No-Nail Guitar

Plucking Motion

To make a sound, our objective is not only to make the string vibrate but, moreover, to make the guitar vibrate, especially the soundboard. The more vibration, the louder the sound. How you make the string vibrate will change how the guitar vibrates. If, for example, you make the string vibrate parallel to the soundboard, the guitar will vibrate less than if you make the string vibrate perpendicular to the soundboard. This is why apoyando (rest stroke) can sound so full and powerful. For this reason, players of the ‘Tarrega School’, used apoyando as the default stroke, even for arpeggios and tremolo.

However, it is quite possible to get a full, strong sound with tirando (free stroke). Most often players do this with a diagonal stroke, pushing into the soundboard and then towards the upper part of the guitar. Some, notably Rob MacKillop, instead pluck from under the string and then pull towards the upper part of the guitar. However you pluck the string, without nails you will have to use a bit more strength — nails do some of the work for you! If you are a convert from nail playing, you will probably need to significantly change the way you pluck the string. Using the same technique as with nails usually produces a weak and unsatisfactory sound.

When learning to pluck without nails, here are a few things I find useful to consider:

  • Especially for certain types of fingertip, it can be harder to avoid the nail than you might expect. Experiment with different points of contact — sometimes you need to pluck from further back along the finger than you might expect.
  • Playing off the fleshy part of the fingertip where the bone ends can give a full, strong sound.
  • The less-fleshy sides of the finger can produce a slightly brighter sound, as well as make faster passages easier to execute (because they offer less resistance).
  • Students often ‘snap’ at the string, which creates an ugly sound. The release of the string should be easy, smooth, even caressing (except, of course, when you want an aggressive sound). Don’t let the fingertip get caught on the string.

This is all difficult to explain in words. The best thing to do is experiment methodically, watch and listen to other players very carefully, and get feedback if possible.

15 responses to “Plucking Motion”

  1. brisstreet Avatar
    brisstreet

    I have been playing predominantly with p, i and m fingers for right hand technique and occasionally a when I feel that’s more practical. I’d be interested in hearing your ideas about scale practice, in particular using i and a and m and a fingering. How useful for no nail technique is it to develop the ring finger?

    I know about Sor’s technique which did not make use of the ring finger except for four note chords etc, but that was 200 years ago.

    Is there a fusion of modern nail and no nail technique that works better?

    Thanks again for your time and dedication.

    Jeff

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    1. Steven Watson Avatar
      Steven Watson

      It’s a good question Jeff. I think it’s important to develop the ring finger — even Sor admitted there are times when it’s unavoidable. Other no-nailers make the ring finger equal to the others, such as the Tarrega school. For a lot of modern repertoire a developed a finger is necessary. I actually go one step further and believe that the little finger (c) should be developed as well (as many guitarists have in fact done over the last two centuries). Re scale practice, I don’t tend to practice scales anymore, but I do do alternation practice — im, ma, ac etc. Tirando and apoyando, in different groups, dotted rhythms, across strings etc.

      That said, I do partially agree with Sor that, for many players at least, the a finger does not produce quite as good a tone for melody notes. There are ways to compensate for it — different angles etc. It’s something that definitely can be improved woth practice. Though often I do use the little finger instead, for its slightly brighter sound.

      This is just my approach, and plus everyone’s fingers are a bit different…!

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      1. brisstreet Avatar
        brisstreet

        Thanks Steven, that makes good sense. I will experiment and be a little more adventurous and see what works for me :).

        Jeff

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  2. Daniel Palivec Avatar
    Daniel Palivec

    The most important thing is to realize you really DO NOT need ANY fingernails to play a guitar and never look back. Once your head is set, the technique is as follows:

    1. The right hand position is different than if you play with nails. It is similar to the “thumbs up” gesture. Flamenco guitarists do it similar way, and most importantly harp players. The harp plucking technique is a good inspiration.
    2. The first contact of the finger with the string is slightly lower (further from the fingertip) compared to nail playing. About a string width or, say, half milimeter lower. You touch the string with your finger flesh supported by the (very) short nail. The nail does not touch the string. It is only possible if you hold the hand as described above. You need to cut your nails really very short to avoid it hitting the string.
    3. Do not attempt to use lute plucking technique. It does not really work well on modern classical guitars.

    The guitar sounds amazing if you play without nails. Good luck!

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    1. Steven Watson Avatar
      Steven Watson

      There is no one way of playing without nails. The above may work well for you, but you are wrong to suggest that others must play like this. Indeed, most don’t.

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      1. Daniel Palivec Avatar
        Daniel Palivec

        Hello SteveI was not saying this is the only way. I was just describing that works for me. Feel free to delete the comment if you think it is offensive.However I have some experience with lute technique, and I was trying it on guitar with nylon gut strings as Rob McKillop recommends and the tension of the strings is just too high. I believe you would need an early guitar replica and double strings to play this way. Note that most contemporary photos of classical guitarists who played without nails (Pujol) clearly show that they did not use this technique.Best regardsDaniel

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        1. Steven Watson Avatar
          Steven Watson

          In that case I misinterpreted it, Daniel, my apologies and thanks for clarifying. Most of the 20th century no-nailers were following Tarrega, so they used his hand position. I wonder if different lute techniques might transfer better? E.g. a theorbo technique might work better than a renaissance lute technique.

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  3. Anatole Avatar
    Anatole

    Hi,

    I’ve been playing a lot of fingerstyle electric guitar without using fingernails. Over the last three months, I’ve been searching for a good technique to pluck the strings with a strong and fast sound. My goal was to minimize hand movement (less than 4 mm) and rely only on the fingers themselves.

    Now, I believe the best way is to use only the second and last phalanx to create an upward motion, allowing the string to be released naturally.

    I’m not sure if this is the correct approach to playing without nails, so I’d love to hear any feedback from others.

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    1. Steven Watson Avatar
      Steven Watson

      Well, I’m not an electric guitarist, but some things are universally applicable. Generally, it is better to use the large joint for the stroke — more power and control. Yes, too-large movements can be problematic, but sometimes smaller movements aren’t more efficient; they can be more tense and lack power.

      When plucking, I’m aiming to 1) lessen excess movement in the air as the finger approaches the string 2) push the string with precise control 3) make sure the string is not catching on any part of the finger during the stroke; a smooth release is so important 4) relax the finger after the release.

      For faster speed, try using just the side of the finger (less surface area).

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  4. luminarystellare3d02950fb Avatar
    luminarystellare3d02950fb

    thanks you for your answer.

    What is large joint?

    and the motion of the finger looks like what ?

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  5. luminarystellare3d02950fb Avatar
    luminarystellare3d02950fb

    thanks to your answer.

    What is the large joint and the motion of the finger look likes to what ?

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    1. Steven Watson Avatar
      Steven Watson

      The large joint is the large knuckle, where the finger begins. A smooth release is where the string departs from the finger without any snap or suddenness, but perfectly controlled and without hindrance. The slowmo vids here may be of help to you: https://nonailguitar.com/technique/right-hand-close-up-and-in-slow-motion/ None of this is easy to properly explain by text, I’m afraid.

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  6. luminarystellare3d02950fb Avatar
    luminarystellare3d02950fb

    i don’t understand how get a smooth release

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  7. luminarystellare3d02950fb Avatar
    luminarystellare3d02950fb

    okay you have to push the string (with large joint) and in the same time up the finger with the secondary joint for realease string

    it is that ?

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    1. Steven Watson Avatar
      Steven Watson

      The whole stroke is done primarily with the large joint; the other joints will move as a consequence, but they aren’t the impetus or even necessary. Maybe it’s clearer if one thinks of a plectrum. It’s a single object; you push, then follow through/release.

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