Getting Started With The Classical Guitar:

(by John Francis)

Before we get involved with repertoire and technique it is important that we understand a few things that may be
unique to the classical guitar and how it is played.

Classical Seating Position:

Traditional Footstool: Place a footstool under the left foot about six inches in front of the left front chair leg
(armless chair). The height of the stool can vary between from four and eight inches. It could be higher according
to your physique (six inches is a good place to start). Many places sell adjustable stools. They collapse and are
easily transportable. You may use a your guitar case or a block of wood etc. until you find the appropriate stool.
Sit on the forward part of the chair so that the foot and the left leg line up with the left front and right rear chair
legs. In order to do this properly you will have to sit forward and a little to the left. Sitting in this manner allows
the left thigh down to support the guitar. Fit the waist of the guitar over the left thigh. Adjust the height of the footstool to place the guitar so that its neck is relatively a 45 angle to floor, and the headstock of the guitar is approximately eye level. Your forearm should just rest upon the lower bout of the guitar, touching near the elbow. The
area between the wrist and elbow remaining fairly parallel to the floor when the fingers and thumb are placed on
strings. You should lean forward slightly so that the edge of the guitar rests against your right chest. Your shoulders
should be relaxed, but on a fairly even horizontal plane; your torso
turned slightly toward the left knee. The lower part of the instrument should be tilted slightly outward so that the hole points
slightly upward. This allows the player to hear the guitar more
realistically. It also frees up the back to vibrate freely without
being constrained by ones the chest. The key is to find a comfortable position that will allow for the most ease to the upper and
lower registers of the fingerboard, while allowing for the guitar to
Francisco Trrega
Andres Segovia
sound its best.
Ergonomic Alternative to footstool: A leg rest such as a dynarette cushion may be placed between the left leg
and the guitar in order to maintain the proper height and balance for the guitar. This allows both feet to be flat on
the floor and the back to remain less twisted. This helps to avoid back fatigue that may come with long hours of
rigorous practice. If one already has a bad back this could be a lifesaver. See http://sologuitarist.net/dynarette.html

The Right Hand:

Home Position: As a rule, the hand should be relaxed. The wrist angle should be fairly straight, without tension.
Looking into the palm, have the first three fingers touch each other and make them even at the tips. Holding this
position, apply the index finger i to the third string (g), the middle finger m to the second string (b), and the
ring finger a to the first string (high e). The thumb p should come to rest on the sixth string (low E). The
hand should be between the bridge and the sound hole with the thumb just over the hole, slightly.

2005 Heartside Publishing

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The Right Hand Continued:

Getting Started

The section of the of the fingers, touching the strings, should be at a right angle (straight up) from the strings. This
position will allow the guitarist the best starting point from which they may later deviate slightly to add a wide
range of color to their sound. By moving closer to the fingerboard or the bridge, by leaning more into the palm etc.
Tone Production: The best possible tone is produced by using a combination of the fingernail and flesh. By starting with the string at the left edge of the of the finger and pulling through to make contact with the nail when
plucked one will achieve a very warm and robust sound. This combination allows the guitarist to play with more
or less nail, thus enhancing their interpretation of a piece through dynamics and color. The nails should be trimmed
to the contour of the fingertip and just be visible when looking into the palm of the hand. They should filed with
a fine Emory board with the edges polished to a smooth finish. (600 grit sandpaper works great). Of course, it is
possible to play without nails. Some youngsters may do better in the beginning, but if one can maintain a bit of
nail it is well worth the effort. If one takes proper care of the nails they will avoid many problems. Vitamin B
supplements are known to help strengthen, thus benefiting the nails. There is even a nail strengthener / polish
made by OPI called Nail Envy that comes in a Matte Finish. It is not shiny and is nearly undetectable. It is available find in most nail salons. Check the local mall.

Open Strings:
In the position described above, using the thumb on the lowest bass and index through ring fingers on the trebles,
sound out the notes individually, both from the bottom and then from the top. You have just played an E minor
arpeggio (chord). Arpeggios are the notes that make up chords. These four open strings are in the E minor chord.
Practice playing just these four strings for a few minutes, concentrating on the sound of each individual note.
Relax as much as possible letting the guitar breath. Once you are comfortable with the movements and sound, you
will be ready for your First Studies in E minor. Pay close attention to the right hand fingerings found at the
beginning of each study. They make up the pattern to follow.

Making Music: First Studies in E minor

Remember:
Right hand fingerings:
p = Thumb
i = Index Finger
m = Middle finger
a = Ring finger

E Minor

@
1 2

EBEGBE

Study #1 will not use the ring finger. Instead, the Index and Middle fingers will cover the first and second strings.
We have shifted the right hand up by one string. It has a duple feel. (1 & 2 &)
Study #2 is much like number one, except that the hand is shifted back, with the ring finger covering the first
string as described in our basic position. It is to be played at the same tempo as the first study, but it appears to pick
up steam due to its triplet feel. 1 & a 2 & a 3 & a etc.
1 & 2 make up the first lesson. They can be played in succession to make a single piece. #3 is included later.
Study #3 is much like number two, but with additional basses and double stops that will need special attention. It
is a natural progression, but could takes a few lessons with other, new, material before one can play it smoothly.
2005 Heartside Publishing

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