Chord Basics Revisited, pt. II – Guide Fingers

“The less you lift your fingers off the neck, the better off you’ll be” is an adage that one of my former teachers relayed to me when I first started to study the guitar - of course being a young student I did not realize how true it was until some years later. The reason I mention it is that it clearly relates to this month’s topic of guide-fingers. 

If you are unfamiliar with guide fingers they are those fingers which stay on the same string, but move to a different fret - this month I’ll explore how they relate to chord changes. Keep in mind that not every chord change will incorporate guide-fingers, however knowing when and where to use them can enhance one’s playing. Moreover, I’ll be discussing how to use them in relation to the three finger chords talked about last month – A, D and E. 

Looking at the A and D chords the guide finger (the only finger on the same string) is the 3rd.

In order to transition from the A to D chord using the guide finger keep the 3rd finger down and: (1) Lift the 1st and 2nd fingers. (2) Slide the 3rd finger up a fret (3) Place the 1st and 2nd fingers in their proper position in the D chord. 

Now looking at the D and E chords the guide finger (the only finger on the same string) is the 1st. 

Then in order to transition from the D to E chord using the guide finger keep the 1st finger down and: (1) Lift the 2nd and 3rd fingers. (2) Slide the 1st finger down a fret (3) Place the 2nd and 3rd fingers in their proper position in the E chord. 

Keep in mind that not all chord changes will include guide fingers, but being aware of when they occur and pointing them out to students will help to make shifting between chords a bit smoother for them.

Chord Basics Revisited, Pt. I - Chord Shapes

In the January post students were introduced to two finger chords and in February the discussion led to applying various strumming patterns to them. This month I’ll go back to Chord Basics and discuss how using chord shapes will not only help form chords more quickly and accurately, but also promote finger independence. Moreover, we’ll be expanding our student’s chord vocabulary by introducing three finger chords.

The first three finger chords I like to introduce to are the “classic” A, D and E major forms we all know and love. There are various reasons for this but ultimately they are commonly used chords which students will later use to strum their first song.

When I introduce three finger chords I also discuss chord shapes – the process of forming a chord in the fingers before they are placed on strings. When done correctly each finger is placed on each string simultaneously helping to create a smooth transition from chord to chord. Take a look below at the shape of each chord as it is formed in the fretting hand.

A Chord : hand is in a "C" shape, fingers 1, 2 & 3 are together

D chord : fingers 1 & 3 are stuck out while 2 is pulled back

E chord : 1st finger is pulled back while 2 & 3 are stuck out

When students first begin working with chord shapes have them practice away from the guitar. If need be have them make the chord on the instrument first and take their hand off the strings while retaining the shape of the chord. After they are successful in creating chord shapes without the guitar in hand, then incorporate the instrument back in. In making chord shapes on the guitar all fingers should be placed at the same time. Moreover, when the fingers are to be placed on the strings it should be done as slowly as possible. If done correctly, it will feel as if one is “fighting” with their own muscles to move slowly. This is natural as it is a new movement that the fingers are learning to do.

Next month I'll continue with Chord Basics and tackle the topic of guidefingers!

Strumming 103 - Simple Tweaks

In this month’s post I close out the topic of strumming by discussing several issues which can arise with beginning players: heavy-handedness, using “too much” pick, stiff pick syndrome and “angled” strumming. Normally these problems require small “tweaks” to a players’ technique and with regular attention by both student and teacher they can be resolved. 

Quite frequently the issues of heavy-handedness and using too-much pick are intertwined. Heavy-handedness is when a student is trying to use too much force to strum across the strings and this can be the result of using “too much” pick. Whereas, the student is using a large portion of the pick to strum as they are trying to “insert” the pick between the strings when strumming rather than allowing it roll across the top of the strings. 

Strumming with too much pick and inserting it between strings

Moreover, new players may be showing signs of stiff pick syndrome (yes, I know) – meaning they are gripping the pick so tightly they are not allowing it to flex as it moves across the strings; lightening up the grip will go a long way in creating a relaxed and smooth strum. 

Finally, it is quite common for players starting out to strum on a wide angle rather than simply up and down. Generally this occurs 

Using too much elbow can cause a wide strumming angle

when a player is relying too much on their elbow for strumming. Using a “equal amount” of both elbow and wrist will help to

Controlled strum

achieve a more controlled strum and produce a more even tone.