Guitar Sight-Reading… to read and play music, instantly at first sight, is an impressive skill but also one of the most challenging tasks for musicians, particularly with guitarists.  Possibly because: we spend more time on solo rather than ensemble repetoire....
View/Download View/Download More studies Scordatura, meaning “discord” in Italian, refers to retuning the standard tuning of a string instrument. Composers sometimes use these tunings to make it easier to play in certain keys, as well as to create...
Scales are essential building blocks of music. The Preface of Aaron Shearer’s Scale Pattern Studies for the Guitar (1965) begins with: “Comprehensive scale study is basic to the mastery of all instruments. There can be no question of its necessity for...
Patterns When learning a new piece, it’s important to first scan the music to get an overall feel for its structure, a process called pre-reading. Look for elements like key signature, challenging rhythms and pitches, and musical patterns. Identifying...
Fingerings Fingerings provide clues to organize both right-and left-hand movements when learning a piece of music. Music may include a sprinkling of  fingerings, too many fingerings, or none at all. Sometimes a “hard” passage may be made...
The start finger i (in steady alternation of i,m) accommodates the string crossing between A ③ and B ② for beats 1 & 2. The start finger of m accommodates the string crossing between D ② and E ① for beat 3.
This right-hand finger is the best of the two and includes a in the alternating pattern (m,i,m,a)Â Â At the end of the 1st beat, a is the only option, since using i would be awkward to the string crossing â‘¡ and â‘ .
In the second version, alternating m, i on non-adjacent strings ③ & ①puts an uncomfortable spread between the fingers and may cause unecessary lower right-arm movement. The first version—alternating a, i— is the most natural for the hand and keeps the right-arm position steady.
When simultaneously playing p on ⑥ and fingers on ①, it's helpful to use a, so that the reach between thumb and fingers is minimized.  Also in this context, a,m on ① & ② facilitates the switch to ② & ③ with m, i, making the right hand steadier.
Generally, when playing two consecutive notes on the same fret but on different strings, two different left-hand fingers are used. In this example, the D ② with 4 is followed by 3 on C ⑤.  This ensures a more musical connection (legato).
The other choice here—3 on D ②, could have been followed by 2 on C ⑤. Though this would be more labored, since 2 just played A ③.
The best option for fluid left-hand fingering is to circulate all four fingers and avoid repeating/overworking any one.
This example is similar to Ex. 5—4 on F ④ followed by 3 on G ⑥ is most fluid. 3 on F to 2 on G is another option, but overuses 2, since it just played E ④. Notice also that beginning the passage with 4 on F ④ helps to reinforce playing it again on the & of beat 2.
The first option is optimal. When placing 3 on A ③, leave it there for the following 3rd beat. This passage could be right-hand fingered more than one way as shown.
The first version might tempt some to jump 3 from G â‘ Â to D â‘¡which is not legato playing.  This second version is better since 4 on G â‘ , leaves 3 available for D â‘¡.  Notice that bass note B is fingered with 1, but some hands might feel more comfortable with 2.Â
