Plucking the strings together (chords)
Playing one string at a time on the guitar should be quite straightforward when interpreting a melody.
However, the student must realise playing more than one string simultaneously on the guitar is also possible, therefore when reading music where more than one string is plucked simultaneously, the most suitable option for a plucking finger articulation must be considered.
When playing two or more strings together on the guitar, facilitating a correct execution requires the player to consider both left and right hand fingers.
Depending on how the notes are produced by the right hand can determine whether the left hand fingers fret the guitar with each finger individually (melodic) or simultaneously (harmonic).
Fretted fingers
If playing a sequence of different chord shapes, when plucking all notes of each chord together, the student must practice bringing all the required fretted left hand fingering for any particular chord shape in one simultaneous application.
If there is a delay of any fretted finger used for a particular chord shape when playing the notes exactly together, there is a risk of playing the corresponding open string of where the delayed finger is supposed to depresses the fret instead.
For this reason it is encouraged when having to use more than one fretted note together, preparation for perfect synchronization for the left hand fingers is always encouraged when playing grouped notes together.
Plucking fingers
Chords played with a pick or plucking fingers can be approached using the following methods.
Blocked motion:
A blocked motion is the action used when playing a group of notes exactly together, usually by the plucking fingers. A blocked motion with a pick is not quite possible, as a pick can’t play more than one string together. Although, the pick can brush across a group of neighbouring strings quickly to give the impression of strings being played exactly together. Technically, the strings aren't played exactly together though.
A blocked motion specifically forms the basis for the standard plucking technique used to play more than one string together on the guitar.
As the student should know, the guitar has six strings. However, we only have four fingers, which should pose no problem to pluck four strings together (including thumb).
However, In the case of playing a chord involving more than four strings, there are ways for the thumb or finger to play more than one string, together with the other plucking fingers. An example may require the thumb or finger to use a quick downward motion to play more than one string, (similar to how a pick is used to play more than one string together) to give the impression of those strings being played exactly together.
To achieve a blocked motion for more than one note using a pick can be accomplished if your able to pluck with a finger and pick together, as this is seen as an option when the strings being plucked are not neighbouring strings.
This method of playing is limited especially in the case of when having to play more than two strings together, as two fingers are always needed to hold the pick.
Players tend to just use a quick downward or upward stokes instead to play more than one string together with a pick.
However, this only successfully works if the notes being played are on neighbouring strings.
When executing a blocked motion to play a group of notes its important to hear specifically that each note within the chord is heard with an equal tonal balance and plucking emphasis, making sure that no notes are neglected.
In most situations using quick strokes to play more than one string together with a pick is usually more similar to a rolled motion.
Rolled motion:
Rolled chords are played when the notes within a chord are played separately in a quick even succession.
The sound of a rolled chord allows each note of a particular chord sustain slightly longer before the subsequent note is played.
Rolled notes on a score are indicated by vertical squiggly lines which is usually displayed next to the required rolled notes.
There are various ways when using a rolling motion to play a chord.
Typically when using your fingers, like a blocked motion, a rolling motion follows the same principles of plucking finger combinations.
Where the thumb can optionally follow through a number of bass strings, followed by the remaining fingers i, m, a to pluck the third, second and first strings.
An individual finger, thumb or pick can likewise be used to roll a chord across a number of strings, by using an upward or downward stroke.
Again only consider using a rolling motion with one finger or pick when the notes of a chord are played on neighbouring strings.
When executing a rolling motion of a chord, special attention must be given to the tonal balance and rhythmic evenness of each rolled note.
Strummed motion:
A strummed or strumming motion is a technique involving a pick or finger to brush across a number of strings, using either an upward or downward stroke in various rhythmic sequences, and is especially used through a progression of different chord shapes.
Strumming embraces the consecutive action of a rolled motion and can be considered a style of guitar playing in itself, which became a popular technique used on steel string acoustic guitars to accompany vocals (often referred to as rhythm guitar).
Plucking the strings separately (Arpeggio)
An arpeggio is the process of playing the notes within a particular chord in a successive order by adopting a more discernible rhythm to hear each note.
Arpeggios played on guitar usually involve one string each played separately by the thumb and right hand fingers in any order, often using a strict rhythmic pattern.
Although, an arpeggio can be accomplished by playing the notes of a chord on a single string, it is preferable to play the notes across a number of strings instead, as the connection between the notes may sometimes involve open strings which allow an arpeggio to sustain longer and sound smoother, oppose to the notes sounding more detached by the left hand fingers moving in different positions along the fretboard.
When using the plucking fingers, many combinations of different patterns are used to play arpeggios, which enable notes within a particular chord executed in various orders.
Arpeggios can often be used to play a chord progression, as an alternative to playing notes simultaneously, and can be repeated with a plucking finger pattern used for each chord shape.
However, a single piece of music may contain vast amounts of different arpeggio patterns.
Arpeggios with good precision and dexterity are achieved when the fingers stay well prepared above the strings, with each finger ready to pluck each string in turn. (see guitar technique fundamentals)
Effort should be made so each finger that plucks a string, functions independently.
When arpeggios are exercised properly, they are an affective way to develop strength and isolation through the plucking fingers.
Using a free stroke action for the thumb and fingers to play an arpeggio is preferred.
Before playing a repeated arpeggiated pattern for a particular chord progression, analyse the chord progression first, compare what chords can share a common note of the same pitch when changing chord shape.
In this case the fretted finger sharing the common note can usually remain held down for the chords sharing that common note.
This prevents having to move left hand fingers unnecessarily, also allowing notes from the previous chord sustain longer while providing better connections between each chord.
Generally, for all the fretted fingers to depress a chord, it’s encouraged for all the fingers to come down on the fret board simultaneously, this is especially the case when using the plucking fingers or pick to play all the notes of a chord simultaneously.
However, the technique required for an arpeggio pattern involves each note played individually, and therefore each fretted finger can optionally depress each fretted note in turn when plucked.
For the beginner, arpeggio patterns should be initially played slowly, as preparation of the plucking fingers together with the fretted fingers are detrimental to achieve a smooth rhythmic and melodic connection.
A successful application of arpeggio technique requires the plucking and fretted fingers move in precise synchronization with no rhythmic hesitation when changing fingers.
Special consideration should be given to the rhythmic evenness of each note and tonal balance across each plucked string avoiding any inconsistency between weak and strong plucking actions.
Scale technique
Playing scales or scale like passages on guitar requires a good sense of independence through the fingers.
In most instances, scales are played across a number of strings, and when using a plucking action of two alternating fingers, discretion of a tirando or apoyando action is used.(see guitar technique fundamentals)
Special attention must be given to both left and right hand synchronization when playing scales.
When more than one note is played on the same string from a lower to higher fret position, it can be optional for the fretted fingers to remain depressed on the frets, as each finger played on a higher fret negates the finger depressed on the lower frets.
This style of playing can be specifically used to achieve a higher level of smoothness between note changes.
However, it is encouraged for the beginner to play each fret with one finger depressed at one time, to reinforce a better sense of independence between the connection of the fretting and plucking hands.
When playing a scale or scale like passage, attention must be given to the evenness and tonal balance of each plucked note, making sure that all notes in the passage share the same volume unless directed otherwise.
Slur Technique / Ligado
A slur on guitar is achieved when a fretted finger produces the sound of a note without having to pluck with fingers.
The sound of the note being slurred is created by using a hammering or pull off motion by a fretted finger on a particular fret.
For a slur to be played, at least two or more notes must be in involved.
The first note of the pair must be plucked followed by a particular action from a fretted finger.
Slurs can be used to create smoother connections between notes and can be used to give a note a different tone, timbre or emphasis from the typical sound heard by a plucking action.
The presence of slurs within a piece may often be used to help play particular phrases at a faster tempo, as the plucking action of the fingers are required with less frequency, when assisted by the slurring action of the fretted fingers.
The notes being slurred must be as loud as the note plucked before it, unless directed otherwise.
The finger slurring the note should be controlled and rigid, abiding to the rhythmic context of the music.
Once a finger is used to slur a particular note, special attention should be given to the other fingers not being used. (keep fingers close to the frets, while avoiding any excessive twitching)
The fretted hand should remain still when a slur is in action, as all energy should be displaced through the movement of the fingers (avoid any swinging or twisting action from the hand or wrist to execute a slur, as this leads to poor control, sound and preparation of the note and fingers)
Their are various ways slurs can be used, as more than one string and finger can be slurred at one time, conversely they can be used with the combination of chord structures, if fingers are free to be slurred.
When applying a slurring motion, contact between the finger and string should be felt between the very finger tip.
The type of slur that is executed is determined by whether a note of a lower pitch connects to a note of a higher pitch or vice versa.
Ascending Slurs (Hammer on)
Ascending slurs (Hammer on) are used when a note of a lower pitch connects to a note of a higher pitch.
Ascending slurs can occur from an open string position to a fretted note, or from a fretted note of a lower pitch to a fretted note of a higher pitch on the same string by using any combination of fretted fingers.
The action should be a hammering motion in accordance with the indicated rhythmic context.
Descending slurs (Pull off)
Descending slurs (pull off) follow the same principles as ascending slurs except in reverse.
The note being slurred requires a finger depressed, while another finger pulls off another fret in a quick downward action.
Again, keeping the hand steady must be enforced, while the finger applying the descending slur maintains stiff joints.
Execution requires the finger doing the pull off feel resistance from the other finger, to prevent both fingers moving downwards with the string.
Tapping
Tapping is an effect more often used on electric guitar where both the left and right hand fingers are used to create an ascending or descending slurring action in sequence.
It can be used to achieve a slurring action between the connection of two notes that could not otherwise be slurred with just the fretted hand alone.
Tapping involves replacing the technique used to pluck the strings by using a percussive action with the finger tips to hammer or tap the desired strings and fret position.
Tapping can either involve one hand combination, where the fretted hand frets the guitar as normal while the plucking hand taps the desired frets, or as two hand tapping where the fretted and plucked hands both tap on different strings and frets to play two different melodies together.
Tremolo Technique
When a tremolo is played on guitar it gives the impression that a particular note sustains longer, conveyed by the plucking action of a repeated pitched note in quick succession.
Extra emphasis is then given to the harmonic function of the particular note being repeated.
In most cases a group of tremolo notes involve an alternation with one pitched note followed by a repetition of different pitched notes.
Tremolo is mostly associated with finger plucking techniques but can also be achieved by quick up and down strokes with a pick.
Types of tremolo have been categorized by the amount of repeated notes that form the group.
Classical Tremolo:
The Classical Tremolo is typically used in classical guitar music, whereby the notes are built up in groups of four.
The first note of each group is usually played with the thumb followed by various sequence of the remaining fingers to play the other three repeated notes.
Flamenco Tremolo:
The Flamenco tremolo more commonly seen in flamenco guitar music, is almost identical to the classical tremolo but instead of notes being broken down in groups of four, they are broken down into groups of five where an extra repeated note is played by another plucking finger.
Extended Tremolo:
An extended Tremolo occurs when the notes are broken down in groups of six or more.
Extended tremolo requires a more symmetrical division of right hand finger groupings to allow the tremolo flow with more precision and balance.
When practising a tremolo, special attention should be given to the tempo and evenness of the plucking action.
Initially you should practice tremolo techniques at a slow tempo giving equal emphasis to each finger action, avoiding any displaced accents or rhythmic hesitations.
The quicker a plucked finger can return into position after plucking a string the smoother and clearer the tremolo will be.
Any delay of any finger will interrupt the rhythmic flow of the tremolo.
At the point of plucking with the thumb, all fingers left to play the tremolo, should be in front of the string ready to follow through.
After the thumb has plucked the first note, each finger should independently follow through the string in sequence.
Once all fingers have followed through the string, the thumb should be back in a ready position.
Rasgueado Technique
Rasgueado is a strumming technique most commonly associated with flamenco styles, but are successfully incorporated into alternative guitar styles as well.
It encompasses complex rhythmic patterns involving a rapid downward or upward motion of the plucking thumb and fingers in various rhythmic sequences.
There are numerous combinations of rasgueado finger patterns.
Rasgueado exercises are fine ways to strengthen each finger independently, through using up and down strokes in various tempos.
When practising rasgueado exercises aim to keep the plucking hand still.
The fingers should extend over the strings in quick single movements as each finger action should work in isolation while the other fingers are prepared and ready to extend or contract depending on the desired direction following the previous finger stroke.
Avoid having the hand too close or too far from the strings, where the distance between the fingers and strings should be enough so the fingers brush across the strings smoothly and naturally without any feeling of resistance from the strings.
Glissandi Technique
A slide is used to connect one note to another note in a colourful fashion.
The sound produced from a slide can be said to closely resemble the sound of a vocal technique between a connection of two notes.
Slides can occur from any direction with any finger across a number of strings.
Slides can be achieved on any type of guitar and can even involve the interaction of a spherical metal object used to cover a left hand finger.
The finger with the attached slide object touches across a number of strings vertically, allowing the slide to create the sound of a continuous glissandi affect once the strings have been struck.
Usually accommodated with finger picks, slide guitar is often associated with folk and blues styles.
Depending on the gap between two notes will determine the amount of notes discerned from a particular slide.
The note at which the slide begins is usually plucked followed by a sliding action towards the fretted note the slide finishes on.
The second note of the slide is left to sustain achieved by the sound of the sliding action of the first note.
The speed at which a slide is executed depends on the number of frets passed till the desired fret is reached and played in proportion to the rhythmic context of the two notes.
Usually slides can’t begin on open strings, where the maximum amount of notes can only be achieved when ranging from the first fret to the last fret of the guitar on any given string.
Slides can be used by any finger on the left hand with discretion of the finger being used relating to the musical and rhythmic context.
It is possible for a slide to occur on more than one string simultaneously using more than one depressed finger on different frets.
Slides are notated by a small oblique line separated between the stems of the two notes.
Harmonic Technique
Harmonics exercised on guitar are used to create a different sound quality from the standard note quality delivered from a regular plucking action.
The sound quality produced from harmonics should resemble a high pitched bell like affect.
The process of using harmonics allows the overtones of a fundamental frequency audible from the note being plucked.
These overtones can also allow note pitches higher than notes played beyond the last fret attainable.
Their are various ways harmonics on the guitar can be produced and can be notated in a number of ways.
Natural Harmonics:
Natural harmonics are executed by resting and touching with the pad of a left hand finger on one or more strings directly above a particular fret.
Once the left hand finger is positioned, the string is played with substantial force, preferably closer to the bridge of the guitar.
When plucking a string to produce a natural harmonic, the left hand finger should be released from the string fast as possible, almost simultaneously from when the string is plucked.
Keeping the left hand finger held too long hinders or dampens the harmonic from sustaining.
Natural harmonics can only be accomplished on certain frets or positions on the guitar due to nodal points divided by the length of the strings.
The greatest clarity of natural harmonics are most successfully ensured on the fifth, seventh, twelfth and nineteenth frets where these fret positions are more easily produced oppose to natural harmonics on other frets.
Artificial Harmonics:
Artificial harmonics are often used to achieve a harmonic affect on any fret of the guitar with equal precision and clarity as a natural harmonic.
Manipulated by the left hand to alter the nodal points on the string, the technique used to play an artificial harmonic requires a fretted finger to play a note as normal, while the index finger on your plucking hand touches the same string exactly twelve frets apart from the fretted finger.
The index finger is extended completely straight while touching the string directly above the fret, and the ring finger is then used to pluck the string.
At this point the Index and ring finger pull away from the string leaving the fretted finger held down to allow the harmonic sustain long as desired.
The method to play artificial harmonics when playing with a pick follows the same principles as with the latter.
Except, the harmonic is produced by touching the string with the picking thumb immediately after the string has been plucked from a downward stroke.
Often called pinch harmonics, this technique of harmonic being more commonly associated with steel string acoustic or electric guitars.
Barre Technique
Bar chords are derived when any structure on guitar requires the first finger on the left hand to depress a number of strings.
Full barre:
A full bar uses the first finger to cover all six strings.
However, some barre’s may only require you to cover two or five strings, although more often referred to as half bars later discussed.
Bar chords are notated by a C or B with a roman numeral indicating the fret position.
Other forms of notation use a small number written before the C or B to indicate the exact number of strings being depressed.
For phrases that require a bar held for more than one beat a dotted line written above the stave or TAB is used to highlight how many beats the barre must be held for.
Achieving a correct full bar application requires consideration to placement and ability to produce appropriate levels of pressure between your left hand thumb pushed between the neck and index finger.
Both the thumb and index finger is kept rigid with all joints of both fingers extended straight as possible.
Ideally the left hand thumb must always position itself parallel to the placement of the index finger, to gain maximum pressure between both two fingers.
The height at which the thumb is disposed to the back of the neck should be reflected by how straight the left wrist, where bending the wrist too far inwards or outwards should be avoided.
Accuracy of the index finger should be close as possible to the fret being depressed, with levels of pressure felt more towards the outer edge of the first finger rather than through the middle or inner edge.
The bottom of the finger should be pressed against the bottom edge of the guitar neck.
A correct placed bar should discharge an even amount of pressure across all covered strings.
Tension within the other right hand fingers should be considered when using a bar, as pressure must only be felt through the first finger and thumb devoid from any unnecessary twitching in the other fingers, where instead they should feel relaxed in a ready position for subsequent fret placement.
Half Barre:
Half bars involve a sequence of notes played on the same fret across less than six strings.
Half bars are notated exactly like full bars except a 1/2 usually precedes the C or B.
Typically when establishing the technique used for a half bar, only three strings are depressed, as the technique used for five string bars resembles a full bar technique more than a half bar technique.
When executing a half bar, the index finger follows the same connections between the fret and finger placement as a full bar.
The main difference between a full and half bar technique is the index finger for a halbar is forced to drop down from the fret board.
As the index finger drops down the neck, the second joint of the finger is forced to bend below the neck allowing the first joint of the finger remain pressed against the strings.
The first joint of the finger is kept rigid and may require additional twisting at the wrist by bringing the left elbow closer against the body to maintain a parallel placement against the fret.
Example of half bar technique.
Transposing notes
The ability to play a sequence of notes in different positions on the fret board while retaining the same intervalic structure as a previous sequence forms a type of transposition.
Example: If the notes C E F were played, and you transposed those notes each a tone above. The new combination of notes will be D#F G
The guitar is a highly adaptable instrument suited for transposition as notes can be easily transposed by simply moving the fingers up or down a number of frets.
This ability to transpose along the fret board can sometimes involve a left hand finger formation that was used for a previous group of notes, repeated in another fret position which replicates the same string number, left fingering and fret spacing.
The latter can be highly useful when transposing any combination of fretted notes.
However, transposing the guitar this way only successfully works when the left hand structure being transposed, involves a sequence of only fretted notes.
Once open strings are added to the formation, the transposition of notes will usually require a readjustment of string, fingering or fret spacing.
Transposing bar chords
Playing chords with a barre are excellent ways to transpose chord shapes along the fret board.
Once a successful application of a barre is developed, applying one chord shape with a barre can be enough to transpose any particular chord shape in different positions across the fretboard by allocating the new root note of the chord by its fret position.
The same principles of transposition are still applicable whereby no open strings should be played for the transposition to work successfully.
Six String Chords
Any chords beginning with a root note on the sixth string allows a chord to be potentially played with all six strings on the guitar.
All E chord shapes where the open E sixth string is used as the initial chord shape to transpose across the fret board with an accompanying bar.
Five string chords
Five string chords are chord shapes usually with an omitted sixth string.
They are derived from A chord shapes, where the open A fifth string acts as the root note.
The addition of a bar allows any A chord shape transpose across the fret board.
Four string chords
Four string chord shapes form the basis of chords usually omitting the fifth and sixth strings.
They are derived from D chord shapes, where the open D string acts as the root note.
Transposing D chord sharps require the addition of either a bar or first finger
NB: using open string chord shapes with accompanying bar will require the fingers to readjust the initial chord shape fingering with different fingering to accommodate the bar.
Transposing scales
Memorizing scales patterns can be a great way to improvise with other harmonies, as it is just a case of moving the scale patterns in different fret positions to determine the new root note of any scale.
The most useful scale patterns that should be memorized are ones that don’t involve open strings.
Ornaments
Specific notes in a score can be further emphasized to decorate a musical line or phrase.
The notation devices used to define the melodic contour of these particular notes, are referred to as ornaments.
Depending on the tempo, musical context or rhythmic value of the note altered by an ornament, will determine how fast or slow they are executed.
Ornaments notated on a score can appear either as a small symbol above a note or as smaller notes often called grace notes written before the principle note.
The ornamented notes that surround the principle note are sometimes determined by what pitch the principle note is, as in most cases they are usually a tone or semitone apart depending on the type of ornament.
Any applicable accidentals reflective of the key signature in a piece are usually included for any ornamented notes.
The style of guitar music plays an important role on how strict an ornament is executed, as in the case of classical music the discretion on how ornaments are played, abide by more stringent rules, especially regarding to the speed or what note the ornament begins or finishes with.
In modern guitar, ornaments are notated and played fairly straight forward with more freedom of execution given to the player within the rhythmic context.
The most common ornamental variants applied to notes within a score can appear under the following types.
Trills
Trills are played on guitar by using a continuous rapid slurring or plucking action between two adjacent notes a semitone or tone apart.
They are executed by plucking the principle note once, then using an alternation of quick ascending and descending slurring action by any one or two left hand fingers fretted on the same string.
Alternatively trills can be achieved by using an alternation of two right hand fingers to pluck across two adjacent strings, referred to as cross string trills.
Mordents
Similar to trills, mordents played on guitar usually involve just one quick alternation in an ascending or descending slurring action from the left hand fingers between two adjacent notes a semitone or tone apart.
Appoggiatura
An appoggiatura can Involve one or two notes played before a particular note.
They usually appear as notes in a different stave position a semitone or tone apart from the principle note.
A note with an appoggiatura written before it, delays the rhythm of where the beat of the principle note is played.
By subtracting the rhythmic value of how long the principle note sustains to accommodate the rhythmic value of the appoggiatura note.
An appoggiatura is notated as grace notes usually connected to the principle note by a small curved line.
Acciaccatura
Also written before the principle note the acciaccatura is indicated by one grace note with an oblique line through the stem of the note.
The rhythmic value of the acciaccatura should be executed fast as possible where compared to the appoggiatura, the acciaccatura almost reflects no rhythmic value at all when played together with the principle note.
On guitar, an acciaccatura is executed by either using a quick plucking action with the right hand fingers or pick or in a combination with a quick ascending or descending slurring action from the left hand fingers.
Turn
The turn is marked by a small S symbol rested on its side, written above a particular note.
The turn is played as a group of five notes in quick succession within the rhythmic context of the principle note.
Depending on any applicable accidentals, the group of ornamented notes can be a tone or semitone above the principle note, the first note is the principle note, the second note is a tone or semitone above, third note is back to the principle note, fourth note is a tone or semitone below the principle note and the fifth note finishing back on the principle note.
Timbre (Tonal) Effects On Acoustic Guitar
On acoustic guitars, varying the colour and timbre throughout a piece of music is often contingent on the way the tone of the strings are produced.
Besides differing the plucking action, other ways to vary tone on guitar can be influenced by what area on the guitar the strings are plucked.
The most natural tone produced on an acoustic guitar is when the strings are plucked directly above the sound hole.
From this central position you can optionally pluck the strings in areas on the strings other than above the sound hole.
On electric guitars, different tones can be produced by pedal affect or switching between different areas across the strings where built in magnetic pick-ups alter the tone.
Sul Ponticello:
Sul ponticello is a timbre affect produced on an acoustic guitar where the strings are plucked closer to the bridge.
Considering that the closer you pluck near the bridge, the more tension is felt through the strings, causing the strings to have a thin tone.
Sul Tasto:
The tone that is produced when playing over towards and above the end of the fret board of the guitar.
Considering that this position is roughly in the middle of the strings, the tension of the strings are fairly loose which cause the tone of the strings to sustain with a warmer sound.
Pizzicato:
Pizzicato can be executed on guitar by resting the outer edge of the right hand against the strings pressed next to the bridge.
The thumb or pick is then used to play the strings while the side of the hand remains pressed against the strings.
The tone produced should sound muffled with very little sustain.
Tambora:
Tambora involves using a percussive affect to play the strings on the guitar.
It requires any part of the right hand thumb or finger to hit a desired number of strings, creating a hollow sound.
The most common tambora technique involves using the side of the thumb to hit the strings.
When playing tambora, the right hand is kept steady while maintaining a relaxed wrist position, followed by a sustainable amount of momentum from the thumb assisted with a slight twisting at the wrist to hit the strings.
Variations of tambora technique have been also used to specifically play particular music on bass guitar referred to as slapping.
Bartok Pizzicato:
Bartok pizzicato is achieved when a particular string is pulled with the thumb and Index finger resulting in a twanging sound caused by the string bouncing off the frets.
It can be used to strongly accent a particular note within a piece of music.
Similar techniques used to pull the string are more frequently used when playing bass guitar referred as popping.
Bends:
When fretting a string, pulling the string in an upward or downward direction on the fret board by a left hand finger causes a bending action.
Bending a particular note will cause the pitch of the note to become sharp or flat.
Distinguished by a half or full bend, depending how extreme a bend is can be determined by how high or low the note pitch changes.
Shaking the finger using a bending action can cause the note to fluctuate in and out of pitch.
Golpe
Golpe is an affect more often used in flamenco styles, where the guitarist uses part of his hand or finger to tap any area of the soundboard on the guitar to produce a percussive sound.
A golpe is notated on a score by using a small x.
Other Notation Symbols
(8 ve)
(8 vb.)
Fermata (pause symbol)
(Repeat bar symbol)
(Accent)
(Heavily accent)
(Staccato)
(Dead note)
(Tremolo bar)
Playing one string at a time on the guitar should be quite straightforward when interpreting a melody.
However, the student must realise playing more than one string simultaneously on the guitar is also possible, therefore when reading music where more than one string is plucked simultaneously, the most suitable option for a plucking finger articulation must be considered.
When playing two or more strings together on the guitar, facilitating a correct execution requires the player to consider both left and right hand fingers.
Depending on how the notes are produced by the right hand can determine whether the left hand fingers fret the guitar with each finger individually (melodic) or simultaneously (harmonic).
Fretted fingers
If playing a sequence of different chord shapes, when plucking all notes of each chord together, the student must practice bringing all the required fretted left hand fingering for any particular chord shape in one simultaneous application.
If there is a delay of any fretted finger used for a particular chord shape when playing the notes exactly together, there is a risk of playing the corresponding open string of where the delayed finger is supposed to depresses the fret instead.
For this reason it is encouraged when having to use more than one fretted note together, preparation for perfect synchronization for the left hand fingers is always encouraged when playing grouped notes together.
Plucking fingers
Chords played with a pick or plucking fingers can be approached using the following methods.
Blocked motion:
A blocked motion is the action used when playing a group of notes exactly together, usually by the plucking fingers. A blocked motion with a pick is not quite possible, as a pick can’t play more than one string together. Although, the pick can brush across a group of neighbouring strings quickly to give the impression of strings being played exactly together. Technically, the strings aren't played exactly together though.
A blocked motion specifically forms the basis for the standard plucking technique used to play more than one string together on the guitar.
As the student should know, the guitar has six strings. However, we only have four fingers, which should pose no problem to pluck four strings together (including thumb).
However, In the case of playing a chord involving more than four strings, there are ways for the thumb or finger to play more than one string, together with the other plucking fingers. An example may require the thumb or finger to use a quick downward motion to play more than one string, (similar to how a pick is used to play more than one string together) to give the impression of those strings being played exactly together.
To achieve a blocked motion for more than one note using a pick can be accomplished if your able to pluck with a finger and pick together, as this is seen as an option when the strings being plucked are not neighbouring strings.
This method of playing is limited especially in the case of when having to play more than two strings together, as two fingers are always needed to hold the pick.
Players tend to just use a quick downward or upward stokes instead to play more than one string together with a pick.
However, this only successfully works if the notes being played are on neighbouring strings.
When executing a blocked motion to play a group of notes its important to hear specifically that each note within the chord is heard with an equal tonal balance and plucking emphasis, making sure that no notes are neglected.
In most situations using quick strokes to play more than one string together with a pick is usually more similar to a rolled motion.
Rolled motion:
Rolled chords are played when the notes within a chord are played separately in a quick even succession.
The sound of a rolled chord allows each note of a particular chord sustain slightly longer before the subsequent note is played.
Rolled notes on a score are indicated by vertical squiggly lines which is usually displayed next to the required rolled notes.
There are various ways when using a rolling motion to play a chord.
Typically when using your fingers, like a blocked motion, a rolling motion follows the same principles of plucking finger combinations.
Where the thumb can optionally follow through a number of bass strings, followed by the remaining fingers i, m, a to pluck the third, second and first strings.
An individual finger, thumb or pick can likewise be used to roll a chord across a number of strings, by using an upward or downward stroke.
Again only consider using a rolling motion with one finger or pick when the notes of a chord are played on neighbouring strings.
When executing a rolling motion of a chord, special attention must be given to the tonal balance and rhythmic evenness of each rolled note.
Strummed motion:
A strummed or strumming motion is a technique involving a pick or finger to brush across a number of strings, using either an upward or downward stroke in various rhythmic sequences, and is especially used through a progression of different chord shapes.
Strumming embraces the consecutive action of a rolled motion and can be considered a style of guitar playing in itself, which became a popular technique used on steel string acoustic guitars to accompany vocals (often referred to as rhythm guitar).
Plucking the strings separately (Arpeggio)
An arpeggio is the process of playing the notes within a particular chord in a successive order by adopting a more discernible rhythm to hear each note.
Arpeggios played on guitar usually involve one string each played separately by the thumb and right hand fingers in any order, often using a strict rhythmic pattern.
Although, an arpeggio can be accomplished by playing the notes of a chord on a single string, it is preferable to play the notes across a number of strings instead, as the connection between the notes may sometimes involve open strings which allow an arpeggio to sustain longer and sound smoother, oppose to the notes sounding more detached by the left hand fingers moving in different positions along the fretboard.
When using the plucking fingers, many combinations of different patterns are used to play arpeggios, which enable notes within a particular chord executed in various orders.
Arpeggios can often be used to play a chord progression, as an alternative to playing notes simultaneously, and can be repeated with a plucking finger pattern used for each chord shape.
However, a single piece of music may contain vast amounts of different arpeggio patterns.
Arpeggios with good precision and dexterity are achieved when the fingers stay well prepared above the strings, with each finger ready to pluck each string in turn. (see guitar technique fundamentals)
Effort should be made so each finger that plucks a string, functions independently.
When arpeggios are exercised properly, they are an affective way to develop strength and isolation through the plucking fingers.
Using a free stroke action for the thumb and fingers to play an arpeggio is preferred.
Before playing a repeated arpeggiated pattern for a particular chord progression, analyse the chord progression first, compare what chords can share a common note of the same pitch when changing chord shape.
In this case the fretted finger sharing the common note can usually remain held down for the chords sharing that common note.
This prevents having to move left hand fingers unnecessarily, also allowing notes from the previous chord sustain longer while providing better connections between each chord.
Generally, for all the fretted fingers to depress a chord, it’s encouraged for all the fingers to come down on the fret board simultaneously, this is especially the case when using the plucking fingers or pick to play all the notes of a chord simultaneously.
However, the technique required for an arpeggio pattern involves each note played individually, and therefore each fretted finger can optionally depress each fretted note in turn when plucked.
For the beginner, arpeggio patterns should be initially played slowly, as preparation of the plucking fingers together with the fretted fingers are detrimental to achieve a smooth rhythmic and melodic connection.
A successful application of arpeggio technique requires the plucking and fretted fingers move in precise synchronization with no rhythmic hesitation when changing fingers.
Special consideration should be given to the rhythmic evenness of each note and tonal balance across each plucked string avoiding any inconsistency between weak and strong plucking actions.
Scale technique
Playing scales or scale like passages on guitar requires a good sense of independence through the fingers.
In most instances, scales are played across a number of strings, and when using a plucking action of two alternating fingers, discretion of a tirando or apoyando action is used.(see guitar technique fundamentals)
Special attention must be given to both left and right hand synchronization when playing scales.
When more than one note is played on the same string from a lower to higher fret position, it can be optional for the fretted fingers to remain depressed on the frets, as each finger played on a higher fret negates the finger depressed on the lower frets.
This style of playing can be specifically used to achieve a higher level of smoothness between note changes.
However, it is encouraged for the beginner to play each fret with one finger depressed at one time, to reinforce a better sense of independence between the connection of the fretting and plucking hands.
When playing a scale or scale like passage, attention must be given to the evenness and tonal balance of each plucked note, making sure that all notes in the passage share the same volume unless directed otherwise.
Slur Technique / Ligado
A slur on guitar is achieved when a fretted finger produces the sound of a note without having to pluck with fingers.
The sound of the note being slurred is created by using a hammering or pull off motion by a fretted finger on a particular fret.
For a slur to be played, at least two or more notes must be in involved.
The first note of the pair must be plucked followed by a particular action from a fretted finger.
Slurs can be used to create smoother connections between notes and can be used to give a note a different tone, timbre or emphasis from the typical sound heard by a plucking action.
The presence of slurs within a piece may often be used to help play particular phrases at a faster tempo, as the plucking action of the fingers are required with less frequency, when assisted by the slurring action of the fretted fingers.
The notes being slurred must be as loud as the note plucked before it, unless directed otherwise.
The finger slurring the note should be controlled and rigid, abiding to the rhythmic context of the music.
Once a finger is used to slur a particular note, special attention should be given to the other fingers not being used. (keep fingers close to the frets, while avoiding any excessive twitching)
The fretted hand should remain still when a slur is in action, as all energy should be displaced through the movement of the fingers (avoid any swinging or twisting action from the hand or wrist to execute a slur, as this leads to poor control, sound and preparation of the note and fingers)
Their are various ways slurs can be used, as more than one string and finger can be slurred at one time, conversely they can be used with the combination of chord structures, if fingers are free to be slurred.
When applying a slurring motion, contact between the finger and string should be felt between the very finger tip.
The type of slur that is executed is determined by whether a note of a lower pitch connects to a note of a higher pitch or vice versa.
Ascending Slurs (Hammer on)
Ascending slurs (Hammer on) are used when a note of a lower pitch connects to a note of a higher pitch.
Ascending slurs can occur from an open string position to a fretted note, or from a fretted note of a lower pitch to a fretted note of a higher pitch on the same string by using any combination of fretted fingers.
The action should be a hammering motion in accordance with the indicated rhythmic context.
Descending slurs (Pull off)
Descending slurs (pull off) follow the same principles as ascending slurs except in reverse.
The note being slurred requires a finger depressed, while another finger pulls off another fret in a quick downward action.
Again, keeping the hand steady must be enforced, while the finger applying the descending slur maintains stiff joints.
Execution requires the finger doing the pull off feel resistance from the other finger, to prevent both fingers moving downwards with the string.
Tapping
Tapping is an effect more often used on electric guitar where both the left and right hand fingers are used to create an ascending or descending slurring action in sequence.
It can be used to achieve a slurring action between the connection of two notes that could not otherwise be slurred with just the fretted hand alone.
Tapping involves replacing the technique used to pluck the strings by using a percussive action with the finger tips to hammer or tap the desired strings and fret position.
Tapping can either involve one hand combination, where the fretted hand frets the guitar as normal while the plucking hand taps the desired frets, or as two hand tapping where the fretted and plucked hands both tap on different strings and frets to play two different melodies together.
Tremolo Technique
When a tremolo is played on guitar it gives the impression that a particular note sustains longer, conveyed by the plucking action of a repeated pitched note in quick succession.
Extra emphasis is then given to the harmonic function of the particular note being repeated.
In most cases a group of tremolo notes involve an alternation with one pitched note followed by a repetition of different pitched notes.
Tremolo is mostly associated with finger plucking techniques but can also be achieved by quick up and down strokes with a pick.
Types of tremolo have been categorized by the amount of repeated notes that form the group.
Classical Tremolo:
The Classical Tremolo is typically used in classical guitar music, whereby the notes are built up in groups of four.
The first note of each group is usually played with the thumb followed by various sequence of the remaining fingers to play the other three repeated notes.
Flamenco Tremolo:
The Flamenco tremolo more commonly seen in flamenco guitar music, is almost identical to the classical tremolo but instead of notes being broken down in groups of four, they are broken down into groups of five where an extra repeated note is played by another plucking finger.
Extended Tremolo:
An extended Tremolo occurs when the notes are broken down in groups of six or more.
Extended tremolo requires a more symmetrical division of right hand finger groupings to allow the tremolo flow with more precision and balance.
When practising a tremolo, special attention should be given to the tempo and evenness of the plucking action.
Initially you should practice tremolo techniques at a slow tempo giving equal emphasis to each finger action, avoiding any displaced accents or rhythmic hesitations.
The quicker a plucked finger can return into position after plucking a string the smoother and clearer the tremolo will be.
Any delay of any finger will interrupt the rhythmic flow of the tremolo.
At the point of plucking with the thumb, all fingers left to play the tremolo, should be in front of the string ready to follow through.
After the thumb has plucked the first note, each finger should independently follow through the string in sequence.
Once all fingers have followed through the string, the thumb should be back in a ready position.
Rasgueado Technique
Rasgueado is a strumming technique most commonly associated with flamenco styles, but are successfully incorporated into alternative guitar styles as well.
It encompasses complex rhythmic patterns involving a rapid downward or upward motion of the plucking thumb and fingers in various rhythmic sequences.
There are numerous combinations of rasgueado finger patterns.
Rasgueado exercises are fine ways to strengthen each finger independently, through using up and down strokes in various tempos.
When practising rasgueado exercises aim to keep the plucking hand still.
The fingers should extend over the strings in quick single movements as each finger action should work in isolation while the other fingers are prepared and ready to extend or contract depending on the desired direction following the previous finger stroke.
Avoid having the hand too close or too far from the strings, where the distance between the fingers and strings should be enough so the fingers brush across the strings smoothly and naturally without any feeling of resistance from the strings.
Glissandi Technique
A slide is used to connect one note to another note in a colourful fashion.
The sound produced from a slide can be said to closely resemble the sound of a vocal technique between a connection of two notes.
Slides can occur from any direction with any finger across a number of strings.
Slides can be achieved on any type of guitar and can even involve the interaction of a spherical metal object used to cover a left hand finger.
The finger with the attached slide object touches across a number of strings vertically, allowing the slide to create the sound of a continuous glissandi affect once the strings have been struck.
Usually accommodated with finger picks, slide guitar is often associated with folk and blues styles.
Depending on the gap between two notes will determine the amount of notes discerned from a particular slide.
The note at which the slide begins is usually plucked followed by a sliding action towards the fretted note the slide finishes on.
The second note of the slide is left to sustain achieved by the sound of the sliding action of the first note.
The speed at which a slide is executed depends on the number of frets passed till the desired fret is reached and played in proportion to the rhythmic context of the two notes.
Usually slides can’t begin on open strings, where the maximum amount of notes can only be achieved when ranging from the first fret to the last fret of the guitar on any given string.
Slides can be used by any finger on the left hand with discretion of the finger being used relating to the musical and rhythmic context.
It is possible for a slide to occur on more than one string simultaneously using more than one depressed finger on different frets.
Slides are notated by a small oblique line separated between the stems of the two notes.
Harmonic Technique
Harmonics exercised on guitar are used to create a different sound quality from the standard note quality delivered from a regular plucking action.
The sound quality produced from harmonics should resemble a high pitched bell like affect.
The process of using harmonics allows the overtones of a fundamental frequency audible from the note being plucked.
These overtones can also allow note pitches higher than notes played beyond the last fret attainable.
Their are various ways harmonics on the guitar can be produced and can be notated in a number of ways.
Natural Harmonics:
Natural harmonics are executed by resting and touching with the pad of a left hand finger on one or more strings directly above a particular fret.
Once the left hand finger is positioned, the string is played with substantial force, preferably closer to the bridge of the guitar.
When plucking a string to produce a natural harmonic, the left hand finger should be released from the string fast as possible, almost simultaneously from when the string is plucked.
Keeping the left hand finger held too long hinders or dampens the harmonic from sustaining.
Natural harmonics can only be accomplished on certain frets or positions on the guitar due to nodal points divided by the length of the strings.
The greatest clarity of natural harmonics are most successfully ensured on the fifth, seventh, twelfth and nineteenth frets where these fret positions are more easily produced oppose to natural harmonics on other frets.
Artificial Harmonics:
Artificial harmonics are often used to achieve a harmonic affect on any fret of the guitar with equal precision and clarity as a natural harmonic.
Manipulated by the left hand to alter the nodal points on the string, the technique used to play an artificial harmonic requires a fretted finger to play a note as normal, while the index finger on your plucking hand touches the same string exactly twelve frets apart from the fretted finger.
The index finger is extended completely straight while touching the string directly above the fret, and the ring finger is then used to pluck the string.
At this point the Index and ring finger pull away from the string leaving the fretted finger held down to allow the harmonic sustain long as desired.
The method to play artificial harmonics when playing with a pick follows the same principles as with the latter.
Except, the harmonic is produced by touching the string with the picking thumb immediately after the string has been plucked from a downward stroke.
Often called pinch harmonics, this technique of harmonic being more commonly associated with steel string acoustic or electric guitars.
Barre Technique
Bar chords are derived when any structure on guitar requires the first finger on the left hand to depress a number of strings.
Full barre:
A full bar uses the first finger to cover all six strings.
However, some barre’s may only require you to cover two or five strings, although more often referred to as half bars later discussed.
Bar chords are notated by a C or B with a roman numeral indicating the fret position.
Other forms of notation use a small number written before the C or B to indicate the exact number of strings being depressed.
For phrases that require a bar held for more than one beat a dotted line written above the stave or TAB is used to highlight how many beats the barre must be held for.
Achieving a correct full bar application requires consideration to placement and ability to produce appropriate levels of pressure between your left hand thumb pushed between the neck and index finger.
Both the thumb and index finger is kept rigid with all joints of both fingers extended straight as possible.
Ideally the left hand thumb must always position itself parallel to the placement of the index finger, to gain maximum pressure between both two fingers.
The height at which the thumb is disposed to the back of the neck should be reflected by how straight the left wrist, where bending the wrist too far inwards or outwards should be avoided.
Accuracy of the index finger should be close as possible to the fret being depressed, with levels of pressure felt more towards the outer edge of the first finger rather than through the middle or inner edge.
The bottom of the finger should be pressed against the bottom edge of the guitar neck.
A correct placed bar should discharge an even amount of pressure across all covered strings.
Tension within the other right hand fingers should be considered when using a bar, as pressure must only be felt through the first finger and thumb devoid from any unnecessary twitching in the other fingers, where instead they should feel relaxed in a ready position for subsequent fret placement.
Half Barre:
Half bars involve a sequence of notes played on the same fret across less than six strings.
Half bars are notated exactly like full bars except a 1/2 usually precedes the C or B.
Typically when establishing the technique used for a half bar, only three strings are depressed, as the technique used for five string bars resembles a full bar technique more than a half bar technique.
When executing a half bar, the index finger follows the same connections between the fret and finger placement as a full bar.
The main difference between a full and half bar technique is the index finger for a halbar is forced to drop down from the fret board.
As the index finger drops down the neck, the second joint of the finger is forced to bend below the neck allowing the first joint of the finger remain pressed against the strings.
The first joint of the finger is kept rigid and may require additional twisting at the wrist by bringing the left elbow closer against the body to maintain a parallel placement against the fret.
Example of half bar technique.
Transposing notes
The ability to play a sequence of notes in different positions on the fret board while retaining the same intervalic structure as a previous sequence forms a type of transposition.
Example: If the notes C E F were played, and you transposed those notes each a tone above. The new combination of notes will be D#F G
The guitar is a highly adaptable instrument suited for transposition as notes can be easily transposed by simply moving the fingers up or down a number of frets.
This ability to transpose along the fret board can sometimes involve a left hand finger formation that was used for a previous group of notes, repeated in another fret position which replicates the same string number, left fingering and fret spacing.
The latter can be highly useful when transposing any combination of fretted notes.
However, transposing the guitar this way only successfully works when the left hand structure being transposed, involves a sequence of only fretted notes.
Once open strings are added to the formation, the transposition of notes will usually require a readjustment of string, fingering or fret spacing.
Transposing bar chords
Playing chords with a barre are excellent ways to transpose chord shapes along the fret board.
Once a successful application of a barre is developed, applying one chord shape with a barre can be enough to transpose any particular chord shape in different positions across the fretboard by allocating the new root note of the chord by its fret position.
The same principles of transposition are still applicable whereby no open strings should be played for the transposition to work successfully.
Six String Chords
Any chords beginning with a root note on the sixth string allows a chord to be potentially played with all six strings on the guitar.
All E chord shapes where the open E sixth string is used as the initial chord shape to transpose across the fret board with an accompanying bar.
Five string chords
Five string chords are chord shapes usually with an omitted sixth string.
They are derived from A chord shapes, where the open A fifth string acts as the root note.
The addition of a bar allows any A chord shape transpose across the fret board.
Four string chords
Four string chord shapes form the basis of chords usually omitting the fifth and sixth strings.
They are derived from D chord shapes, where the open D string acts as the root note.
Transposing D chord sharps require the addition of either a bar or first finger
NB: using open string chord shapes with accompanying bar will require the fingers to readjust the initial chord shape fingering with different fingering to accommodate the bar.
Transposing scales
Memorizing scales patterns can be a great way to improvise with other harmonies, as it is just a case of moving the scale patterns in different fret positions to determine the new root note of any scale.
The most useful scale patterns that should be memorized are ones that don’t involve open strings.
Ornaments
Specific notes in a score can be further emphasized to decorate a musical line or phrase.
The notation devices used to define the melodic contour of these particular notes, are referred to as ornaments.
Depending on the tempo, musical context or rhythmic value of the note altered by an ornament, will determine how fast or slow they are executed.
Ornaments notated on a score can appear either as a small symbol above a note or as smaller notes often called grace notes written before the principle note.
The ornamented notes that surround the principle note are sometimes determined by what pitch the principle note is, as in most cases they are usually a tone or semitone apart depending on the type of ornament.
Any applicable accidentals reflective of the key signature in a piece are usually included for any ornamented notes.
The style of guitar music plays an important role on how strict an ornament is executed, as in the case of classical music the discretion on how ornaments are played, abide by more stringent rules, especially regarding to the speed or what note the ornament begins or finishes with.
In modern guitar, ornaments are notated and played fairly straight forward with more freedom of execution given to the player within the rhythmic context.
The most common ornamental variants applied to notes within a score can appear under the following types.
Trills
Trills are played on guitar by using a continuous rapid slurring or plucking action between two adjacent notes a semitone or tone apart.
They are executed by plucking the principle note once, then using an alternation of quick ascending and descending slurring action by any one or two left hand fingers fretted on the same string.
Alternatively trills can be achieved by using an alternation of two right hand fingers to pluck across two adjacent strings, referred to as cross string trills.
Mordents
Similar to trills, mordents played on guitar usually involve just one quick alternation in an ascending or descending slurring action from the left hand fingers between two adjacent notes a semitone or tone apart.
Appoggiatura
An appoggiatura can Involve one or two notes played before a particular note.
They usually appear as notes in a different stave position a semitone or tone apart from the principle note.
A note with an appoggiatura written before it, delays the rhythm of where the beat of the principle note is played.
By subtracting the rhythmic value of how long the principle note sustains to accommodate the rhythmic value of the appoggiatura note.
An appoggiatura is notated as grace notes usually connected to the principle note by a small curved line.
Acciaccatura
Also written before the principle note the acciaccatura is indicated by one grace note with an oblique line through the stem of the note.
The rhythmic value of the acciaccatura should be executed fast as possible where compared to the appoggiatura, the acciaccatura almost reflects no rhythmic value at all when played together with the principle note.
On guitar, an acciaccatura is executed by either using a quick plucking action with the right hand fingers or pick or in a combination with a quick ascending or descending slurring action from the left hand fingers.
Turn
The turn is marked by a small S symbol rested on its side, written above a particular note.
The turn is played as a group of five notes in quick succession within the rhythmic context of the principle note.
Depending on any applicable accidentals, the group of ornamented notes can be a tone or semitone above the principle note, the first note is the principle note, the second note is a tone or semitone above, third note is back to the principle note, fourth note is a tone or semitone below the principle note and the fifth note finishing back on the principle note.
Timbre (Tonal) Effects On Acoustic Guitar
On acoustic guitars, varying the colour and timbre throughout a piece of music is often contingent on the way the tone of the strings are produced.
Besides differing the plucking action, other ways to vary tone on guitar can be influenced by what area on the guitar the strings are plucked.
The most natural tone produced on an acoustic guitar is when the strings are plucked directly above the sound hole.
From this central position you can optionally pluck the strings in areas on the strings other than above the sound hole.
On electric guitars, different tones can be produced by pedal affect or switching between different areas across the strings where built in magnetic pick-ups alter the tone.
Sul Ponticello:
Sul ponticello is a timbre affect produced on an acoustic guitar where the strings are plucked closer to the bridge.
Considering that the closer you pluck near the bridge, the more tension is felt through the strings, causing the strings to have a thin tone.
Sul Tasto:
The tone that is produced when playing over towards and above the end of the fret board of the guitar.
Considering that this position is roughly in the middle of the strings, the tension of the strings are fairly loose which cause the tone of the strings to sustain with a warmer sound.
Pizzicato:
Pizzicato can be executed on guitar by resting the outer edge of the right hand against the strings pressed next to the bridge.
The thumb or pick is then used to play the strings while the side of the hand remains pressed against the strings.
The tone produced should sound muffled with very little sustain.
Tambora:
Tambora involves using a percussive affect to play the strings on the guitar.
It requires any part of the right hand thumb or finger to hit a desired number of strings, creating a hollow sound.
The most common tambora technique involves using the side of the thumb to hit the strings.
When playing tambora, the right hand is kept steady while maintaining a relaxed wrist position, followed by a sustainable amount of momentum from the thumb assisted with a slight twisting at the wrist to hit the strings.
Variations of tambora technique have been also used to specifically play particular music on bass guitar referred to as slapping.
Bartok Pizzicato:
Bartok pizzicato is achieved when a particular string is pulled with the thumb and Index finger resulting in a twanging sound caused by the string bouncing off the frets.
It can be used to strongly accent a particular note within a piece of music.
Similar techniques used to pull the string are more frequently used when playing bass guitar referred as popping.
Bends:
When fretting a string, pulling the string in an upward or downward direction on the fret board by a left hand finger causes a bending action.
Bending a particular note will cause the pitch of the note to become sharp or flat.
Distinguished by a half or full bend, depending how extreme a bend is can be determined by how high or low the note pitch changes.
Shaking the finger using a bending action can cause the note to fluctuate in and out of pitch.
Golpe
Golpe is an affect more often used in flamenco styles, where the guitarist uses part of his hand or finger to tap any area of the soundboard on the guitar to produce a percussive sound.
A golpe is notated on a score by using a small x.
Other Notation Symbols
(8 ve)
(8 vb.)
Fermata (pause symbol)
(Repeat bar symbol)
(Accent)
(Heavily accent)
(Staccato)
(Dead note)
(Tremolo bar)