Find the basic fingering of classical guitar?

1, two basic requirements for left-handed strings

Traces of each finger on the left hand. In classical guitars, the left thumb is not used to press strings. The technical essentials and requirements of thumb and left arm have been explained in detail in the third lecture. Let's talk about two basic requirements for each finger of the left hand to press the string correctly.

⑴ Stand up: It means that after an arc is formed from the arm, wrist, back of hand to each finger, the end joints of the fingers should stand up in the direction perpendicular to the fingerboard as far as possible, and press the strings downward with the fingertips. It is easy for anyone with basic physical knowledge to understand that only when the force is perpendicular to the panel can the force of pressing the string be the smallest and the most labor-saving. If the end joint can't press the string vertically, it will not only make the force stronger, but also make the left hand easily tired and nervous, and often push or pull the string to one side, resulting in pitch deviation. Generally speaking, fingers 2 and 3 are easy to stand up, and fingers 1 and 4 are not easy to stand up. Moreover, 1, 4 means that it is difficult to stand up because of physiological relationship, but you should try to stand up, press the strings and set high standards for yourself. As time goes on, it will gradually improve until it is completely erected. Please practice more. The plasticity of human physiological function is great, and almost any well-trained guitarist and guitarist can stand up well. From these small details, we can often see the standardization and strictness of a person's training and education.

⑵ In place: Guitar is a musical instrument with high pronunciation technology, and it is also prone to noise. In addition to the incorrect technique of the right hand, it often leads to weak volume, fine timbre and loud noise, and the incorrect position of the left hand string often produces a lot of noise, which makes the original charming and lovable guitar become an annoying and noisy "noise instrument". Pressing the strings in place with your left hand means that you should get as close to the fret as possible every time you press the strings, but don't let your fingers touch the fret, or even press it on the fret, so that your right hand can get the best sound with the least force. There are often two situations in which the left hand string is not in place. (1) fingers pressed to the middle of the word or even higher, fingers pressed too far away from the sound, which will lead to knocking or rubbing noise when the strings vibrate; (2) The fingerstring is too close to the needle, or it is pressed on the needle. At this time, even if the right-handed plucking technique is good, the sound will be dull, or even no sound will be made. Both of these situations should be avoided as far as possible, and the requirements should be raised at the beginning, so as to form a strict and accurate habit of pressing strings.

2. The technical essentials of the left-hand finger pressing the string and leaving the string

In addition to paying attention to the position and stance of the left hand, we should also pay attention to the direction perpendicular to the string when the left hand presses and leaves the string, so as to avoid a lot of noise when the left hand frequently presses and leaves the string, especially when playing the bass three strings, we should pay more attention to the vertical rise and fall, which is very important in modern guitar technology in the twentieth century.

When pressing and leaving strings, your fingers should take off and land vertically, just like an airplane taking off and landing vertically. After pressing or leaving the string vertically, you can only move horizontally or vertically. What needs to be clear is that finger pressing and releasing strings should be clearly separated from finger movement, which are two completely different left-handed technical movements.

3. The influence of the size and intensity of left-handed movements on left-handed techniques.

The amplitude of left-handed action and the strength of left-handed string pressing have great influence on left-handed technique.

Different guitars, the left hand presses the strings differently. Generally speaking, except for some unqualified guitars, such as the strings are too high and the fingerboard is deformed, the force required to press the strings is very small. The magnitude of the force used to press the strings should be such that the strings will not make noise when they are pressed in vain. Excessive pressure will not only have a good effect on pronunciation, but also cause tension in the left hand and hinder the improvement of skills; It is a common problem for guitar lovers that the left hand presses the strings too hard, but this problem, like other guitar technical problems, is difficult to solve in a few words. Excellent guitar skills can only be truly mastered by correctly grasping and deeply understanding the technical movements, using scientific training methods and a lot of patient and meticulous practice. These three are indispensable.

Exercise 1: basic exercise ⑤ press the string-release and move the left hand.

(1) This is a chromatic lifting exercise in which the left hand alternately presses the string and the empty string on the same string. The left hand must use the same finger to complete each exercise.

② The left hand can be practiced with fingers 2 and 3 which are easy to stand and control in place, and then with fingers 1 4.

(3) This exercise can be used as a left-hand finger gymnastics exercise first, and the right hand should not be plucked first. Practice and then add your right hand.

(4) When the right hand joins, you can use the string leaning method first, P refers to playing the bass, and I, M and A each play a string. After practice, you can play im, ia, ma or other high-pitched strings alternately. After practicing with strings, you can try I, M and A without strings.

⑤ This exercise can be practiced on the bass three strings to prevent noise, and then practice the treble three strings. Here is only an example of the fifth string. For other string exercises, please write your own score as a notation exercise, and then practice one by one.

⑥ Except the first and last paragraphs, each paragraph can be repeated separately.

Exercise 2: further practice holding down the left hand to leave the string and move the third string.

(1) This is an exercise of ascending and descending diatonic scales. The practice methods and requirements are the same as the chromatic scale above. Please write your own exercises for other strings.

(2) This exercise is not only used to train the pressing and moving of the left hand, but also to practice phonemes in different positions on each string. Please sing the name and pitch of each sound while practicing, and at the same time carry out basic training of solfeggio and ear training.

(3) Students with a certain foundation can add a sharp number, two sharp numbers, one flat number and two flat numbers. In order to practice further exercises after c key.

(4) For all the above exercises, please practice at a medium or slow speed first, and then switch to a faster speed when you reach a speed.

⑤ This exercise only takes the third string as an example. Please write your own music score, as a practice of writing music scores for other strings, and then practice one by one.

4, change the handle technology

The technique of changing the handle with the left hand is extremely important in guitar technology. There are as many kinds of guitars as 19, but there are only four fingers pressing the strings. How to keep the music coherent and smooth in the change of position depends largely on the quality of changing the handle. The movement of the left hand on the fingerboard can be divided into two categories. One is the lateral movement of fingers from ① string to ⑥ string, and the amplitude of this movement is generally small, and the maximum is not more than ① string to ⑥ string; The second category is the longitudinal movement of fingers from a low grasping position to a high grasping position. For example, the single-finger action exercise in the previous string-pressing exercise is a kind of longitudinal action, which is more important in the left-handed technique because of its wide range and variety. Hand-changing practice is the concentrated training of the longitudinal movement of the left hand.

Before learning how to change the handle position, let's talk about the concept of handle position. The different positions of the left hand on the fingerboard are called handle positions. We often use 1 to indicate the position of the left hand in different characters. For example, 1 refers to the position of 1, which is called the first fret, and 1 refers to the position of the fifth fret, which is called the fifth fret ... abbreviations commonly used in English, Spanish or other languages in guitar music, followed by Arabic numerals, such as Pos5, P.6, C.8, B.7, etc. Sometimes C and B above not only indicate the handle position, but also 1 indicates horizontal pressing at this handle position.

There are four kinds of grip change exercises. The first and second types only have moving movements without jumping movements, which we call moving grip changes. The third and fourth kinds not only need to be prepared by moving movements, but also need to change a new grip with jumping movements, which we call the jumping grip change method. Replace the handle:

Move and change the handle: the first and second types are only ready to move without jumping.

The third and fourth types are divided into two steps: moving preparation and jumping.

Let's take the second string as an example and give a variety of handle changing exercises.

① The exercises on other strings are the same as those on the second string.

② Try to keep fingering when going up. After pressing 4 fingers, the other fingers leave the strings to prepare for contraction. When descending, 1 means to press first and then prepare for contraction.

③ The thumb of the left hand is always opposite to the 2 fingers. When changing the thumb, it should move synchronously with the left hand without leading or lagging.

④ When moving the handle, the contraction preparation before take-off should not be too much, and the position when changing the handle in the second way shall prevail. Too much can easily lead to tension in the left hand and technical deformation.

⑤ When jumping, all fingers except thumb should leave the string before moving, and it is forbidden to slide on the string; When moving the handle to contract, other fingers besides the string fingers should also follow this principle.

⑥ The fingers of the left hand take off vertically and land, so as to avoid making noise when rubbing strings.

5. Advanced technology

For students who have a certain degree of daily training, they can combine other basic exercises to achieve better training results. Commonly used are ① rhythm change ② combined with smooth sound. Some changes in these two categories are listed below.

In addition, the practice of changing the handle can also be combined with the technique of kneading strings and different plucking techniques of the right hand, and even combined with the practice of decorative sounds for further practice. Practice with a fluent voice

6. Notes and exercises of bass three strings

1, the first note of the bass string

The notes of the first bass string of the guitar are shown on the right, and the corresponding notes and fingering on the staff are as follows:

(1) The above exercises are all performed by the P-fingered string method.

② The above exercises are written in 4/4 beat, 3/4 beat and 2/4 beat respectively. Please count the beats and practice. Conditional students can use the eggbeater.

(3) Please pay attention to the temporary extraction and reduction in the third section of Exercise 2.

④ In the fifth exercise, there are two and four dot notes at the same time. Please pay attention to the division of time value and the playing method of beat.

2. The note in the fifth position of the bass string

We see that the notes in the fifth position of the bass string form an octave minor scale. Let's write four scales with these eight notes for everyone to learn:

① Exercise 2 and Exercise 4 have continuous eighth notes. Please pay attention to practicing the beat style of eighth notes with half beat.

(2) There are triplets in the third exercise. Pay attention to the triplet to be even, and pay attention to the number "123" in each tone when you beat, which will help you master the triplet.

③ Reference homework: The above minor composed of natural sounds is called natural minor. In ordinary minor, every 5 rises by a semitone to become #5, which also changes the harmony structure of minor. Please change the above exercises into harmony minor exercises and do music writing training on the staff.

The whole exercise is in the fifth position.

(2) This exercise can also be used as the practice material for kneading strings in the future.

3. Comprehensive exercises

In this exercise, the empty string sound of the third string can be played with I finger or P finger.

The sound on the third string that appears in the practice is pressed with two fingers of the left hand and played with P or im fingers like 5.

7. Notes and exercises of treble strings

1, the first practice of treble string

The notes in the first to fifth positions of the three strings of the guitar treble are displayed on the right. Let's learn the notes in the first position and their fingering first.

The first position of the treble string is practiced when playing the string.

Three-string comprehensive exercise

There are many temporary rising and falling sounds in the above exercises, so please play carefully.

② Exercise 3 is 3/8 beats, with an eighth note as one beat. The rhythm of three beats in one bar is very similar to that of 3/4 beats, so we should pay attention to the beat practice.

③ Practice 1-4 You can practice with one finger of your right hand first, and then play alternately. Exercise 5 must be practiced alternately with im.

④ Sixteen notes appeared in Exercise 5, and each beat is four notes. Beginners can double the length of this bar first, and each note becomes a half beat, which is used as a difficulty to practice alone, and then play according to the length in the original score.

2. Practice of the fifth position of the treble string

The notes of the fifth hand of the treble string form an octave, just like the scale practice of the fifth hand of the bass string, we can use these eight notes to form four scales. In order to cultivate comprehensive musical ability, please do not refer to the music score given below, but practice major scale exercises with these eight notes on the staff, and then check with the following exercises before practicing.

① The above exercises can be played alternately with ima, or practiced with im first, and then with ia or ma.

② For the above exercises, you can use the chord-leaning method first, and then try the chord-leaning method.

③ Reference practice: Using rhythm changes in scale practice can effectively improve practice efficiency. In addition to the above rhythm changes, practicing scales with dotted notes can not only practice dotted rhythm, but also improve left and right hand skills. There are two commonly used point rhythms.

Front connection point:

Post connection point:

Please change the above exercise 1 to the rhythm of the front and back affixes, and then change Exercise 2 and Exercise 3 to the front and back affixes of the eighth note to practice.

(4) The above exercises should be combined with beat exercises as much as possible to cultivate a good sense of rhythm. Conditional students can use the eggbeater.

Little Music: Little Star

Please raise each note of the little star in the last lecture by eight degrees to write the music score and play it to the fifth position of eight degrees.

3. Comprehensive practice of treble strings

(1) Pay attention to the rhythm of the dotted line and its beat.

(2) A connecting line appears at the end of the music. When a smooth line appears between two sounds with the same sound, it is called "Legato Line" or "Sustain Line", which means that the duration of the first sound can be extended to the second sound if the following sounds are played differently. If the connecting line connects two or more sounds with different pitches, it also means that these sounds should be played smoothly, but if you want to play them in the way of Legato or Smooth Tone on the guitar, please distinguish the difference between them.

(1) There is a weak section in this short piece of music, that is, the music does not start from the first beat, but from the weak beat of the third beat. When you beat the time, you can count two stops first, and then start from the third beat.

② The extension mark of the second beat in the penultimate bar indicates that this sound can be extended freely.

(1) This piece of music is 6/8 beats, which is a double beat composed of two 3/8 beats. Beginners should practice with three beats as a group and six beats as a bar.

② Pay attention to the dotted notes in the fourth beat of each bar.

This piece of music has many temporary sharp sounds, please be careful not to play it wrong.

④ At the end of the first paragraph and the second paragraph of the music, #4 of the fourth string and the fourth fret appears, and the left hand should follow the fingering, and the four fingers should be pressed. Please don't make a mistake. The right hand can be played with P finger or other fingers.

4. Comprehensive practice of the first position and other positions of the treble string

In addition to the guitar changing skills in the fifth part of this book, there are many practical guitar changing methods in actual performance, which are explained in combination with the above ditty.

⑴ Empty string sounds change hands: If this piece changes hands from the first place to the third place for the first time, and then from the third place to the first place, the notes on the empty string sounds change hands easily. Please find out where other empty chords in this piece change hands.

⑵ Change hands by using the termination or rest of phrases: If you change this song for the second time, you will change from the first position to the third position. Even if there is no rest at the end of a paragraph or phrase, there will be a small pause in the performance, which can be easily changed hands like a rest.

⑶ Change hands with sliding fingers or sliding sounds: For example, when this piece is changed hands for the third time, it is changed from the first fret of the second string to the third fret 1, and also from the third fret of the first string to the fifth fret 1 for the fourth time.

These commonly used methods of changing hands were practiced and mastered flexibly by Qin Ying. Through these methods, we can skillfully solve the technical difficulties of changing hands, effectively reduce the difficulty of music, and make the performance natural and smooth. However, these methods cannot solve all the problems. In most cases, smooth performance can only be achieved by solid basic skills. Please pay attention to the training of basic skills.

5. Comprehensive practice of treble and bass strings

Two scales practice

In this exercise, there are chords. We will learn how to play chords in later lessons. These two chords can be omitted first.

This is a three-step exercise. The fingering of the left hand is frequent. Please start practicing slowly.

In the comprehensive practice of high and low notes, the left hand is generally not more difficult, but the arrangement of the right hand fingering is often a problem that puzzles beginners. In actual performance, the arrangement of right-hand fingering is often flexible. For players, the arrangement of right-handed fingering (including left-handed fingering) often has a strong personal color, which is often based on the player's pursuit of timbre and understanding of music. Of course, there are many times for the convenience of playing.

For beginners or students learning guitar, the arrangement of fingering should consider the needs of practice and convenience. In the comprehensive practice of high and low notes, we suggest that the following two methods can be adopted: ①P refers to the notes with three strings, and alternate high notes with any method in ima, among which I and M are the most commonly used; ② Whether the high and low chords alternate with ima or not, at this time, P refers to the unused bass string to keep the right hand stable, and ima refers to that when playing the bass string, the plucking direction should be perpendicular to the string to prevent noise. In this fingering arrangement, sometimes the thumb needs to play the lowest one or two notes occasionally in order to facilitate the fingering of the right hand.

6. Advanced guitar: the playing method of high-pitched notes and numbers rising and falling.

We give the seventh to ninth notes on the treble string of the phonograph on the right guitar fingerboard. Please write the notes in the seventh position on the blank staff as thinking questions one by one, and indicate the fingering.

As an assignment, please make a fingerboard tone bitmap of guitar from the first fret to the twelfth fret, mark every natural tone from bass string to treble string and from low grip to high grip, and write down the corresponding staff comparative memory to lay a solid foundation for future progress.

This is the main theme of the famous guitar song "Love the Romans". Through it, we can practice the notes at positions 7 and 9, learn how to play with ascending and descending symbols, and lay a foundation for learning this music in the future.

There is no essential difference between playing a harmonic with a semitone in C major or A minor without a semitone. You only need to see key signature clearly before playing, and judge which notes need to be raised or lowered by the position of the semitone. Then when you play, you will encounter these notes, whether it is high or low, according to the rising or falling semitone. When reading music, it is suggested that you use a fixed tone when reading music, whether it is rising or falling, you should read it according to the name of the volume in C major. If necessary, you can add a word "Shang" or "Xia" before the sound name to prevent confusion.

The first paragraph of the music above is in E minor, and the clef is the same as that in G major, only one sharp semitone is relatively simple. In the second paragraph, turn to the major of the same name, E major, and there are four sharp sounds in * *. Please identify it carefully. In addition, there are temporary rising and falling signals in music. Please practice carefully.

In the second paragraph of the music, play six bars in the ninth position and the rest in the seventh position. Please pay attention to using sliding to change the position. In the first paragraph, 10, there is an extended fingering of four fingers. Pay attention to keep the four fingers in place and stand up when expanding.

This piece is a three-part musical structure of A-B-A, D.C means to repeat from the beginning, and Fine means to end.

8. Broken string performance

Guitar's beautiful voice, rich and varied timbre, fluent timbre (Legato), decorative notes and other techniques, as well as the kneading string that can beautify timbre and deepen the expression of musical emotion like a violin, all make the melody played by guitar very attractive. Besides being good at playing melody, guitar is also a kind of harmony instrument.

Like piano, organ and accordion, guitar is also a kind of harmony instrument. Good at playing chords and chord accompaniment, which not only makes the guitar often accompany the human voice (folk guitar is the best example); It can also accompany other musical instruments or another guitar. The common forms are: guitar and violin, guitar and flute ensemble (composers such as Paganini and Giuliani have made many such works) or ensemble of more instruments, such as: guitar quintet (such as Boccarini's guitar quintet), guitar duet, trio, quartet and even guitar orchestra, which are common and just like the piano. A guitar can provide rich accompaniment for itself while playing melody, which is why piano music or guitar music is often colorful and beautiful, while a violin is much more monotonous. Of course, a melody instrument like the violin will be completely different when accompanied by a piano or a band, or when playing an unaccompanied work. At the same time, traditional orchestras do not include harmony instruments, because they can play multi-part music independently and complete harmony.

In professional music learning, besides playing or singing musical instruments, there are many compulsory courses, such as basic music theory, harmony, solfeggio, music history, music appreciation and so on. Harmony acoustics is a basic music course to study chords and their applications. There is often a misunderstanding among students studying classical guitar and many guitar lovers, that is, it seems that learning chords and accompaniment is a matter of folk guitar and electric guitar, and has nothing to do with classical guitar. Classical guitar only needs to play a few tunes according to the score, and it doesn't matter whether you know the chords or not. This idea is very harmful. Music is a whole, in which every element is closely related and influences each other. I don't know the harmony composition of music, and even many guitar lovers don't know what the melody, tonality, musical structure and musical background are ... How can we have a deep understanding and correct expression of the works? It is suggested that every guitar lover, whether studying classical, folk or electric guitar, should attach importance to the study of basic music knowledge.

The types and composition of chords vary widely, but from the perspective of playing techniques, chords can be divided into two categories. One kind is chord synchronization, that is, chords are pronounced at the same time. Because such chords are recorded with vertical lines, they are also called column chords, and some books are also called continuous chords; The second is that chords are not issued at the same time, but in a certain combination order. (Some repetitive sequences are called sound patterns), and such chords are called staccato chords, or arpeggios.

It is easier to learn to break chords than to learn to combine chords, whether from the right or left hand playing skills. Learn how to play broken strings from the second song of Kathy's "Twenty-five Etudes" (Op.60), which everyone is familiar with.

Study guide:

1, this etude is long, beginners can learn the first paragraph first.

2. The note duration of this piece of music is very short, all are sixteenth notes, and four notes are one beat. Don't practice too fast when you are a novice. You can practice one beat for each tone, then practice half a beat for each tone, and finally play one beat for four tones according to the original score on the basis of correct mastery.

3. When playing broken strings, ima generally adopts the method of playing without strings, except that P refers to relying on strings, and try to stop. When beginners play this piece for the first time, if they play one note and two notes per beat, they will learn better by practicing the Pima full string method first.

4. Pay attention to the three steps of right hand pronunciation when practicing strings, and pay attention to the adjustment of right hand shape when P and ima are converted.

5. Pay attention when practicing without strings. ima means that only the big joints exert force and pluck the strings downward, and there can be no hook-string action. Press down more when plucking the strings.

6. This etude consists of two beats and a chord. When you press a chord, you don't have to press all the notes at once, you can press one by one. After pressing, keep your left finger until you change the next chord.

7. When the left finger presses the string, each finger should be in place and try to stand up. When pressing some chords, the arms, wrists and fingers should be adjusted accordingly to ensure the minimum strength of the left hand.

8. When changing chords with your left hand, try to use the duration conversion of bass empty chords. Even if there is no empty chord available, you can't change it too early or too late.

9. In the sound form of this broken string etude, the horse refers to playing the same string alternately. Beginners can first change the sound shape to alternate the horse's fingers on different strings, and then practice alternating the horse's fingers on the same string, which can be step by step, easy to master and double the practice effect.

10, when learning this piece of music, using the beat scientifically will get good results.

Guitar advanced

1. Horizontal fingering: When one finger of the left hand is needed to hold down several strings of the same fret on the guitar, horizontal fingering is usually used. Horizontal fingering is usually to hold down several strings with the fingers of the left hand 1. Horizontal fingering is often used in the following situations: ① Effectively simplify the fingering of the left hand to prevent several fingers of the left hand from pressing strings on the same fret; (2) Save fingers, and at the same time, let other fingers press other sounds; ③ Avoid the left finger from changing back and forth on different strings of the same character, and sometimes moving the position horizontally up and down can reduce the left finger from changing back and forth on different characters; (4) when the four fingers of the left hand need to hold down five or six strings at the same time; ⑤ Transverse pressure can sometimes be used for the conversion and connection of left-handed fingering; ⑥ Occasionally, horizontal pressing can be used to silence the sound.

There are two kinds of flat pressing techniques for pressing the number of strings: one that presses four or six strings at the same time is called big flat pressing, and the other that presses two or three strings at the same time is called small flat pressing. Large lateral pressure generally requires the left index finger to straighten the strings completely, while small lateral pressure generally requires only the last joint of the index finger to straighten. In guitar music score, it is usually represented by C, (abbreviation of cejq) or B, (abbreviation of Barre'), followed by the number of the handle where the index finger is located.

Scientific learning methods can get twice the result with half the effort. The following are the technical essentials of transverse pressing: ① 1 means that you should press the string with the hard side near your thumb instead of the soft and thick front of your finger; (2) 1 means that all chord pressing points on the chord should be close to the fret, and at this time1means that it should be parallel to the fret, not oblique pressing that is not parallel to the fret; (3) The thumb should be strictly lower than 1 finger handle, and the thumb and forefinger should not exert direct force. This unscientific method is not only hard, but also easy to be tired and injured, and it is not easy to press well. Instead, we should use the lever principle, use the torsion and parallel force, press it skillfully with the least force, and keep the fingers of the left hand relaxed to the maximum extent.

2. How to practice string breaking with rhythm and fingering changes?

Practicing staccato chords by changing different sounds and fingering frequently can not only break through the technique from multiple angles and break the single dynamic stereotype, but also increase the interest in practice and obtain the best practice effect. Let's take carcassi's "The Second Etude" as an example, and give some examples of the changes in sound patterns and fingering for your reference.

Another important reason why carcassi's etude is famous is that this etude can be used as a preparatory exercise for guitar's difficult technique-fingering technique. The above examples of 15 fingering change and rhythm change can make the fingering rotation preparation exercise more effective and sufficient.

3. Examples of fingering design: We take the paragraph sentence in Etude II as an example to list several fingering designs, hoping to inspire everyone.

4. Other string-breaking exercises to choose from There are a lot of string-breaking exercises in 39 progressive classical guitar solos in this book, which can be used by students and teachers of different levels. In addition, The Sixth Brouwer Etude, which is included in the Guitar Grading Program of the Central Conservatory of Music, is a very good etude with broken strings. Aguado's 17th exercise is also a good etude of broken strings. To some extent, students can learn the first of Vera Robles' twelve advanced etudes.

We don't recommend using broken strings, which is written in carcassi's textbook and the decomposition of Giuliani's 120 songs. Monotonous chord conversion not only makes learners feel irritable, but also makes their left hand nervous, which is harmful and useless.