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See the little piece below (from Mel Bay's "Complete Method for Classical Guitar")

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I play the C-E with fingers 1 and 2 (respectively), followed by the C with the finger 3.

I then switch to D-F with fingers 4 and 3 (respectively), followed by the B with finger 1.

The problem is that I need to move finger 3 from C to F between the second and the third "beat", cutting the C short. I want the C to last for the whole "beat".

What should I do with my fingers to make this possible? Of is this already the best way, and I should just be "quicker"?

  • It would help if you specify right or left hand. If you must move you will cut the note short. Part of the disciple is learning to lift and place quickly and gracefully. I would used finger 2 on the low B. But otherwise your fingering seems reasonable. Is this an exercise on page 1, something simple? Typically guitar books lead you into complex patterns step by step teaching decision making logic along the way. Mal Bay is a good series, Carcassi is also good for classical, as is Parkening, and Romero. – ggcg Jun 19 '18 at 19:10
  • My apologies for being unclear. I meant the left hand. – Werner de Groot Jun 20 '18 at 17:33
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I believe this is simply a technique issue. You are moving your 3rd finger too quickly when changing positions for the second chord because you are not used to this particular shape. This is quite common across all genres of music and among every instrument.

If you continue to practice the piece I'm sure you will be able to let each note ring for its full value.

By the way, you could try using your third finger to bar the F and D notes while simultaneously holding down the C. This can be a good exercise for all kinds of chord shapes, and helps to achieve a more fluid sound.

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You might just need some more practice using the current fingering.

However, an alternative fingering is to move the second finger from E to F and the first finger to B. This isn't super smooth in the beginning as well. So you have to try, whether or not it works better for you.

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