 71 3 A
) \ > i *> ° a
„ o *° " -
-A/ 0 O *? U T
• 33 JT 1 3
1 7 1 2 4
® 1
„ 3 1 3 J, 3 1 , 2 © 1
) jl i ^ T 3 ' ^ ' 0 '

^ ^
® ^ O
3 1 /
4 O
2 1 4% •••
glf
Figure 77. G Major Scale as Played by Andres Segovia
"Nieve Blanca de la Sierra." Figure 78 illustrates a
fingering which employs a simultaneous change of string and
position. The fingering of Figure 79 provides for greater
accuracy and security by keeping the fingers on the fifth
string during the change from seventh position to second.
The accuracy and security of the above consideration
lies in the fact that the fingers use the common string to
guide them into the new position. In fact, one of the

107
Allegro non troppo
© ©- Q 1 ©
IB: ~9
1 3 U
2 u
U
© © ©
iV IJ—J1 <2 —J /—J
—J
1 A
Figure 78. "Nieve Blanca de la Sierra" (Measures 1-4)

Employing a Simultaneous Change of String and
Position
108
Allegro non troppo

© G)— <5>- <5>-
in ^ ~r
1 A A
Figure 79. "Nieve Blanca de la Sierra" (Measures 1-4) Uti

lizing a Single String for the Change of
Position
fingers, not necessarily a finger being used in the stopping
of the string, assumes the role of guide finger. At times,
the following subtle technique may be employed: Although
it cannot be included in the notation, a finger may be used
as a guide finger even though it has not been previously
used. In a portion of the "Fugue" from Sonata No. 1 in G
Minor for Unaccompanied Violin by Johann Sebastian Bach
(Figure 80), the 1st finger should move to the new string
before each change of position is made. This allows the
finger to "feel" the new string before any shift is executed
and to become a guide finger into the new position. Thus,
a simultaneous change of strings and position is avoided.

109
Figure 80. Bach, "Fugue" from Sonata No. 1 in G Minor for

Unaccompanied Violin (Measures 93 and 94)
When a move from one position to another is neces
sary, all movement should be in the direction of the new

9
position. ". . . finger in the direction of the passage."
This important point can be seen by comparing different
fingerings to an excerpt from Etude Fiir Violin by Johann
Filip von Schentz (Figures 81 and 82). The passage moves
from fourth position to twelfth. Figure 81 breaks up the
overall musical thought by moving away from the goal of
twelfth position. It moves from position four back to
9. Warren Benfield, op. cit., p. 19.

110
Animato
Figure 81. Schentz, Etude Fur Violin (Measures 1-8) Moving

Away from the Final Goal of Twelfth Position
position three, then back again to position two before
finally proceeding to position twelve. Figure 82 avoids the
expending of unnecessary energy by moving in the most direct
route to the final goal (position four to nine to eleven
to twelve). Once the momentum is begun for the new position,
it is maintained in order to produce the smoothest and most
secure playing.
Ill
Animato
Figure 82. Schentz, Etude Fur Violin (Measures 1-8)

Utilizing Direct Movement to the Final
Goal of Twelfth Position
112
Consecutive Notes on Different Strings
When consecutive notes are to be played on different
strings, it is desirable to use different fingers for each of
the notes in order that performance security and the legato
style be maintained. The performance security of this prin
ciple lies in the ability of another finger to carefully
prepare for the second note while the initial finger is in
the process of holding the first note. "Maximum coordina
tion of the playing mechanism (the hand) can be achieved by
mental and physical preparation. Preparation in this con
text means placing the fingers on or above as many keys as
possible ahead of the time they have to be played.
Finger preparation also contributes to the production of the
legato style. Using different fingers on two notes on dif
ferent strings can permit the smooth connection of notes—
the first note is released at the same instant that the
second note is sounded. This procedure is impossible if the
same finger is used for both notes. As the finger moves
from the first note on its way to the second, a break in the
sound will occur because the initial string will cease to
vibrate as soon as it is released.
The above points may be illustrated by comparing
three fingering solutions to the first four measures of
La Tersicore del Nord, Op. 147, No. 12, by Mauro Giuliani.

113
#9
Figure 83 shows the 1st finger moving from the c to the
a1 in measure two. This procedure produces a break in the
musical line.
Allegretto
O
CD
2 1
i J Q 1
3 4
i m
1
'2 1
sr
Figure 83. Giuliani, La Tersicore del Nord, Op. 147, No.

12 (Measures 9-12) Using the Same Finger for
the c#2 and a^ in Measure 2
Figure 84 utilizes the hinge-bar. As discussed previously,
the hinge-bar is sometimes used in these instances; but
using a portion of a finger close to the hand is more awk
ward than using the tip of another finger because the hinge-
bar requires a single finger to execute contrasting move
ments simultaneously—releasing one string while depressing
another. In Figure 85, the use of independent fingers and
muscles allows for maximum preparation and control.

114
Allegretto
ciilL. <D
^=\ f-
+
;
*— f
1 o I
s 3
l U n J > » 1 *
v Z f —U= -L
©
u
j—
0 f n 0 1f
w ..J rl
4P 1 L
Figure 84. Giuliani, La Tersicore del Nord, Op. 147, No,

12 (Measures 9-12) Using the Hinge-bar in
Measure 2
Allegretto
2
© Q)
m
4L. -3 1
t 0 s *
is
i * Anh.—1
Figure 85. Giuliani, La Tersicore del Nord, Op. 147, No.

12 (Measures 9-123 Using Different Fingers
for the c^2 and a in Measure 2
115
It may be observed also in Figure 85 that when dif
ferent fingers are used to hold consecutive notes that fall
within the same fret, the finger nearest the head of the
guitar holds the lowest-pitched note. This principle allows
the fingers to fall onto the fingerboard in the mopt natural
position. "Whenever fingers are . . . compacted in a close
spacing, some outward turn of the hand is natural. This
takes a small rotation of the forearm, pivoting from the
elbow and on the tip of the thumb.11 The fingering given
in a portion of the Spanish folk song "Suenos Tristes"
(Figure 86) requires an awkward and difficult inward turning
of the wrist. A better selection to the same passage,
allowing an outward turn of the hand, is given in Figure 87.
Grazioso
Figure 86. "Suenos Triestes" (Measures 1 and 2) With

Awkward Fingering
11. Charles Duncan, Op. cit., p. 16.

116
Grazioso
Figure 87. "Suenos Tristes" (Measures 1 and 2) Utilizing

a Natural Position for the Hand
Open Strings
As stated previously, the use of open strings in
melodic playing may not be desired because of the lack of
control over duration, timbre, and vibrato. In solving
awkward fingering problems and in changing positions, how
ever, the use of an open string may be of value. In the
first four measures of Inventio VIII by Johann Sebastian
Bach (Figure 88), the given fingering is secure except for
the awkward jump of the first finger between measures three
and four. This move creates a severe break between the b1

#2
and g . As shown in Figure 89, the use of an open string
makes the execution of the passage much easier and produces
a smoother connection between the notes.

117
Vivace ® ®
Figure 88. Bach, Inventio VIII (Measures 1-4) With Awkward

Movement of the First Finger Between Measures 3
and 4
© ©
Vivace
Figure 89. Bach, Inventio VIII (Measures 1-4) Utilizing

an Open String
118
Study in A Major, Op. 60, No. 22, by Mateo Carcassi
(Figure 90), demonstrates the use of an open string to
facilitate many changes of position.
y
i!
Figure 90. Carcassi, Study in A Major, Op. 60, No. 22

(Measures 1 and 2)
1. In the playing of most melodic passages, a position
requiring little or no left hand movement should be uti
lized.
2. When changes of position are necessary, the
smallest number of shifts possible should be employed.

119
3. In changing positions, guide fingers should be
employed.
4. Different fingers should be used in the playing of
consecutive notes on different strings.
5. When consecutive notes fall within the same fret,
the finger nearest the head of the guitar should hold the
lowest-pitched note.
6. Open strings are often of value in solving difficult
fingering problems and executing changes of position.

CHAPTER 5
LEFT HAND FINGERING: HOMOPHONIC
AND CONTRAPUNTAL MUSIC
The ability to add accompaniment to melody, or other
melodies to a melody, helped the guitar earn its famous
description as a "little orchestra.""'" This is quite an
achievement considering that it must all be done with only
four left hand fingers * The task is musically accomplished
only if the fingers maintain their highest degree of inde
pendence yet work together in the most efficient manner.
Charles Duncan points out that "Most music for the guitar
. . . consists neither wholly of chords, scales, nor arpeg
gios, but of various combinations of the three. In the
playing of such music, the coordination techniques . . .

2
have their most sophisticated use."
The Bar
When playing homophonic or contrapuntal music, a
great deal of use must be made of the bar. The bar often
1. Andres Segovia and Vladimir Bobri, "A Conversa

tion," Guitar Review (Spring, 1978), p. 3.

Playing (Princeton: New Jersey: Summy-Birchard Music,
1980), p. 82.
120
121
allows the execution of passages that would otherwise be
impossible, or makes easier the execution of passages that
would otherwise be difficult. It should be kept in mind,
however, that depressing the strings by means of a bar
requires more physical exertion than using the tips of the
fingers. As Charles Duncan indicates, "Barred chords
present certain unique difficulties, even to advanced play
ers. The full bar in particular works at a mechanical dis
advantage compared to a curved finger. With the finger
fully extended, the joints cannot serve as fulcra, and the
flexor muscle hence can only partially contract."3 John
Duarte states that ". . . the use of excessive pressure on
the strings is not only wasteful but also introduces added
stress that inhibits the free action of the hand. 4
The use of the bar in measure four of Study in A,
Op. 6, No. 6, by Fernando Sor, causes an awkward shift of

1 #1
the 1st finger from the e to the g (Figure 91). A dif
ferent fingering solution for these measures eliminates the
use of the bar (Figure 92). The fingering given in

1980), p. 17.

122
Mi*—& 'i i1 * 1/" oj"
—tt -—•2'—3-^
r r f
CII , CII g
=;W=;
(f^ ^ 1 •) _-9
r ' Lf r
Figure 91. Sor, Study in A, Op. 6, No. 65 (Measures 5-9)
Utilizing the Bar
Allegro
Figure 92. Sor, Study in A, Op. 6, No. 6 (Measures 5-9)

Fingered to Eliminate the Use of the Bar
123
Figure 93 for the "Bourree" from the Lute Suite in E Minor,
by Johann Sebastian Bach, demands a continuous use of the
bar. The results are tension and fatigue.
Tempo di bourree
CVII | CV ,(:iv cV (:III ,
i AJL
- 0 ,t h n F
•
T r f T T
Figure 93. Bach, "Bourree" from the Lute Suite in E Minor

(Measures 13 and 14) Utilizing the Bar
Tempo di be>urree
n iL PP: si
""""
*
3
0 0J 0
!
T ' •r -r T T T
-f
•
Figure 94. Bach, "Bourree" from the Lute Suite in E Minor

(Measures 13 and 14) Fingered to Eliminate Use
of the Bar
124
The use of the bar in an excerpt from Etude in A Major by
Napoleon Coste creates an overlapping of pitches and demon
strates an improper concept of the melody (Figure 95).
Moderato
^ CDC j CII cni__ n
0
h— 5!—=;-S A €.
—
1 • .p
cJIX ,
1 i
N1 i ri i, 3 J J =
1
•I ^
Figure 95. Coste, Etude in A Major (Measures 1-4) Utilizing

the Bar
Another fingering solution eliminates the use of the bar
and allows each melody to be given individual attention
(Figure 96).
125
Moderato _
1 ®
~ =£- —t~ o o 0
0
rM J i «UJ A
-ff tL. f" if
«
=j
, 1i1i i .j j A
1
«
Figure 96. Coste, Etude in A Major (Measures 1-4) Fingered

to Eliminate Use of the Bar
Finger Preparation
Important reasons for preparing fingers in advance
of their use were discussed in the previous chapter with
regard to melodic playing. The same reasons support finger
preparation in homophonic and contrapuntal music: While
some fingers are playing certain notes, other fingers are
moving into position to play the notes that are to follow.
Two factors work together to accomplish this. First, the

126
fingering worked out in preparing the music is such that
fingers are left free to play notes that will follow.
Second, the fingers that are left free to play these coming
notes prepare themselves by moving as close to the notes as
possible before the notes must be sounded. This eliminates
large leaps and quick movements. The notes become much eas
ier to play, resulting in smoother and more secure playing.
This is illustrated in a passage from Country Dance by
Ferdinando Carulli as shown in Figure 97. The 4th finger

2
is used to play the d in order to leave the 3rd finger free
Moderato
3J
i
i-tU-J
,..p
o
i *
u
C)
T
0'* * *
f
r
1
1
M 2J J J ^ 1 °n, I
Y LLLT TR
& 1f f = "f °i I? ^
Lclf -r y
Figure 97. Carulli, Country Dance (Measures 9-16)

127
to play the g. The 3rd finger must move as close as pos-
2
sible to the g while the d is sounding. This preparation
of the 3rd finger, of course, cannot be notated.
The simultaneous sounding of two or more notes cre
ates a musical texture that is much more complex than the
melodic playing discussed in previous chapters. Some new
guidelines are necessary to deal with this added complexity,
but much of the following material is only a restatement of
previous principles examined in a different context.

Combinat ions
The discussion of finger combinations in Chapter 3
dealt with melodic playing. For the same reasons as given
there regarding the alteration of one finger with another,
it is advantageous to use stronger combinations of fingers
as two or more strings are held simultaneously. This can be
observed in contrasting fingering versions of a portion of
Asturias by Isaac Alb£niz. In measures three to six of
Figure 98, the simultaneous use of fingers 2, 3, and 4 is
required. Also, the finger combination 2-3 is repeated
eight times in those measures. The fingering of Figure 99
replaces the 2-3-4 combination with 1-2-4 and avoids com
pletely the weak 2-3 combination by replacing it with 1-2.

128
Moderato
CVII
00
© ©
f'©
CVII
Figure 98. Alb£niz, Asturias (Measures 31-37) Utilizing

Weak Fingers
129
CVII
00
ffl
Figure 99. Alb^niz, Asturias (Measures 31-37) Utilizing

Strong Fingers
130
Guide Fingers and Pivot
Fingers
As has been supported previously with regards to
the playing of single melody lines, extensive use should be
made of guide fingers. This principle is of equal impor
tance with the fingering and performing of homophonic and
contrapuntal music. Having a finger guiding along a string
as a group of two or more notes is approached is much more
secure than approaching the notes unprepared. The use of
guide fingers is illustrated in an excerpt from Study in C,
Op. 6, No. 8, by Fernando Sor (Figure 100) and in an excerpt
from Spanish Dance No. 5 by Enrique Granados (Figure 101).
Andantino
i>. J. ,
u
—A
2*
.4
3*
0
•
-4 Yfl
1C"
-A -J
% "3I 1 1 °r af >\- j
T "
0 •
-4-r-. r2^
t —& —tr*
-v §-» - 1 - 4 : * yf
-4 / s p 11
-3 1'
«
Figure 100. Sor, Study in C, Op. 6, No. 8 (Measures 1-5)

131
Allegretto
CVII r-J?
h £Tj-
,J
•r-f t-
©•
T
T
CVII
CD
=j ii
#
-4—0 4:-
NMM *
) {t r 3 * 3 W=
«
Q5 1 T
j &
Figure 101. Granados, Spanish Dance No. 5 (Measures 25-28)
In Figures 102 and 103 two versions of Estudio in A Minor by
Dionisio Aguado are given. The first version (Figure 102)
requires a change from first position to third position
without the utilization of guide fingers. The second ver
sion (Figure 103) allows the second finger to act as a guide
finger during the shift from first to third position.

132
Allegro
4^= 14M <

r 4 •4
-ff t - i r -—Zf
W i J
=*= /
«
f
f=-4^ f J
j
} Z
—J —J-
=^==
1#
4
#
Figure 102. Aguado, Estudio in A Minor (Measures 1-4)

Fingered Without Guide Fingers
J 4
1
H 4 / J
il f
W
*
%
4
1
— *-V —< J— * 1 # J ,..v -<l -j

5—*
•
Figure 103. Aguado, Estudio in A Minor (Measures 1-4)

Utilizing a Guide Finger for the Change of
Position
133
The subtle technique brought out in Chapter 4 under
"Changing Position" should again be mentioned here. As
stated earlier, it cannot be included in the notation, but a
finger may be used as a guide finger even though it has not
just previously been used. Also, a finger that has just
previously been used may guide the hand into a position that
will aid the use of another finger„ Figures 104 and 105
illustrate these points. Figure 104 presents a portion of
the "Aria" from Partita in A Moll by Johann Anton Logy. The

2
i_ in measure three is played on the second string for an
expressive effect. In order to make the move smoothly and
Tempo di aria
\ 1^ u rri——
—} a lJ * * ti'li 1 I —I
T T »R ' T ¥ U
i of .# - * * * y
® ©
) . r n ' - H - r i i r m 4—
(fp o J iJ &=
Figure 104. Logy, "Aria" from Partita in A Moll (Measures

9-12)
134
accurately, the fourth finger may be placed lightly on the
second string as the hand moves out of first position.

2
This finger is then used as a guide finger to the i_ ,
In measure three of Figure 105, fingers 1 and 2 are used
on beats one and three. The placement of fingers 3 and 4
on the second beat is more secure if fingers 1 and 2 remain
on the strings and "guide" the hand into the new position.
Larghett0
r?\
i
=j UN *—
1*
-U i :ti
•i ^
Hf)4- ^ "--a* w
•
r r f ^
Figure 105. Sor, Study in A Minor, Op. 35, No. 3 (Measures

1-4)
A pivot finger is a finger that remains in the same
place while other fingers move (pivot) around it. Because
of the continuous contact with a string, the use of pivot
fingers makes the performance of many passages easier and
smoother. As Vahdah Bickford states:

135
This manner of changing chords by leaving the finger
on the notes which are to be used in the next chord
(whenever possible) cannot be too strictly adhered
to, for it is only in this way that the change from
one chord to another may be smooth, and it also
enables the performer to play with greater ease,
for the finger which remains on the chord serves as
a sort of pivot for the next chord, aiding the other
fingers to find their places quickly. . . .5
In a passage from Study in B Minor, Op. 35, No. 22, by
Fernando Sor, the 3rd finger functions as a pivot finger.
This is shown in Figure 106.
Allegretto
SII
1
-fj-M-i rtJ f i r r#F r 1

«l ifVu '-h'1
~tki^ $ * 3 J f — ~ I J oL
«
jy U 'Ukf 1- j 1 u3|J Lf
Figure 106. Sor, Study in B Minor, Op. 35, No. 22 (Measures

1-6)
5. Vahdah Bickford, Method for Classic Guitar (New

York: Peer International Corp., 1964), p. 37.
136
Simultaneous Notes Behind
the Same Fret
For the simultaneous sounding of notes behind the
same fret, the finger nearest the head of the guitar holds
the lowest-pitched note. The basis of this principle is the
same as that previously discussed for the consecutive sound
ing of notes behind the same fret : The outward rotation of
the wrist necessary to hold these notes allows the fingers
to fall into the most natural position. The value of the
principle can be observed by comparing different fingerings
to the Study in D Minor, Op. 31, No. 16, by Fernando Sor.
In Figure 107 the fingers begin in basic position, but lack
of care in the preparation of fingers causes the fourth
finger to hold the note on the third fret of the fourth
Allegretto grazioso
1 0 °
. .a 3, nH9t >
H—
4=^ t r—2 P Hi9—
• f t —
—
grl
Figure 107. Sor, Study in D Minor, Op. 31, No. 16 (Measures

1 and 2) Using an Awkward Fingering
137
string while the third finger is holding the third fret of
the second string. This occurs in beat two of measure one
and again in beat one of measure two. The fingering pro
vided in Figure 108 gives the third finger the responsi
bility of holding the lowest-pitched note.
Allegretto grazioso
Figure 108. Sor, Study in D Minor, Op. 31, No. 16 (Measures

1 and 2) Using a Secure Fingering
Consecutive Notes on Different

Strings
As stated in Chapter 4, when consecutive notes are
to be played on different strings, it is desirable to use
different fingers for each of the notes. This same prin
ciple applies, but is sometimes disguised, when two or more

138
notes are to be held simultaneously. In Figure 109 the
fingering given to a passage from "Spanish Romance" by an
anonymous composer is awkward when progressing from measure
two to measure three. It requires that the first finger jump
quickly to the bar from its position on the first string.
Canta bile
4*=*=
i J jL ^
• '-Cr 1 iXr1"-4/ —
# j#
r r
cv
-MM
A
• r1 1 J
:
w—i F r
:~=tEf==ti ijj
r . \ i r . 1 rW
{
m r# M—
f r
Figure 109. "Spanish Romance" (Measures 1-4) With an Awk
ward Fingering
139
The better fingering provided in Figure 110 will not only
eliminate the awkward jump but also will allow the 1st fin
ger to prepare for the bar in advance.
Cantaloile
A
i J ji 7
4
* ^
'-Cr iXr,1
1
%
r r
cv -1
3J J J
A
J-î— -y -
— _J=
-Lr I l Lr [
P ,9 S—»-
r ^
jF-
-J-—.=
f
P
r
Figure 110. "Spanish Romance" (Measures 1-4) With
a Secure Fingering
140
Open Strings
It has been previously demonstrated that the use of

open strings is often of great benefit in alleviating fin
gering problems in melodic playing or in moving from one
position to another. Likewise, the use of open strings is
of great advantage in the playing of homophonic and contra
puntal music. The sounding of two or more notes simultane
ously is often made easier by the use of open strings, and
open strings may leave fingers free to prepare for future
placements. Both of these elements can be observed in
El Mestre by Miguel Llobet as shown in Figure 111.
Andante
Figure 111. Llobet, El Mestre (Measures 1-6)

141
should be utilized.
2. Guide fingers and pivot fingers should be utilized.
3. For the simultaneous sounding of notes behind the
same fret, the finger nearest the head of the guitar should
hold the lowest-pitched note.
4. When consecutive notes are to be played on different
strings, different fingers should be used for each of the
notes.
5. The use of open strings may make the playing of
simultaneous notes easier and may leave fingers free to
prepare for future placements.

CHAPTER 6
RIGHT HAND FINGERING
While the left hand is responsible for some elements
of expression (ligados, vibrato, and portamento, for exam
ple), most of these duties are given to the right hand. The
responsibilities range from basic elements of musicianship
such as separation of a melody from an accompaniment, loud
ness and softness, crescendo and descrescendo, accents,
staccato, and maintenance of a consistent timbre to a wide
range of effects such as rasgueado, tambora, pizzicato,
ponticello, sul tasto, using a lot of fingernail, and using
a small amount of fingernail. Some of these expressive
elements will be noted on the score, but most are left to the
the knowledge and selection of the performer. They do not
deal with fingering per se, but the conscientious applica
tion of good fingering will allow for easier execution of
the desired expression.
Basic Position
The utilization of basic right hand position as
described in Chapter 2 will be thoroughly discussed later
in this chapter, but as a "general consideration" it is
142
143
pointed out that the fingers which are not momentarily
needed may sometimes rest on the strings in basic position.
For example, in the measures shown in Figure 112, from Study
in C, Op. 60, No. 6, by Mateo Carcassi, fingers i^, m, and a
rest on the strings in basic position during that portion of
the music when the thumb plays alone.
M Fingers i, m, and a
Mod ato rest on the strings
a a in basic position.
IJ J IJ { ! I
it xJ Lf LLs r r r r r f rf?
P
3)
I J . f
J
ff
f
f r f
J ^jjj LXtt
1
Figure 112. Carcassi, Study in C, Op. 60, No. 6 (Measures

1-3)
144
The advantage of this concept is a maintenance of as much
contact as possible with the strings. John Duarte empha
sizes this point as he states:
With the right hand, the fingers may be rested on

the treble strings whilst the thumb plays on the
lower one, providing it is not necessary for them
to continue sounding. The thumb may be rested on
the bass strings whilst the fingers are used on the
higher ones, again with the same proviso. In both
cases this practice, which should be fostered at an
early stage in the development of technique, helps
to damp out unwanted sounds caused by resonance
(sympathetic vibration) of either the open strings
or their harmonics. When the thumb is rested, much
depends upon the nature of its attachment to the
hand. Some players can incline it so that it
touches more than one string, eg [sic] Segovia, but
without causing it to approach too closely to the
fingers; others cannot do this without dropping the
wrist toward the guitar and, in maintaining a good
right-hand position, can touch only one string. In
all cases the thumb should be rested lightly on
the strings, 'shadowing' the fingers at a constant
distance as they cross the strings (bass to treble
or vice versa); if it is anchored in one place the
fingers will progressively change their angle of
attack as the strings are traversed.1
Alternate Fingers
Whenever practical, repetition of a single finger
should be avoided„ If one finger is repeated successively
at even a moderate tempo, two problems are introduced.
First, the muscle of the finger does not have ample time to

nique (Borough Green, Great Britain: Novello & Co., 1975),
p. 36.
145
relax-and physiologically recover. This results in fatigue.
Julien Musafia brings attention to this: "When (muscular)
contraction is prolonged or repeated in quick succession,
the muscle fatigues, i.e., lactic acid and other waste prod
ucts accumulate in the tissue in excess of the ability of the
circulatory system to remove them„ A period of rest is then
mandatory in order to permit the tissue to recover
Second, the finger cannot mechanically recover
quickly enough to adequately prepare for proper approach to
the string. The importance of proper preparation is
explained by Charles Duncan"
In view of the presumably common origin of

string instruments, an analogy from archery seems
appropriate to describe the theoretical division of
a stroke into phases. The preparation corresponds
to notching and drawing, the execution, to aiming
and shooting an arrow. Tones that are thought of
thus as releases of energy will always sound freer
and more sonorous than if thought of as expendi
tures of energy.
It is possible to conceive a third stage to the
stroke, the recovery. In the sense of a connective
movement that links each execution with the next
preparation, it is undeniably part of the overall
cycle. But it is not the product of a positive
playing impulse. Rather it is a reflex movement
and should approach the speed limit of our tech
nique, the effort required for recovery increases.
Movements become involuntarily larger as the fingers
work harder to return to a usable position. The
more exaggerated the recovery, the more uncontrolled
the playing. At the limits of technique, there are
only helpless, flailing recovery movements, which
2. Julien Musafia, The Art of Fingering in Piano

Playing (New York: MCA Music, 1971), p. 2.
146
physiologically represent an overload—on the weak
extensor muscles in particular and on the nervous
system in general.^
The repetition of a single finger in Sonata in A Major by
Ferdinando Carulli (Figure 113) results in the abovementioned
exaggerated recovery and uncontrolled playing.
Allegro
i i i i i i i i i i i i i i i i
-J -J- -J- -4- -4 -*- -*• -J- -J-

-*• ~i *• S J
I iJ.
- S f ± - - r
tlUtl ©
©© 1 ©© 1
i i i i i i i i
i i i i i i i
urn A 2
hi
I 3C
* i * *
© © «<D ©
r
Figure 113. Carulli, Sonata in A Major (Measures 27-30)
Requiring Repetition of the i Finger

1980), p. 48.
147
Another right hand fingering for this passage (Figure 114)
utilizes the alternation of fingers. This allows one finger
to prepare and execute a stroke while another finger is
recovering.
Allegro
a jl m i m i m i m i n i m i n i
NJ . J> —4UJ l i J J U J J
/
A
<] jf—A
=*1>_J_C —r
p . — z—f—— 0. f f Ff =f=J
TJJJt
©
©0 1 © ©-
m i m i m i m i
m i m l a n l
1
i M
fn
£
ZK=Z==Z
1 f
© © ©© '
Figure 114. Carulli, Sonata in A Major (Measures 27-30)

Utilizing Alternation of i and m
148
A fingering of the "Bourrê" from the Suite in D
Minor by Robert de Vis£e (Figure 115) keeps the hand in a
natural position by having i play all of the notes falling
on the second string and m play all of the notes of the
first string. This results in execessive repetition of both
the i. and m fingers. A more desirable solution is supplied
in Figure 116.
'
Teapo di bourree
l m m I m E m i n n
=J —T—ltf «5 4 ~ j ^ °J ,
V
\>v £ $
zr
«
r 3^
n i i m m mm i
)i.nf:i
*fj i ni |.i
-K
«
T r T *7 °t 1
t
Figure 115. de Vis£e, "Bourrê" from the Suite in D Minor
(Measures 1-4) Requiring Excessive Repetition
of i and m
149
Tempo di bourree
i m GL JL n i m i m i
=J ;> r°> =^ J — 4 — — •A-4- i 1

42r f (
t
r 1 T—
• i m a m i m i
=|f r ' n f l ^1
/-
r&
L_ rl
«
°r T T >T °T f
Figure 116. de Vis£e, "Bourree" from the Suite in D Minor

Fingers
Figure 117 shows a fingering of Study in A Major,
Op. 31, No. 19, by Fernando Sor, which keeps the right hand
in basic position but which requires the thumb alone to play
the rapid thirty-second notes. The fingering solution given
in Figure 118 allows the rapid notes to be executed by an
alternation of £ and jL.

150
Molto moderato
CII
m
4
ii
1
t „ -rrsr*'
7 ri V
b .a«
V H
|LSBT mi
p p p p p
P P P PP P P
i M &
p p? p p
Figure 117. Sor, Study in A Major, Op. 31, No. 19 (Measures

40-42) Requiring £ to Execute Rapid Thirty-
second Notes
151
Molto moderate*
Gil
pa-#
I
fr
r
551
~®z~ » a
o ^
^ -#• ^ -#• -#•
ILIBJ P p i pi p
I
p 1 p i p
©
y e-
• "
r TTTT
p i P i p
Figure 118. Sor, Study in A Major, Op. 31, No. 19 (Measures

40-42) Utilizing an Alternation of Fingers on
Rapid Notes
152
In Figure 119, Study in C by Dionisio Aguado, it
is impossible to alternate fingers in measures one through
four; but as soon as the music permits (measures five
through eight), the alternation of fingers is resumed.
Allegretto
a a a a a a
m m m m in in
T T
P P
f T T
P P
t
a m 1 n i m
•-= 9-
f
r r
Figure 119. Aguado, Study in C (Measures 1-8)

153

Combinations
As with the left hand, as much work as possible
should be delegated to the stronger fingers and the stronger
combinations of fingers instead of weaker ones. For the
same reasons as previously given, the strength or weakness
of finger combinations is as follows: The combination of
i-m is str-ong; the combination of i-a is moderately strong;
the combination of m-a is weak. Figures 120 and 121 show
contrasting fingerings to Etude de Genre, Op. 36, No. 22,
by Napoleon Coste. The fingering of Figure 121 is the most
efficient and secure because of the use of a strong finger
combination.
Allegro moderate*
n a n a
m a m a in a m a cl a m a 1 =]
JL -J-
-UA=—+ 4 4 J
J jl
d J
=$Idb i c *
j *
? 'u 7 j
Figure 120. Coste, Etude de Genre, Op. 36, No. 22 (Measure
1) Utilizing Weak Fingers
154
Allegro moderato
m i n
i a i m i m i e L m i rt =\
1
S- -J-
4 J # 4
4 4 4 # 4 # J
4
t ' U f 7 T
Figure 121. Coste, Etude de Genre, Op.. 36, No. 22

(Measure 1) Utilizing Strong Fingers
The structure of the hand sets the thumb apart from
the other fingers.^ This is advantageous in relation to the
guitar strings, allowing the thumb to be responsible for
bass notes while the other fingers are responsible for the
5
higher-pitched notes. Julien Musafia concurred with this
thought by saying:
Extension of the hand is more difficult than con

traction, since the normal state of the hand is
contracted. Of all the fingers, the thumb is
best equipped for the movement of abduction and
adduction because its strength lies in the
5„ John Duarte, op. cit., p. 20.

155
direction of opposing the other fingers. . . . The
thumb should play one of the notes of an interval
involving extension of the hand.
7
Also, the "great flexibility of its root joint" allows
the thumb to work in alternation with the other fingers (as
previously demonstrated in Figure 118). However, the thumb
poses some special considerations in terms of finger
combinations. Jozsef Gat points out that, "The (thumb) is
clumsy and slow and because of its base joint—enabling the
thumb to stretch and move diagonally—is less suited to
velocity than that of the other fingers. (The base joint
of the thumb is not the articulation of the metacarpal bone
and the first phalanx, but of the metacarpal and carpal

O
bones.)" From this it may be concluded that the thumb
(being more clumsy than the other fingers) can easily produce
a timbre different from that produced by the other fingers.
In melodic passages, therefore, the guitarist must give more
attention to maintaining a consistent timbre when alterna
ting the thumb with another finger than when alternating
fingers other than the thumb. For this reason, the desire
for minimum physical effort indicates that it is better
to finger melodic passages using combinations of i.-in-a
than combinations of ]3-i-ro-a. however, an uneven
7. John Duarte, op. cit., p. 20.
8. Jdzsef Gat, The Technique of Piano Playing

(London: Collet's Holding Ltd., 1965), p. 192.,
156
timbre is desired in a melodic passage—accented notes,
for example—the thumb can easily be employed for that
purpose„ In this respect, the thumb should be given the
accented note because it can be strong "... when it is
used as an inarticulate extension of the forearm or in con-

9
junction with a motion of the wrist." It can be observed
that when £ wa.s used in conjunction with i in Figure 13, £
was given the accented portion of the beat.
Basic Position
In basic position i^, m, and a fall naturally on the
lower-pitched strings to the higher, respectively,1^ In
the fingering of guitar music, students should be more
aware of the advantage of utilizing this order of the
fingers, i.e., the advantage of "least physical exertion."
As can be observed in Figures 122 and 123, most
arpeggios, if not played from basic position, can be played
from a very slight modification of it. Figure 122 is a
portion of Prelude in C by Mateo Carcassi. Figure 123 is
from Study in G Major by Dionisio Aguado.
9. Julian Musafia, op. cit., p. 1 „
10. Richard Greene, "Guitar Forum," American

String Teacher (Spring, 1979), p. 41.
157
Allegro a
jL H
D
# / J
-J r
fl
«
T
Figure 122. Carcassi, Prelude in C (Measures 1 and 2)
Moderato
I3 1L 11 Ci ]L n a 11 L IBa:L I5 L n:i i Dl an L eI 1a L
P
It ll
-J -J
J -J-0-J -4
5
M. £
CJ -4 -J -0
0 i > .0 d 0 0 0
L 01 1
r
• • J
Figure 123. Aguado, Study in G Major (Measures 1 and 2)

158
The fingering of homophonic music can nearly always
keep the fingers close to basic position. This is demon
strated in Estilo Popular Argentino No. 1 by Miguel Llobet
(Figure 124) and Study in D Major, Op. 35, 17, by Fernando
Sor (Figure 125).
CII
a a
©CD © ©@
Allegro a m P i Pi pi
i m m m
4
I i ~ar
3=
rn s"
1V k -+3+-e
'1 y B
—*
'^ i ^7° F
r
en
i jjl
n €L
Figure 124. Llobet, Estilo Popular Argentino No. 1 (Mea

sures 18-20)
159
Allegro grazioso
a me a
m
1 r-
}) 4—
h y i
•
P
Figure 125. Sor, Study in D Major, Op. 35, No. 17 (Mea

sures 1 and 2)
The first two measures of Lagrima by Francisco
T£rrega exemplify fingerings which combine the natural
order of the fingers as found in basic position with the
use and alternation of strong fingers. These measures are
shown in Figure 126.

160
Andante
n m m a
/
A .J: . 1 . .=
«
+ [J 0 U r H
p i p i p i m
i m
p m
Figure 126„, T£rrega, Lagrima (Measures 1 and 2)
In the fingering of scale passages and contrapuntal
music, the natural position of the fingers can be main
tained between i, m, and a by not crossing (reaching "over")
m with i or not crossing a with either i or m to play a
higher-pitched string and by not crossing (reaching
"under") m with a or not crossing i with either m or a to
play a lower-pitched string. The security, of this practice
may be demonstrated by comparing contrasting fingerings to
the Fugue in A Minor by Domenico Zipoli (Figures 127 and
128). The solution provided in Figure 128 is stronger than
that of Figure 127 because awkward string crossing is
eliminated.
161
Allegro (2) © ©
* 2
) M 1 ; > l i t • n : i f r n E ^
-ff H
[> ' 1—L 1 [J_J Ll-J
«
i m i m i m i m i m i m
Figure 127. Zipoli, Fugue in A Minor (Measure 1)

Containing Awkward String Crossings
Allegro
(D © cD
1
3 4 2
4
Û-.i+p— i__, 2
0
91 0
1 2 *
* *
LX-T =b=J=
-r—f—
p r u
•
m i m i m i m i li L ta i
Figure 128. Zipoli, Fugue in A Minor (Measure 1) Containing

Secure String Crossings
162
When scale passages have infrequent changes of
strings, the use of strong fingers and the maintenance of
momentum may allow the "crossing" of fingers. An example
of this aspect of right hand execution is observed in the
fingering of an excerpt from Fantasia by Alonso de Mudarra
(Figure 129).
Moderato
Figure 129. Mudarra, Fantasia (Measures 17-20)

163
But when frequent changes of strings occur, arranging the
fingers so that they remain in the most natural position
makes the execution of the passage much easier and more
secure. For example, Figure 130 is a passage from Concerto
in A Major for Four Violins by Georg Philipp Telemann. The
fingering provided contains many awkward string crossings.

Figure 131 provides a more desirable fingering solution for
the same passage.
Allegro
© ©@ ©
U 1 2 A 1' A
i
2
U U
imimimimiinim lmimimimi mim
Figure 130. Telemann, Concerto in A Major for Four Violins

(Measures 20 and 21) Containing Awkward String
Crossings
A2•legr0
2
i <3XD 2
1I 2
\
i 1 2 4 +
U4-f
I —u
t- fL.9- K_
rfn f ~T~]
L E=j
EI
ffl
C E= CZ
jJU*
• i11 2L m iL oi :Lm i m ini i Bi :i i ii jL ni i ]hi :i iii JL al dL
Figure 131. Telemann, Concerto in A Major for Four Violins

(Measures 20 and 21) Containing Secure String
Crossings
164
As Charles Duncan states, "Alternation of the
stronger _i-m pair is the most reliable way to play fast
passages."11 However, the occasional use of the a finger
dispersed among the alternations of i and m can be a valu
able aid, at times, to keeping the fingers in a natural
position. This may be observed in a portion of Minuet by
Leonhard von Call as given in Figures 132, 133, and 134.
Any attempt at a fingering solution that did not utilize the
a finger would result in either the awkward string crossing
Tempo di minuetto
2 1
1 4-
i
-+ _ 1
f r
sm
i m i m i m , i m i m i E
i m i m i m
weal:
2 1
i Mr r
i i a i m i m i m i m i m
weal:
Figure 132. Call, Minuet (Measures 30-34) Containing

Awkward String Crossings in Measures 2 and 4
11. Charles Duncan, op. cit., p. 74.

165
in measures two and four of Figure 132 or the awkward
string cross and wide reach in measures one, three, and five
of Figure 133.. As shown in Figure 134, the brief use of the
a finger resolves the string crossing and reach difficul

ties.
Tempo di minuetto
O 2 1
© ©
1 A
)l 3
m a a a m I m i n i
m in I m x
WO weak
© ©
i in i
m
—( f
n i m i
——m
. m
£ : e
i n i m l
weak
Figure 133. Call, Minuet (Measures 30-34) Containing

Awkward String Crossing and Wide Reach in
Measures 1, 3, and 5
166
Tempo di minuetto
O 2
1 1 U
©
i¥ f a
x a m x m x
jf-
m x m x m x m a m x m x
i
u
u
m i m i m i m a m i m i
Figure 134. Call, Minuet (Measures 30-34) Containing Secure

Reaches and String Crossings
1. In melodic playing, the fingers should work in
alternation. In the playing of homophonic and contrapuntal
music, repetition of a single finger should be avoided when
ever practical.
2. The fingering of melodic passages should avoid
extensive crossing of fingers when changing strings.
should be utilized.
4. The fingering of most homophonic and contrapuntal
music should keep the fingers in the natural order as found
in basic right hand position.

CHAPTER 7
APPLICATIONS, EXCEPTIONS, AND SUGGESTIONS
FOR FUTURE RESEARCH
Application
The considerations presented in this document should
be applied to all levels of guitar instruction. At the ele
mentary level, when study is primarily confined to melodic
playing in the first position, the following principles of
fingering should be emphasized:
1. Basic left hand position should be utilized.
2. Different left hand fingers should be used in the
playing of consecutive notes on different strings.
3. When consecutive notes fall within the same fret,
the left hand finger nearest the head of the guitar should
hold the lowest-pitched note.
4. The right hand fingers should work in alternation
in melodic playing.
5. The right hand fingering of melodic passages should
avoid extensive crossing of fingers when changing strings.
As the student becomes familiar with the notes
throughout the guitar fingerboard, emphasis should be placed
on the following fingering considerations:
167
168
1. Most melodic passages can be played in a position
requiring little or no left hand movement.
2. When changes of position are necessary, the smallest
number of shifts possible should be employed.
3. In changing positions, guide fingers should be
employed.
should be utilized.
5. Open strings are often of value in solving difficult
fingering problems and executing changes of position.
6. The right hand fingering of arpeggios should keep
the fingers in the natural order as found in basic position.
In the study of homophonic and contrapuntal music
and, as the student becomes more aware of the subtle aspects
of music, the fingering considerations to be stressed are:
1. For the simultaneous sounding of notes in the same
fret, the finger nearest the head of the guitar holds the
lowest pitched note.
2. Open strings are often not desirable due to the lack
of control of vibrato and duration.
3. Open strings may be used to alleviate fingering
difficulties, to change positions, and to prepare fingers
for future material.
4. Pivot fingers should be used whenever possible.

169
5. Whenever practical, repetition of a single right
hand finger should be avoided.
6. The right hand fingering of most homophonic and
contrapuntal music can keep the fingers in the natural order
as found in basic position.
7. All fingerings should complement the style, charac
ter, phrasing, and expression of the music.
The topic of guitar fingering can be presented in a
variety of ways. An instructor should constantly discuss
and/or make the student aware of fingering principles
utilized in all of the music performed by that student.
Additionally, the instructor should supply the student with
specific exercises dealing with the topic of fingering:
1. Error detection drill—"What errors exist in the
fingering of the following passage? Supply a better finger
ing."
2. Fingerboard drill—"Each of the following passages
can be played in a position requiring no left hand movement.
Discover this position for each passage."
3. Change of position drill—"Supply fingerings to the
following passage that will accomplish a change from fifth
position to seventh position."
4. Guide and pivot finger drill—"Identify the use of
guide and/or pivot fingers in the following passage."

170
5. Music analysis drill—"Analyze the following passage
in terms of tempo, style, character, and composer, and
supply an appropriate fingering."
Exceptions
In the fingering of complex guitar music, many excep
tions to the principles presented in this document will,
necessarily, be made; or the adherence to one principle may
cause the violation of another. For example, in the portion
of Fernando Sor's Study in B Minor, given in Figure 135, the

#1 9
2nd finger must jump from the a to the d between measures
Modera- jO
f J"
2 j
«
Lff Lf
f
Llir '|- Lj 1
J J
-v>-J ; n LJ—
r r JL^fr 171^ J By ffg— p
Figure 135. Sor, Study in B Minor, Op. 35, No. 22 (Measures

19-22)
171
two and three. The break in the sound occurring at that
point is difficult to conceal, but the given fingering is
the only practical solution because the other fingers are
needed for other notes. Another common exception to the
principles given in this dissertation deals with the use of
guide and pivot fingers. The stability of leaving a finger
on a string may allow the hand to move temporarily out of
the most natural position. This can be observed by examining
measure three of Study in C Major by Mauro Giuliani (Figure
136). The security and smoothness obtained by leaving the
Andante
it r°i n n
il=z=:&==9==t==t=i—
r"i m i nn
4 4 * TFPl
] 'i/ i r r
*""o|
t H
J ^
•i9 -f— —9— -4~ 133—
-0-—0 S
T i T
Figure 136. Giuliani, Study in C Major (Measures 1-4)
1st finger in place throughout the measure and the use of a
guide finger between beats three and four allows the 2nd
finger to hold the _f while the first finger is holding the
c2.
When considering exceptions, it is emphasized that
the principles presented in this work were directed toward
a legato style of playing with the most security and the
least amount of effort. The principles should, therefore,
be given strict consideration whenever the stated objectives
are desired.
Suggestions for Future Research
Guitar fingering is an important and interesting
topic of study. It is hoped that this introductory document
will encourage future research within this subject area.
Some of the possible directions that such research might
take include:
1. Comparative studies of the fingerings by well-known
artists in published guitar works. Such studies might
include factors such as the physical structure of each
artist's hands, the type of hall or surroundings in which
each artist usually performs, and each artist's ideas
regarding interpretation and style.
2. An assessment of musical growth in guitar classes
which present the topic of fingerings. Comparative studies

173
could be conducted between classes which teach and those
which do not teach the principles of guitar fingering.
3. Studies of guitar fingering as related to an historic
style or time period.
4. Studies of current trends related to guitar finger
ing. One such area for examination might be the development
of the guitar quartet which utilizes four sizes of instru
ments. Should players of the smaller instruments follow
the same fingering principles as those of the standard-size
guitar? Should the players of the larger instruments use
the left hand thumb in front of the fingerboard to stop
strings, i.e., as in cello technique?
The ultimate value of a study of guitar fingering
is that it combines with the study of other elements of
technique and performance to produce a literate and inde
pendent student who has the knowledge and ability to express
himself/herself musically and confidently. As Andres
Segovia states, "You should strive to become the first
Yourself, not the second Segovia."1

nique (Borough Green, Great Britain: Novello & Co., 1975),
p. 8.
A SELECTED BIBLIOGRAPHY
Books
Apel, Willi. Harvard Dictionary of Music . (2nd ed.)

Cambridge, Massachusetts: The Belknap Press of the
Harvard University Press, 1973.
Bach, C. P. E. Essay on the True Art of Playing Keyboard

Instruments. Translated & edited by William
Mitchell. New York: Norton & co., 1948.
Benfield, Warren. The Art of Double Bass Playing.

Evanston, Illinois: Summy-Birchard Co., 1973.
Bickford, Vahdah. Method for Classic Guitar. New York:

Peer International Corp., 1964.
Czerny, Carl. Letters to a Young Lady on the Art of

Playing the Pianoforte. Edited by R. Cooke.
London: Bertram Rota, LTD., 1842.
Didio, Liberato. Synopsis of Anatomy. Saint Louis:

C. V. Mosby Co., 1970.
Duarte, John. The Bases of Classic Guitar Technique.

Borough Green, Great Britain: Novello & Co.,
1975.
Duncan, Charles. The Art of Classical Guitar Playing.

Princeton, New Jersey: Summy-Birchard Music, 1980.
Flesch, Carl. Violin Fingering. Translated by Boris

Schwarz. London: Barrie & Rockliff, 1966.
G£.t, Jozsef. The Technique of Piano Playing. London:
Collet's Holding, Ltd., 1965.
Gilmore, George and Mark Pereira. Guitar Music Index.

Honolulu, Hawaii: Gilliard Press, Ltd., 1976.
Green, Elizabeth A. H. Teaching Stringed Instruments in

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A Guide To The Fingering of Music For The Guitar

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SHERROD, RONALD JERONE

A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR

The University of Arizona A.MUS.D.

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MUSIC FOR THE GUITAR

Ronald Jerone Sherrod

A Dissertation Submitted to the Faculty of the

In Partial Fulfillment of the Requirements

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

As members of the Final Examination Committee, we certify that we have read

the dissertation prepared by RONALD JERONE SHERROD

entitled A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR

and recommend that it be accepted as fulfilling the dissertation requirement

for the Degree of DOCTOR OF MUSICAL ARTS .

1Tj&A, pate '

Final approval and acceptance of this dissertation is contingent upon the

I hereby certify that I have read this dissertation prepared under my

This dissertation has been submitted in partial

Brief quotations from this dissertation are allow­

My sincere appreciation is extended to Dr. John

Fitch of the University of Arizona School of Music for his

time, availability, and valuable assistance with this

LIST OF ILLUSTRATIONS vii

The Need for the Study 1

2. NOTATION AND FUNDAMENTAL CONCEPTS 28

Letter Notation of Pitch 28

3. LEFT HAND FINGERING: MELODIES ON A

TABLE OF CONTENTS—Cont inued

4. LEFT HAND FINGERING: MELODIES PLAYED

5. LEFT HAND FINGERING: HOMOPHONIC

General Considerations 120

6. RIGHT HAND FINGERING 142

General Considerations 142

7. APPLICATIONS, EXCEPTIONS, AND SUGGESTIONS

A SELECTED BIBLIOGRAPHY 174

1. Letter Notation of Pitch 29

2. Left Hand Finger and String Designations .... 29

3. Application of Finger and String

4., Le Roy, Branle de Bourgoine (Measures 1-4) ... 31

5. Basic Positions for the Left Hand 31

6. Coste, Study in A Major (Measures 9-12) .... 33

7. Paganini, Caprice, Op. 1, No. 21

8. Scarlatti, Sonata, L. 463 (Measures 1-5),

9. Bach, Prelude for Lute, BWV 999

10. Tarrega, Study in E Major (Measures 9-12) ... 37

Brief quotations from this dissertation are allow