Why play classical guitar without nails?

There are three main reasons: aesthetic, historical, and practical. First, the aesthetic. And no, I don’t mean a fear of looking like this:

Struwwelpeter, 1861
Struwwelpeter, 1861

Rather, I mean it in the sense of that search for an intimate, rounded sound, one that brings out the warmer tones of instrument. Physically, too, no-nail playing also removes a barrier between your fingertip and the string, giving an alluringly-direct sense of touch. Many of us are also drawn in by the possibility of discovering new sounds — the sheer excitement of doing it differently.

The historical reasons were also a strong motivation for me. It was astonishing to discover that, for the guitar’s five-hundred year history, no-nails was not just a valid method, but often the preferred method. I wanted to rediscover the technique, to learn about why players in the past had this radically different right-hand technique, and how this might inform us today. I have written about the history here, for those interested.

Finally, some players adopt no-nail playing for practical reasons. They may have poor quality nails, lives that preclude maintaining good nails, or even medical conditions which make it difficult, if not impossible, to grow nails. Such players can of course go down the route of fake nails, but they can also become fine guitarists by following the no-nail tradition. The problem is that, frequently, they find teachers who are at worst hostile to the idea of playing with flesh, or more often just unaware of the technique. I hope that this website will go some small way to help correct this.


10 responses to “Why play classical guitar without nails?”

  1. Alessandro Giovanni Frassi Avatar
    Alessandro Giovanni Frassi

    What you say is very true: teachers don’t ask themselves the problem. They teach to use nails because they learned that way. I believe that the great Segovia has some responsibility in this.

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    1. Steven Avatar

      Segovia could be dogmatic (but so could some of the great nonail players, it must be said). Plus, obviously, we teach what we know, and I can well understand a guitar teacher not knowing what to do if they get a student who wants to play without nails.

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      1. generouslyiron5929f7b993 Avatar
        generouslyiron5929f7b993

        It’s true but Segovia had an importance and an influence that no other guitarist had. He was also an innovator because he introduced nylon and broadened the guitar’s repertoire; his importance is not disputed. However, I heard a recording where he stated the importance of nails and criticized the sound without nails. He greatly influenced all subsequent generations. It was considered the bible of the guitar. However, we are all indebted to him. Excuse my bad English.

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  2. Brandy Susie Red Avatar
    Brandy Susie Red

    depends also on guitar ive had guitars that needed nails for volume until 4 years ago i got the guitar of my dreams Slavko mrdlj just like a smallmann changed my life no nails full sweet EXPRESSIVE i love the touch ,,feel of my strings so much to discover thanku susie

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  3. Serge Avatar
    Serge

    Don’t forget some of us no-nail players have literally been forced to either play without nails, or simply not play the guitar at all! I’m thinking of folks who cannot have nails, either because of some medical condition, or because their jobs mean they must/can not have nails – and that’s before mentioning guitarists who also play the piano and who have a rather painful time if they accidentally put a nail in between a black and a white key when moving up a fast arpeggio…
    For some 50-odd years, I have played with nails from my first steel-strung folk to the classical guitar. Alas, a few years ago, the psoriasis I’ve always had rather mildly, grew more vicious and also got under my fingernails. As you may know, this auto-immune disease replaces skin after about 3 to 4 days whereas it normally gets replaced after some 3-4 weeks, resulting in scaly patches of thick [old] skin layers. If that happens under your nails, the latter come off their nailbed, especially at the tip where there’s less adherence, and -crucially for guitar players- where they are being pulled upwards with every twang of a string. Not only can this be a painful experience, it also results in a varying height of the nail over a few days, making it difficult to know just where the nail is today. Needless to add that the effect is much worse, when the string gets stuck under the nail during play. 
    Therefore I play without nails these days. No-nail playing has its issues (…), but I’d rather play without nails than not at all, or -worse- limit myself to just one note at a time by using a plectrum 😉

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    1. Steven Watson Avatar

      Hi Serge! Hope you’re well. Yes that’s definitely a large constituency of no-nailers. And the piano issue is very true. One of my teachers used to have many students who also took piano lessons. It made for an amusing back-and-forth: he would tell them to grow their nails, then the piano teacher would tell them to cut their nails…

      I remember you describing the skin problem. Sounds really unpleasant. Especially after 50 years playing with nails, switching to flesh alone must necessarily present issues! I’d be interested to know what they are for you — all helps with the research.

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      1. Serge Avatar
        Serge

        You’re quite right, Steven, switching to no-nails posed issues after such a long time.

        Placing was the most troubling (and still is, even after a couple of years). With nails, I could easily prepare the next note/chord by resting my fingertips on the strings just before the nails, then with one twang the note(s) would go off, and do so _precisely_.
        Without nails, the placing is a wee bit more haphazard, and depends more on my whole hand position than with nails (i.e. how close/far the hand is hovering over the strings) which always provided an identical resting place/point, irrespective of my whole hand position. I find that -without nails- the actual sound I produce is not quite as precise because -in the swing of the action- I can’t always place the string at the same distance from the tip of my fingers, and thus occasionally I pluck a wee bit late. Therefore I feel that with my nails gone I’ve also lost some immediacy. While this is easier to “paper over” in a solo situation, it comes to light especially when playing with others. I know that you help yourself with your pinky on the soundboard, but this does not seem to work for me.

        A lesser issue is also the diminished sound level [without nails], again more prominent in an ensemble situation than solo. It is now more difficult to “compete” with nailed players who simply output more volume. Yes, after I cut my nails, the folks in our quintet were very understanding and tried to play softer, but they often forgot this in those fff/sfz moments, resulting in my part getting a wee bit lost. OK, I could make up for that in soft passages, and we swapped some parts to reflect this, but still that loss of volume – and also some sparkle, as extreme pont playing is now no longer possible – was a bit of a sad side effect.
        Eh well, the quintet experienced the “incredible shrinking disease” that occasionally befalls ensembles, and I ended up playing in a duo with one of the members, where such loss of volume (and brightness) is much less of an issue.

        My [RH] fingertips are still growing their calluses, so perhaps this will all be different in yet another year’s time, we’ll see…

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        1. Steven Watson Avatar

          Interesting, thanks Serge! Hm, it’s hard for me to visualise the placement issue in my head. Maybe you could show it to me in person if we have time? I’d be interested to know.

          Volume does usually increase with time. The fingertips take a while to get used to their new role, and we have to develop the strength needed to really push the string into the soundboard. Tarrega didn’t perform until two years after cutting his nails! In my opinion ‘calluses’ (though they shouldn’t be like the LH ones…) are only useful insofar that they prevent injury. I don’t think they inherently make the sound any louder; and when severe, they can adversely affect tone.

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  4. david malmberg Avatar
    david malmberg

    I have been enjoying the site. Interesting…I studied guitar in Sevilla back in the early 70’s with America Martinez. America was a student of Fortea and a close friend of the family. This to the point that when Fortea’s house was bombed out during the civil war, he lived with the America Martinez family.

    America used to go away during the summers. She would hand me a stack of music and tell me to learn it for the fall. One fall I came back and had grown my nails very long. She was appalled and immediately ordered me to cut them short. I have been a proponent of short nails ever since. And I mean extremely short so that the majority of my playing is with flesh but the nail is there when i need it.

    the above is an interesting story because America Martinez was obviously influenced by Fortea in her philosophy toward nails. speaking of appalled…when i returned to the US i was appalled at the length of nails on the guitar players here. So, it is refreshing to hear that there is a school out there of ‘no nails.’ Perhaps I will take the final plunge and go completely flesh in the future……

    thanks.

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    1. Steven Watson Avatar

      Hi David, many thanks for your comment! Her reaction to your long nails is quite amusing. Daniel Fortea is said to have had no nails on his fingers, yet a very long thumbnail — I wonder, did Martinez have a long thumbnail too?

      Did Martinez mostly play with flesh, as you do?

      I clearly need to do some more research on Martinez! Very useful to know, thanks again. Glad you’re enjoying the site.

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