Fingerstyle playing is a valuable part of any guitarist’s repertoire, no matter what your regular style happens to be. Once mostly associated with classical or country styles, rock and metal have gained depth and dimension by incorporating the dynamics found in fingerstyle playing.
The most useful studies in gaining picking-hand finger independence are in classical and country music. Classical especially has a large canon of works, developed over hundreds of years by many master teachers. So it makes sense to take a look at what is universally recognized as one of the most important works of the classical guitar canon, Mauro Giuliani’s 120 Right Hand Studies. This collection of short (just two bars each) melodic pieces gets progressively more difficult in general, and will train each of the picking-hand fingers.
Let’s take a look at the first twelve of these studies, as shown in the PDF and sound files below:
(Please e-mail or let me know in comments if either or both of the files have any issues loading.)
As you’ll see, each study simply shows a technique, going between two chords, C in the first bar and G7 in the second bar. Especially in the first few studies, the G7 chord uses the third, B, as the bass note. Once you have the studies and techniques mastered, definitely start using other open chords and sequences, and combine them in ways that sound good to you.
We’ll put up photos and video soon so you can see a visual demonstration of proper picking-hand technique, but in the meantime, the basic position of readiness is to have your hand slightly cupped over the strings over the soundhole, hovering just above (1/8″ to 1/4″) the strings. Your thumb should be in position to strike the E or A strings, and the next three fingers over the D,G, and B strings respectively. The pinky is used, but rarely; until you get into more advanced classical guitar concepts such as tremolo, focus mostly on getting the thumb and first three fingers dialed in.
The tab is in the PDF just to make things easier to sight read, but definitely check the picking hand indications in the standard notation as you read along. The indications are as follows: “p”=thumb, “I”=index, “m”=middle, “a”=ring, and “c”=pinky.
While these can be played on electric guitar, definitely work them on a nylon-string classical if you can, or a steel-string acoustic if you have one. The strings are spaced slightly more on classical and acoustic guitars, and thus will train your picking hand properly.
It’s also important to achieve a good, solid tone with each of your fingers as they strike the strings. Think of the midpoint between the 3rd and 4th (G and D) strings as your center, and each of your picking-hand fingers is striking slightly toward that center. So your thumb will strike downward as it plays root notes on the E, A, and D strings, while the other fingers will pull just slightly upward toward that center when playing the G, B, and E’ strings. (An exception is when the thumb is playing a bass note on the G string, in which case you strike downward, like you would on the lower strings.) Each finger should strike its string clear and smooth, and produce a tone that rings out and can be held for duration.
Shifting from C to G7 will be tricky at first, because in the full G7 chord form, you will need to use your ring finger for the low G note, which will appear in many of the studies. Use the index finger to fret the F note on the high E string, the pinky for the D note on the B string, and the middle finger for the B bass note on the A string.
Economy of motion for both hands should be a priority in developing any technique, but will be especially important here, as your picking hand will now be doing more than just picking up or down as a group of fingers, requiring attention to both hands as you play. Work on mastering the fretting of the chord forms first, especially since they’re the same in each study, then concentrate on what each finger of the picking hand is doing in a given study.
Here’s a quick breakdown of each of the twelve studies covered here:
#1 — The first study introduces the basic chord forms, with the thumb cycling through the first three notes of each chord as roots. Take it slow at first, and get a feel for shifting between the two chord forms. Notice that for three of the four beats on the G7 chord (beats 1, 2, and 4), there is no G note, making the tonality implied.
#2 — This is just the first study, but with the notes played one at a time. Keep a nice, slow, rolling triplet rhythm, count or tap along while you get your picking-hand fingers used to the independent motion, then use a metronome.
#3 — This reverses the order of the notes played on the B and E’ strings, so the middle finger will strike before the index finger (p-m-I instead of p-I-m).
#4 — Going back to the p-I-m sequence, but now “rolling across” the neck before returning the thumb back to the original bass note on the 4th beat. This is not as tricky as it might appear.
#5 — Now we’re rolling across the neck with a reverse m-I-p sequence.
#6 — A couple of minor curveballs in this one, rolling across with a p-m-I sequence. First, the bass note (first note of each beat) has an extended duration. Let it ring out for the full beat, not just the triplet. The other two notes of each beat remain triplets. The rest of these twelve studies will have this first-note duration. Secondly, notice that for the first three beats of each bar, the last note of each beat is also the first note of the next beat, but they are picked by different fingers, index then thumb. A great introductory study for finger independence.
#7 — Let’s introduce the ring finger to the festivities here. In the 1st and 3rd beats of each bar, the chord is spread out on the A-G-E’ strings (and the low G is finally introduced in the 3rd beat of the G7 bar), while on the 2nd and 4th beat, the “interior” of the chords are played. You may want to give this study some extra attention, to make sure that the low G in incorporated comfortably into the established G7 form you’ve been working on so far.
#8 — A simple reworking of the “spread” and “interior” forms from the previous study. This is a good one for gaining independence for the ring finger.
#9 — This is a nice and easy introduction to the back-and-forth “rolling” technique, where a chord form is played low-to-high and then back down. The first two beats feature that technique, and it’s a valuable one. Pay particular attention to keeping your picking hand position as anchored as possible, and not floating back and forth with the flow of the notes. You shouldn’t have to move your hand at all, just the individual fingers.
#10 — Another reversal of the fingers against the thumb root. By now this shouldn’t be too difficult.
#11 — The first note of each beat features the melodic note, played by the index finger, with an accompanying root played by the thumb. You may want to practice playing just the I-m-a sequences first, then add in the bass notes. This is a great introduction to incorporating moving bass lines against a static melody (in counterpoint, this is considered oblique motion).
#12 — You know the drill by now — reverse the fingering of the upper triad melody, from I-m-a to a-m-I. By now your ring finger should feel comfortable in these sequences.
Throughout all of the twelve studies included here — and for any fingerstyle study — strive for clarity of tone, an even rhythm, and consistent volume. Especially at first, some of the weaker or less coordinated picking fingers may be lower in volume and/or weaker in duration and clarity. Play through all twelve of these studies until the chord shifting feels smooth and natural, and the fingers on the picking hand are strong and comfortable.
We’ll cover the next 12 studies in a future post, but later this week, there will be a couple of short, simple pieces that will give you some additional melodic and rhythmic framework to apply these ideas to.