Simplified View Of Guitar Right Hand Movements Playing Fingerstyle Guitar

Many times it is important to take a step back and observe the individual steps of the mechanism of firing the right hand (this is the usual plucking hand). By separating each element into simpler steps it is easier to identify problems in the execution. This by no means is an in-depth analysis of the movement. An entire chapter in many books is dedicated to the subject. However, this will serve as a starting point for those interested in this line of thought on right-hand movements.

The Importance of Guitar Right Hand Movements

The right-hand technique is of utmost importance in fingerstyle guitar playing. It is the hand responsible for plucking or strumming the strings, and it directly affects the tone, dynamics, and overall musicality of the performance. The following reasons demonstrate why the right-hand technique is crucial in fingerstyle guitar.

Tone Production

The way you pluck or strum the strings with your right hand greatly influences the tone you produce. Different parts of the finger (fingertip, nail, or flesh) can yield distinct timbres, allowing for a wide range of expressive possibilities. Developing control over your right hand allows you to shape the tone to match the musical context and your artistic intentions.

Independence and Coordination

In fingerstyle playing, each finger (thumb, index, middle, and ring finger) has a designated role in plucking specific strings. Developing independence and coordination among the fingers is essential to execute intricate patterns and melodies smoothly.

Expressiveness and Dynamics

The right-hand controls the dynamics and volume of the guitar. By adjusting the force and angle of attack with your fingers, you can create dynamic contrasts, accentuate certain notes, and add expressiveness to your playing.

Polyphony and Harmony

Fingerstyle guitar often involves playing multiple voices or melodies simultaneously. A strong right-hand technique enables you to play complex harmonies and polyphonic arrangements effectively.

Speed and Agility

An efficient right-hand technique enhances your speed and agility on the guitar. This is particularly important for playing fast-paced passages and intricate fingerpicking patterns.

Avoiding String Noise

The proper right-hand technique helps minimize unwanted string noise that can occur when transitioning between notes or chords. Controlling your finger placement and muting techniques ensures a clean and articulate sound.

Fingerstyle Guitar Repertoire

Fingerstyle guitar has a vast and diverse repertoire that spans various genres and musical styles. A solid right-hand technique allows you to explore and perform a wide range of pieces and genres with confidence and accuracy.

Innovation and Creativity

A well-developed right-hand technique provides a solid foundation for exploring new techniques and pushing the boundaries of what you can achieve on the guitar. It opens up opportunities for creative exploration and innovation.

In conclusion, the right-hand technique is a fundamental aspect of fingerstyle guitar playing. It significantly influences the quality of your sound, your playing capabilities, and your versatility as a guitarist. By dedicating time to developing and refining your right-hand technique, you can enhance your overall musicality and excel in the art of fingerstyle guitar playing.

The Touch Of The Finger To The String 

This is the moment the finger prepares to fire on the string. Some teachers call this the “plant,” but I find this terminology causes future problems in creating legato playing. Your goal is to touch the string at the same place that the finger will eventually leave the string to create a good tone. Much attention needs to be placed on the contact point to allow for a consistent tone. Your fingernails will also play a role in the step depending on how the nails are used.

Right-Hand Movements Of The Finger And String

Causing the string to move is the best way to describe the action involved. Many tend to think of this movement as a “pull” of the string away from the instrument. However, this thought tends to cause the student to actually pull the string causing the joints of the fingers to fire in opposite directions (extension and flexion simultaneously in the knuckle and middle joints). Visually thinking “push” or “move” is a much better descriptor.

It is also good to think about feeling the resistance or “weight” of the string. It is this resistance that causes the vibration to be larger or smaller depending on the amount of resistance created by displacement. The “pull” imagery as opposed to the “weight” imagery helps a student that tends to exert too much energy into the string when sounding.

The Release Of The String From The Finger

The release is when the string and the finger separate from each other. The tension created by the finger moving the string allows it to vibrate. This in turn creates the beautiful tone of the guitar. Sometimes students use the positive imagery of a ball on the end of their fingers swinging down and swooping the string up and then letting go. This can be helpful but the need for consistent placement of the finger in the touch phase must be ingrained for this imagery to work

The key to the stroke overall is to not limit the follow-through after the string is released from the finger. This creates unneeded tension in the hand and slows down the motion. This also helps to reinforce the need to move all the joints of the finger in the same direction.

The Reset Of The Finger To The String 

There are two general ways to get the finger back to the firing position. The first is to relax the finger and it will automatically return to the initial starting position. This method is aided by playing with a loose tip joint. This also assumes that the hand is in the correct position already.

The second is a forced return. This is sometimes taught in order to increase the speed in faster and more difficult sections. It is a delicate balance to use the latter method without creating unneeded tension. However, this seems to be the argument used for why flamenco players can play at such velocities in their playing (though I do not agree with this).

Right Hand Movement Of The Thumb (p)

The same principles above hold true for firing the thumb as well. It is, however, in the opposite direction toward the floor. Most don’t have the trouble associated with the fingers with the thumb. The only caution necessary with the thumb is to move from the knuckle joint much more than from the tip joint. Doing the opposite can cause undue strain on the thumb.

Again, this is just an overly simplified thought on right-hand movements on the guitar. I believe that Aaron Shearer and Christopher Berg have very valid and sometimes differing opinions on the subject. You would be wise to research both for a better understanding. Their two books to read on this subject are Classical Guitar Foundations (Shearer) and Mastering Guitar Technique: Process and Essence (Berg).

Check out some of our other articles on scales:

• 3 Things I Am Learning From Beginner Guitar Scales in Open Position
• The Basics of Music Theory – Part 1 (The Chromatic Scale)
• Learning To Connect Two Guitar Scale Forms – Part 1
• Segovia Scales And Their Hinderances

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