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Fingerstyle guitar is the technique ofplaying the guitar orbass guitar by plucking the strings directly with the fingertips, fingernails, or picks attached to fingers, as opposed toflatpicking (plucking individual notes with a singleplectrum, commonly called a "pick"). The term "fingerstyle" is something of a misnomer, since it is present in several different genres and styles of music—but mostly, because it involves a completely different technique, not just a "style" of playing, especially for the guitarist's picking/plucking hand. The term is often used synonymously withfingerpicking except in classical guitar circles, although fingerpicking can also refer to a specific tradition offolk,blues andcountry guitar playing in the US. The terms "fingerstyle" and "fingerpicking" are also applied to similar string instruments such as thebanjo.
Music arranged for fingerstyle playing can includechords,arpeggios (the notes of a chord played one after the other, as opposed to simultaneously) and other elements such asartificial harmonics,hammering on andpulling off notes with the fretting hand, using the body of the guitar percussively (by tapping rhythms on the body), and many other techniques. Often, the guitarist will play themelody notes, interspersed with the melody's accompanying chords and the deepbassline (or bass notes) simultaneously. Some fingerpicking guitarists also intersperse percussive tapping along with the melody, chords and bassline. Fingerstyle is a standard technique on theclassical or nylon string guitar, but is considered more of a specialized technique onsteel string guitars. Fingerpicking is less common onelectric guitar. Thetimbre of fingerpicked notes is described as "result[ing] in a morepiano-likeattack,"[1] and less likepizzicato.
Because individual digits play notes on the guitar rather than the hand working as a single unit (which is the case when a guitarist is holding a single pick), a guitarist playing fingerstyle can perform several musical elements simultaneously. One definition of the technique has been put forward by the Toronto (Canada) Fingerstyle Guitar Association:
Physically, "Fingerstyle" refers to using each of the right handfingers independently to play the multiple parts of a musicalarrangement that would normally be played by several band members. Deep bass notes, harmonicaccompaniment (thechord progression), melody, and percussion can all be played simultaneously when playing Fingerstyle.[2]
Many fingerstyle guitarists have adopted a combination of acrylic nails and a thumbpick to improve tone and decrease nail wear and chance of breaking or chipping. Notable guitarists to adopt this hardware areAni DiFranco,Doyle Dykes,Don Ross, andRichard Smith.
Nylon string guitars are most frequently played fingerstyle.
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The term "Classical guitar" can refer to any kind ofart music played fingerstyle on a nylon string guitar, or more narrowly to music of theclassical period, as opposed tobaroque orromantic music. The major feature of classical-fingerstyle technique is that it enables solo rendition ofharmony andpolyphonicmusic in much the same manner as thepiano can. The technique is intended to maximize the degree of control over the musical dynamics, texture, articulation and timbral characteristics of the guitar. The sitting position of the player, while somewhat variable, generally places the guitar on the left leg, which is elevated, rather than the right. This sitting position is intended to maintain shoulder alignment and physical balance between the left and right hands. Thumb, index, middle and ring fingers are all commonly employed for plucking, with occasional use of the pinky.[4] Chords are often plucked, with strums being reserved for emphasis. The repertoire varies in terms of keys, modes, rhythms and cultural influences. Classical-guitar music is performed/composed most often in standard tuning (EADGBE). However, altered tunings such asdropped D are common.
Fingerings for both hands are often given in detail in classical guitar music notation, although players are also free to add to or depart from them as part of their own interpretation.Fretting hand fingers are given as numbers, plucking hand fingers are given as letters
| Finger | Notation | Finger | Notation |
|---|---|---|---|
| Thumb | 5 | Thumb | p |
| Index | 1 | Index | i |
| Middle | 2 | Middle | m |
| Ring | 3 | Ring | a |
| Pinky | 4 | Pinky | c,x,e orq |
In guitarscores, the five fingers of the right-hand (which pluck the strings, for right-handers) are designated by the first letter of their Spanish names namelyp = thumb (pulgar),i = index finger (índice),m = middle finger (medio),a = ring finger (anular), and when used, oftenc = little finger or pinky (chiquito).[5][a] There are several words in Spanish for the little finger: most commonlydedo meñique, but alsodedo pequeño ordedo auricular; however, their initials conflict with the initials of the other fingers;c is said to be the first half of the initial letterch ofdedo chiquito,[5] which is not the most common name (meñique) for the little finger;[6] the origin ofe,x andq is not certain but is said to perhaps be fromextremo, Spanish for last or final, for thee andx, andmeñique orpequeño forq.[5]
The four fingers of the left hand (which stop the strings, for left-handers) are designated 1 = index, 2 = major, 3 = ring finger, 4 = little finger; 0 designates an open string, that is a string that is not stopped by a finger of the left hand and whose full length thus vibrates when plucked. On the classical guitar the thumb of the left hand is never used to stop strings from above (as is done on the electric guitar): the neck of a classical guitar is too wide and the normal position of the thumb used in classical guitar technique do not make that possible. Scores (contrary totablatures) do not systematically indicate the string to be plucked (although often the choice is obvious). When an indication of the string is required the strings are designated 1 to 6 (from the 1st the high E to the 6th the low E) with figures 1 to 6 inside circles.
The positions (that is where on thefretboard the first finger of the left hand is placed) are also not systematically indicated, but when they are (mostly in the case of the execution ofbarrés) these are indicated with Roman numerals from the position I (index finger of the left hand placed on the 1st fret: F–B♭–E♭–A♭–C–F) to the position XII (the index finger of the left hand placed on the 12th fret: E–A–D–G–B–E; the 12th fret is placed where the body begins) or higher up to position XIX (the classical guitar most often having 19 frets, with the 19th fret being most often split and not being usable to fret the 3rd and 4th strings).
To achieve tremolo effects and rapid, fluent scale passages, and varied arpeggios the player must practice alternation, that is, never plucking a string with the same finger twice.Common alternation patterns include:
Classical guitarists have a large degree of freedom within the mechanics of playing the instrument. Often these decisions influence tone andtimbre. Factors include:
Concert guitarists must keep their fingernails smoothlyfiled and carefully shaped[7] to employ this technique, which produces a better-controlled sound than either nails or fingertips alone. Playing parameters include:
Flamenco technique is related to classical technique, but with more emphasis on rhythmic drive and volume, and less on dynamic contrast and tone production. Flamenco guitarists prefer keys such as A and E that allow the use of open strings, and typically employcapos where a departure is required.
Some specialized techniques include:
Bossa nova is most commonly performed on the nylon-stringclassical guitar, played with the fingers rather than with apick. Its purest form could be considered unaccompanied guitar with vocals, as exemplified byJoão Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from asamba ensemble, specifically thetamborim, and applied it to the picking hand.
Fingerpicking (also called thumb picking,alternating bass, or pattern picking) is both a playing style and a genre of music. It falls under the "fingerstyle" heading because it is plucked by the fingers, but it is generally used to play a specific type of folk, country-jazz and/or blues music. In this technique, the thumb maintains a steady rhythm, usually playing "ostinato bass" or "alternating bass" patterns on the lower three strings, while the index, or index and middle fingers pick out melody and fill-in notes on the high strings. The style originated in the late 19th and early 20th centuries, as southernblues guitarists tried to imitate the popularragtimepiano music of the day, with the guitarist's thumb functioning as the pianist's left hand, and the other fingers functioning as the right hand. The first recorded examples were by players such asBlind Blake,Big Bill Broonzy,Skip James,Blind Willie McTell,Memphis Minnie andMississippi John Hurt.[8] Some early blues players such asBlind Willie Johnson andTampa Red addedslide guitar techniques.
American primitive guitar is a subset of fingerstyle guitar. It originated withJohn Fahey, whose recordings from the late 1950s to the mid-1960s inspired many guitarists such asLeo Kottke, who made his debut recording of6- and 12-String Guitar on Fahey'sTakoma label in 1969. American primitive guitar can be characterized by the use of folk music or folk-like material, driving alternating-bass fingerpicking with a good deal ofostinato patterns, and the use of alternative tunings (scordatura) such asopen D,open G,drop D andopen C. The application or "cross-contamination" of traditional forms of music within the style of American primitive guitar is also very common. Examples of traditions that John Fahey andRobbie Basho would employ in their compositions include, but are not limited to, the extendedRaga ofIndian classical music, theJapanese Koto, and the early ragtime-based country blues music ofMississippi John Hurt orBlind Blake.
Fingerpicking was soon taken up bycountry and western artists such asSam McGee,Ike Everly (father ofThe Everly Brothers),Merle Travis and"Thumbs" Carllile. LaterChet Atkins further developed the style and in modern music musicians such as Jose Gonzalez, Eddie Vedder (on his song Guaranteed) and David Knowles[9] have utilized the style. Most fingerpickers use acoustic guitars, but some, includingMerle Travis played onhollow-body electric guitars,[10] while some modern rock musicians, such asDerek Trucks andMark Knopfler, employ traditional North American fingerpicking techniques on solid-body electric guitars such as theGibson Les Paul or theFender Stratocaster.
An early master of ragtime guitar wasBlind Blake, a popular recording artist of the late 1920s and early 1930s. In the 1960s, a new generation of guitarists returned to these roots and began to transcribe piano tunes for solo guitar. One of the best known and most talented of these players wasDave Van Ronk, who arrangedSt. Louis Tickle for solo guitar. In 1971, guitarists David Laibman and Eric Schoenberg arranged and recordedScott Joplin rags and other complex piano arrangements for the LPThe New Ragtime Guitar onFolkways Records. This was followed by aStefan Grossman method book with the same title. A year later Grossman andED Denson foundedKicking Mule Records, a company that recorded scores of LPs of solo ragtime guitar by artists including Grossman, Ton van Bergeyk, Leo Wijnkamp,Duck Baker,Peter Finger, Lasse Johansson, Tom Ball and Dale Miller. Meanwhile,Reverend Gary Davis was active in New York City, where he mentored many aspiring finger-pickers.[11] He has subsequently influenced numerous other artists in the United States and internationally.
Carter Family picking, also known as "'thumb brush' technique or the 'Carter lick,' and also the 'church lick' and the 'Carter scratch'",[12] is a style of fingerstyle guitar named forMaybelle Carter of theCarter Family's distinctive style ofrhythm guitar in which themelody is played on thebass strings, usually low E, A, and D while rhythmstrumming continues above, on thetreblestrings, G, B, and high E. This often occurs during thebreak.[13]
Travis picking derives its name fromMerle Travis. The foundation of Travis picking revolves around the combination of alternate-bass fingerpicking and syncopated melodies.[14]
This style is commonly played on steel string acoustic guitars. Pattern picking is the use of "preset right-hand pattern[s]" while fingerpicking, with the left hand fingering standardchords.[15] The most common pattern, sometimes broadly referred to as Travis picking afterMerle Travis, and popularized byChet Atkins,Scotty Moore,James Burton,Marcel Dadi,James Taylor,[16]John Prine,Colter Wall andTommy Emmanuel, is as follows:
Middle | X X - | X X - |Index | X X - | X X - |Thumb | X X X X - | X X X X - |
The thumb (T) alternates betweenbass notes, often on two different strings, while the index (I) and middle (M) fingers alternate between twotreble notes, usually on two different strings, most often the second and first. Using this pattern on a C major chord is as follows innotation andtablature:
However, Travis's own playing was often much more complicated than this example. He often referred to his style of playing as "thumb picking", possibly because the only pick he used when playing was a banjo thumb pick, or "Muhlenberg picking", after his nativeMuhlenberg County, Kentucky, where he learned this approach to playing fromMose Rager andIke Everly. Travis's style did not involve a defined, alternating bass string pattern; it was more of an alternating "bass strum" pattern, resulting in an accompanying rhythm reminiscent ofragtime piano.
Clawhammer andfrailing are primarilybanjo techniques that are sometimes applied to the guitar.[17]Jody Stecher and Alec Stone Sweet are exponents of guitar clawhammer. Fingerstyle guitarist Steve Baughman distinguishes between frailing and clawhammer as follows. In frailing, the index fingertip is used for up-picking melody, and the middle fingernail is used for rhythmic downward brushing. In clawhammer, only downstrokes are used, and they are typically played with one fingernail as is the usual technique on the banjo.[18]
A distinctive style to emerge from Britain in the early 1960s, which combined elements of American folk,blues,jazz andragtime with Britishtraditional music, was what became known as 'folk baroque'. Pioneered by musicians of theSecond British folk revival began their careers in the short-livedskiffle craze of the later 1950s and often used American blues, folk and jazz styles, occasionally using open D and G tunings.[19] However, performers likeDavy Graham andMartin Carthy attempted to apply these styles to the playing of traditional Englishmodal music. They were soon followed by artists such asBert Jansch andJohn Renbourn, who further defined the style.[20] The style these artists developed was particularly notable for the adoption ofD–A–D–G–A–D (from lowest to highest), which gave a form of suspended-fourth D chord, neither major nor minor, which could be employed as the basis for modal based folk songs.[21] This was combined with a fingerstyle based onTravis picking and a focus on melody, that made it suitable as an accompaniment.[21] Denselow, who coined the phrase 'folk baroque,' singled out Graham's recording of traditional English folk song 'Seven Gypsys' onFolk, Blues and Beyond (1964) as the beginning of the style.[22] Graham mixed this with Indian, African, American, Celtic, and modern and traditional American influences, while Carthy in particular used the tuning to replicate the drone common in medieval and folk music played by the thumb on the two lowest strings. The style was further developed by Jansch, who brought a more forceful style of picking and, indirectly, influences from Jazz and Ragtime, leading particularly to more complex basslines. Renbourn built on all these trends and was the artist whose repertoire was most influenced by medieval music.[23]
In the early 1970s the next generation of British artists added new tunings and techniques, reflected in the work of artists likeNick Drake,Tim Buckley and particularlyJohn Martyn, whoseSolid Air (1972) set the bar for subsequent British acoustic guitarists.[24] Perhaps the most prominent exponent of recent years has beenMartin Simpson, whose complex mix of traditional English and American material, together with innovative arrangements and techniques like the use of guitar slides, represents a deliberate attempt to create a unique and personal style.[25] Martin Carthy passed on his guitar style to French guitaristPierre Bensusan.[26] It was taken up in Scotland byDick Gaughan, and by Irish musicians likePaul Brady,Dónal Lunny andMick Moloney.[27] Carthy also influencedPaul Simon, particularly evident onScarborough Fair, which he probably taught to Simon, and a recording of Davy'sAnji that appears onSounds of Silence, and as a result was copied by many subsequent folk guitarists.[21] By the 1970s Americans such asDuck Baker andEric Schoenberg were arranging solo guitar versions of Celtic dance tunes, slow airs, bagpipe music, and harp pieces byTurlough O'Carolan and earlier harper-composers. Renbourn and Jansch's complex sounds were also highly influential onMike Oldfield's early music.[28] The style also had an impact withinBritish folk rock, where particularlyRichard Thompson, used the D–A–D–G–A–D tuning, though with ahybrid picking style to produce a similar but distinctive effect.[27]
In 1976,William Ackerman startedWindham Hill Records, which carried on theTakoma tradition of original compositions on solosteel string guitar. However, instead of the folk and blues oriented music of Takoma, including Fahey's American primitive guitar, the early Windham Hill artists (and others influenced by them) abandoned the steady alternating or monotonic bass in favor of sweet flowingarpeggios andflamenco-inspired percussive techniques. The label's best selling artistGeorge Winston and others used a similar approach on piano. This music was generally pacific, accessible and expressionistic. Eventually, this music acquired the label of "New Age", given its widespread use as background music at bookstores, spas and otherNew Age businesses. The designation has stuck, though it was not a term coined by the company itself.
"Percussive fingerstyle" is a term for a style incorporating sharp attacks on the strings, as well as hitting the strings and guitar top with the hand for percussive effect. Principally featuring, string slapping, guitar body percussion, alternate tunings andextended techniques such as; tapping and harmonics.[29]Flamenco andBlues guitarists regularly feature percussive techniques and alternate tunings, and arguably laid the foundations for playing in this way[30]Michael Hedges andEric Roche developed and essentially pioneered percussive techniques forming a style of their own in the 1980s - 90s. Their progressive contribution played a significant role in influencing a new wave of percussive players includingAndy Mckee,Preston Reed,Jon Gomm,Mike Dawes,Chris Woods,Don Ross,Declan Zapala,Erik Mongrain, andMarcin Patrzałek.
"Funky fingerstyle" emerged in the mid-2000s, as a style in which the sounds of a fullfunk orR&B ensemble are emulated on one guitar. Uncommon sounds are being discovered thanks to the technical possibilities of various pick-ups, microphones and octave division effects pedals.Adam Rafferty uses a technique of hip-hop vocal percussion called "human beat box", along with body percussion, while playing contrapuntal fingerstyle pieces. Petteri Sariola has several mics on board his guitar and is able to run up to 6 lines from his guitar to a mixing desk, providing a full "band sound" – bass drum, snare, bass, guitar – as an accompaniment to his vocals.
The six string guitar was brought to Africa by traders and missionaries (although there are indigenous guitar-like instruments such as thengoni and the gimbri orsintir ofGnawa music). Its uptake varies considerably between regions, and thereis therefore no single African acoustic guitar style. In some cases, the styles and techniques of other instruments have been applied to the guitar; for instance, a technique where the strings are plucked with the thumb and one finger imitates the two-thumbed plucking of thekora andmbira. The pioneer ofCongolese fingerstyle acousticguitarmusic wasJean Bosco Mwenda, also known as Mwenda wa Bayeke (1930–1990). His song "Masanga" was particularly influential, because of its complex and varied guitar part. His influences included traditional music of Zambia and the Eastern Congo, Cuban groups like the Trio Matamoros, and cowboy movies. His style used the thumb and index finger only, to produce bass, melody and accompaniment. Congolese guitarists Losta Abelo and Edouard Masengo played in a similar style.
Herbert Misango andGeorge Mukabi were fingerstyle guitarists fromKenya.[31]Ali Farka Toure (d. 2006) was a guitarist fromMali, whose music has been called the "DNA of the blues". He was also often compared toJohn Lee Hooker. His sonVieux Farka Toure continues to play in the same style.Djelimady Tounkara is another Malian fingerstylist.S. E. Rogie andKoo Nimo play acoustic fingerstyle in the lilting,calypso-influencedpalm wine music tradition.Benin-born Jazz guitaristLionel Loueke uses fingerstyle in an approach that combines jazz harmonies and complex rhythms.[32] He is now based in the US.
Tony Cox (b. 1954) is aZimbabwean guitarist and composer based inCape Town,South Africa. A master of theFingerpicking style of guitar playing, he has won the SAMA (South African Music Awards) for best instrumental album twice. His music incorporates many different styles including classical, blues, rock and jazz, while keeping an African flavour. Tinderwet is a versatile guitarist of the three and sometimes four fingers playing style (thumb, index, middle and ring); he plays several different African styles, includingsoukous or West African music. He often flavours his playing with jazzy improvisations, regular fingerpicking patterns and chord melody sequences.
Even when the guitar is tuned in a manner that helps the guitarist to perform a certain type of chord, it is often undesirable for all six strings to sound. When strumming with a plectrum, a guitarist must "damp" (mute) unwanted strings with the fretting hand; when a slide or steel is employed, this fretting hand damping is no longer possible, so it becomes necessary to replace plectrum strumming with plucking of individual strings. For this reason,slide guitar andsteel guitar playing are very often fingerstyle.
Slide guitar orbottleneck guitar is a particular method or technique for playing theguitar. The termslide refers to the motion of the slide against the strings, whilebottleneck refers to the original material of choice for such slides: the necks of glass bottles. Instead of altering thepitch of thestrings in the normal manner (by pressing the string againstfrets), a slide is placed on the string to vary its vibrating length, and pitch. This slide can then be moved along the string without lifting, creating continuous transitions in pitch.
Slide guitar is most often played (assuming a right-handed player and guitar):
Slack-key guitar is a fingerpicked style that originated inHawaii. The English term is a translation of the Hawaiiankī hō‘alu, which means "loosen the [tuning] key". Slack key is nearly always played in open or altered tunings—the most common tuning is G-major (D–G–D–G–B–D), called "taropatch", though there is a family of major-seventh tunings called "wahine" (Hawaiian for "woman"), as well as tunings designed to get particular effects. Basic slack-key style, like mainland folk-based fingerstyle, establishes an alternating bass pattern with the thumb and plays the melody line with the fingers on the higher strings. The repertory is rooted in traditional, post-Contact Hawaiian song and dance, but since 1946 (when the first commercial slack key recordings were made) the style has expanded, and some contemporary compositions have a distinctlynew-age sound. Slack key's older generation includedGabby Pahinui,Leonard Kwan,Sonny Chillingworth andRaymond Kāne. Prominent contemporary players includeKeola Beamer, Moses Kahumoku,Ledward Kaapana,Dennis Kamakahi,John Keawe,Ozzie Kotani andPeter Moon andCyril Pahinui.
The unaccompanied guitar injazz is often played in chord-melody style, where the guitarist plays a series of chords with the melody line on top. Fingerstyle, plectrum, orhybrid picking are equally suited to this style. Some players alternate between fingerstyle and plectrum playing, "palming" the plectrum when it is not in use. Early blues and ragtime guitarists often used fingerstyle. True fingerstyle jazz guitar dates back to earlyswing era acoustic players likeEddie Lang (1902–1933)Lonnie Johnson (1899–1970) andCarl Kress (1907–1965),Dick McDonough (1904–1938) and theArgentinianOscar Alemán (1909–1980).Django Reinhardt (1910–1953) used a classical/flamenco technique on unaccompanied pieces such as his compositionTears.[33]
Fingerstyle jazz on the electric guitar was pioneered byGeorge van Eps (1913–1998) who was respected for hispolyphonic approach, sometimes using aseven string guitar.Wes Montgomery (1925–1968) was known for using the fleshy part of his thumb to provide the bass line while strumming chordal or melodic motives with his fingers. This style, while unorthodox, was widely regarded as an innovative method for enhancing the warm tone associated with jazz guitar. Montgomery's influence extends to modern polyphonic jazz improvisational methods.Joe Pass (1929–1994) switched to fingerstyle mid career, making theVirtuoso series of albums. Little known to the general publicTed Greene (1946–2005) was admired by fellow musicians for his harmonic skills.[34]Lenny Breau (1941–1984) went one better than van Eps by playing virtuosic fingerstyle on aneight string guitar.Tommy Crook replaced the lower two strings on hisGibsonswitchmaster with bass strings, allowing him to create the impression of playing bass and guitar simultaneously.Chet Atkins (1924–2001) sometimes applied his formidable right-hand technique to jazz standards, withDuck Baker (b. 1949),Richard Smith (b. 1971),Woody Mann andTommy Emmanuel (b. 1955), among others, following in his footsteps. They use thefingerpicking technique ofMerle Travis and others to play wide variety of material including jazz. This style is distinguished by having a steadier and "busier" (several beats to the bar)bass line than thechord melody approach of Montgomery and Pass making it suited to up-tempo material.
Fingerstyle has always been predominant in Latin American guitar playing, whichLaurindo Almeida (1917–1995) andCharlie Byrd (1925–1999) brought to a wider audience in the 1950s. Fingerstyle jazz guitar has several proponents: the pianisticJeff Linsky (b. 1952), freely improvises polyphonically while employing a classical guitar technique.[35]Earl Klugh (b. 1953) andTuck Andress have also performed fingerstyle jazz on the solo guitar. BritonMartin Taylor (b. 1956), a formerStephane Grappelli sideman, switched to fingerstyle on relaunching his career as a soloist. His predecessor in Grappelli's band,John Etheridge (b. 1948) is also an occasional fingerstyle player.
The solid-bodyelectric guitar is rarely played fingerstyle, although it presents no major technical challenges. Slide guitarists often employ fingerstyle, which applies equally to the electric guitar, for instanceDuane Allman andRy Cooder. Blues guitarists have long used fingerstyle: some exponents includeJorma Kaukonen,Hubert Sumlin,Albert King,Albert Collins,John Lee Hooker,Muddy Waters,Derek Trucks,John Mayer,Joe Bonamassa,Sandor Enyedi andBuckethead. Exponents of fingerstyle rock guitar include:Mark Knopfler,Jeff Beck (formerly a pick player),Stephen Malkmus,Bruce Cockburn (exclusively),Robby Krieger,Lindsey Buckingham,Mike Oldfield,Patrick Simmons,Elliott Smith,Wilko Johnson,J.J. Cale,Robbie Robertson,Hillel Slovak,St. Vincent,Yvette Young,Kurt Vile,David Longstreth,Richie Kotzen (formerly a pick player),Greg Koch,Guy King,Courtney Barnett,Jared James Nichols.[36]
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