Classical guitar technique
The subject of this article is the technical basics of the classical guitar as it has developed over the course of two centuries. The term playing technique refers to questions of posture and motor skills . For the technique of guitar playing, the principle of movement economy applies in the first place . A movement is economical if it takes place with the least possible motoric effort, thereby guaranteeing safety and energy-saving.
attitude
When holding the guitar, it is important to ensure that it is functional on the one hand, but also as gentle on the body as possible and appropriate to the body. The classical guitar is usually played sitting down, with the instrument resting with the central indentation on the side of the player's left thigh. A diagonal orientation of the guitar is required to give both hands optimal access to the instrument. The head of the guitar is roughly at the musician's head, the guitar neck is inclined, while the body of the instrument rests on both thighs.
The diagonal alignment of the instrument can be achieved in two different ways: Either the left leg is brought into an elevated position by placing a footstool under it, or a guitar support (e.g. Gitano, Ergoplay Tappert, Efel, Ponticello) can do this Erect the instrument in the neck and head area.
Last but not least, it is helpful not to align the top of the guitar completely frontally, i.e. at a right angle on the thighs, but to tilt it upwards at a slight angle (approx. 10 degrees). This slight inclination of the guitar allows the player a better eye control of the game but is also motorized sense because the weight of the gripping hand, by this attitude are used to enhance the gripping pressure (which especially in Barre is useful handles with).
The right forearm rests on the edge of the frame near the elbow, while the left arm only has contact with the instrument via the hand. The back is straight.
Gripping hand
The starting position for the gripping hand is called the basic position . For these applies:
- The fingers grip the frets tightly
- The fingers don't touch
- The thumb rests under the fingerboard, approximately at the level of the 2nd finger. If you look at the player from the front, the thumb of his gripping hand cannot be seen because it is located under the fingerboard.
- There is no contact between the palm and the fingerboard
Basic rules
- The fingers do not move far from the fingerboard, they always float close to the fingerboard
- The fingerings are to be created in such a way that there are always short distances for the fingers . That means: If a finger has to change position, the distance to the next grip point should be kept as small as possible.
- When the strings are pressed down, the finger joints of the gripping hand must be prevented from being pressed through, i.e. being stretched against their natural bending direction
- The fingers move independently of each other. If the movement of one finger triggers the reflex-like movement of another finger, work towards a "decoupling" of the fingers through regular practice. The independence training of the fingers is an important part of the technical training.
- If a change of position is necessary, this does not change the basic position of the hand. In this case, the hand moves parallel to the fingerboard. The thumb under the fingerboard also moves in a straight line when changing positions. And with other playing techniques, such as serve and trigger bindings, it is also important not to “tear” the parallel alignment to the neck axis, which is typical for the basic position.
Strike hand
Basic rules
- The wrist must be held still, it should not "jump". The fixation of the wrist is one of the primary educational tasks in teaching a target-oriented guitar technique.
- The fingers do not move far from the strings, they always stay close to the strings
- When viewed from above, the forearm and hand form a line. Viewed from the side (player's perspective), the hand is angled downwards from the arm at an angle of approximately 45 degrees.
- The strings are not struck at right angles with the fingers, but rather diagonally in the interests of a full tone. Only when using the register play (e.g. bridge register = sul ponticello) does a stop at right angles to the string make sense.
- Nowadays advanced players mainly use the nail game (see below).
- If the thumb and the other fingers pluck at the same time, which is the case when playing several voices, care must be taken to ensure that the plucking movement is in the hand and not away from the strings. The striking hand does not jump away from the strings, but remains largely fixed.
Supported and free stop
A supported attack (span: apoyando ) is when the touch finger falls on the neighboring string after the attack, and a free attack (span: tirando ) when the touch finger does not touch the neighboring string . Assisted attack is mainly used for playing melodies, as playing apoyando produces a full, powerful tone. The Tirando playing, on the other hand, is typically used for breaking chords ( arpeggi ) but also generally for polyphonic playing.
Register play
Depending on the position of the attack, different timbres ( registers ) can be generated on the guitar . A soft, metallic sound is achieved directly above the fingerboard and a hard, metallic sound directly on the bridge. There are different levels in between. Due to the different stop position, each register is also associated with different technical requirements.
Nail game
While there was still controversy in guitar circles at the beginning of the 20th century regarding playing nails, the use of nails has long been standard in classical guitar playing. Classical guitarists let the fingernails of the right hand grow until they protrude about 1–2 millimeters above the fingertip. With the help of nail files and very fine sandpaper, the nails are then arched - based on the shape of the fingertip.
Contrary to what the term "nail game" suggests, this type of attack is in no way limited to just plucking with the nail. Rather, the nail game is a combination of tip and nail stop, in which the string first slides over the fingertip and only then makes contact with the nail. Filing your fingernails correctly requires a lot of practice and experimentation, as it is important, on the one hand, to find the ideal arch shape for the nail and, on the other hand, to polish the fingernail sufficiently to avoid scraping and scratching noises.
Guitar technique in other styles
In the non-classical style areas, other technical priorities are sometimes set. For example, the position of the guitar in flamenco music (the instrument is placed on the right leg, which is angled on the left leg) differs from the classical position. In the areas of folk blues -Guitar, folk guitar and singer-songwriters there are other forms of entertainment and technology. Last but not least, the electric guitar also requires its own motor approach, as it is usually played while standing. Nevertheless, many of the classic basic techniques can also be easily transferred to other styles and instruments.
See also
swell
- Heinz Teuchert: The new guitar school. Volume 1: Accompanying songs, melody and solo play, classical and folklore. Ricordi 1984, ISBN 3-931788-36-9 .
- Hubert Käppel: The technology of the modern concert guitar: Detailed compendium on the basics and playing techniques of the guitar in the 21st century with a comprehensive, progressive exercise section. AMA-Verlag, 2011, ISBN 978-3-89922-143-5 .
- Dieter Kreidler: Guitar school: for individual or group lessons. Volume 1: Guitar. Schott Music, Mainz 1985, ISBN 3-7957-5400-3 .
- Frederick Noad: Solo Guitar Playing - Book 1st 4th edition. Amsco Publication, 2009, ISBN 978-0-8256-3679-0 .
- Aaron Shearer: Learning the Classic Guitar. Part 1, Mel Bay Publications, 1990, ISBN 0-87166-854-8 .
- Peter Päffgen: The guitar - history, playing technique, repertoire . Schott Music, Mainz 2002, ISBN 3-7957-2355-8 .
- Fabian Payr: "Finger Fitness for Guitarists". Ricordi 2005. ISBN 3931788997
References
- ↑ A change of position is a change in position of the left hand along the neck axis, in which the fingers move to a different fret.