Copyright Douglas Niedt. All Rights Reserved. This article may be reprinted, but please be considerate and give credit to Douglas Niedt.

This month it's back to the basics: the left-hand position (left hand position). This is an all-video tip. It is a nearly one-hour comprehensive guitar lesson on positioning your left hand. I explain the parallel and slanted hand positions, pros and cons of each, when to use them, and how to use and position the left-hand thumb. But this isn't just for beginners. Even if you've been playing a long time I think you will learn something new.

You may not be able to watch the entire video at one sitting, or you may want to come back to a particular part. Here is a list of some of the topics I discuss with the time code for each:

• 00:56 The two left-hand positions
• 04:06 The parallel hand position
• 05:19 Five ways to find the parallel hand position.
• 15:14 Details of the parallel hand position
• 17:02 Video shot of the difference between the parallel and slanted hand positions
• 19:16 Placing the fingers perpendicularly on the strings
• 20:50 Moving from string to string with the parallel hand position
• 24:43 The pencil trick
• 26:23 Basics to remember
• 27:23 All about the left-hand thumb (this is a technique tip in itself)
• 31:39 The thumb is a passive participant (this point is crucial)
• 38:32 The wide range of left-hand positions
• 40:06 The slanted hand position
• 47:17 The advantages of the parallel hand position
• 49:59 The parallel hand position may not be suitable for beginners

Let me begin by stating unequivocally that there is no single correct left-hand position for playing the classical guitar. The position of the left hand is dynamic, not static, meaning it's always changing.

As a guitarist, you'll play countless chord shapes, many of which require wide reaches across the width and length of the fretboard. Transitioning into and out of these positions necessitates that the hand be in constant flux, responding to the music's demands.

Now, with that said, I will outline the conventional advice on finding the correct, or "home," or "default" left-hand position.

There are two extreme left-hand positions (left hand positions):

1. The Slanted Hand Position: This position is relatively easy to find and comfortable. It's used to play most of the basic chords in the first position, such as D chords, A chords, A major, A seventh, and the G chord. If you transition from a basic G chord to placing all four fingers down on the first string or a D chord and return to the first string, that's the slanted hand position. You'll notice that my hand doesn't change position at all. This position works for most basic chords in the first position, and a lot of classical guitar music is based on these simple chords.
2. The Parallel Hand Position: This is what most teachers' books and videos describe as the correct or default hand position. I call it the parallel hand position because the hand is kept parallel with the neck. Unlike the slanted hand position, it's aligned with the neck, and the fingers are kept parallel with the frets. If you draw a line from knuckle to knuckle of the 2nd or 3rd finger, that line aligns parallel with the frets. My first finger leans to the left, and my little finger leans to the right, but the second and third fingers are parallel with the frets and stand vertically (perpendicularly) on the fretboard. I'll explain this in more detail later and show you some different camera angles.

These two basic positions, the slanted and the parallel, are your foundational tools. You'll use them and everything in between these two extremes. Sometimes, you'll even go past parallel, where the little finger side of the hand goes into the neck a bit extra for some formations. Though not common, it does happen.

We're going to examine the parallel hand position in detail. Here are a few fundamental principles:

• Wrist Position: The wrist should be fairly flat, not arched out. This remains true whether you're at the fifth fret or elsewhere on the fretboard. The wrist doesn't sink in or cave in; it stays straight and aligned with the arm.
• Finding the Position: It might be easiest to practice this position with the first finger at the fifth or seventh fret, where the frets are closer together.

Now, let's explore five different methods to find or teach the parallel hand position:

1. At the fifth fret, lay your first finger across the fret on the fretboard, parallel with the fret. Place the other fingers at the subsequent frets.
2. Don't worry if the fingers don't reach all the way to the fret wire of each fret.
3. If teaching beginners, use simple language like "lined up with the frets" instead of "parallel."
4. Set all four fingers lightly on the strings, ensuring that the 2nd and 3rd fingers are parallel with the frets.
5. Your fingers are now at the fifth, sixth, seventh, and eighth frets.
6. Bring the thumb behind the neck, between the first and second fingers, and curl the fingers onto the third string. You're now in a good parallel hand position.

1. Wrap your entire hand around the neck, with the first finger at the fifth fret.
2. Keep your elbow loose and bring your hand down to the third string.
3. Ensure your wrist is flat, and you'll be in a parallel hand position.

1. Set the 2nd, 3rd, and 4th fingers on the first string at the sixth, seventh, and eighth frets.
2. Place the first finger on the first string at the fifth fret, then lay it across all six strings, parallel with the fret.
3. Guide the student to keep the 2nd and 3rd fingers parallel with the frets.
4. Adjust the thumb's position if needed, and you'll have the parallel hand position.

1. Make a fist with a straight wrist, aligning it with the neck.
2. Open up the hand, placing the fingers on the first string.
3. Spread the fingers apart, one finger to a fret, without straining.
4. Move the thumb so that it is between the first and second fingers, and you'll have the parallel hand position.

1. Let your left arm fall loosely, then turn the palm forward.
2. Bend at the elbow, bringing the hand up to the guitar and the fingers onto the first string at the fifth fret.
3. Position the thumb behind the neck, between the first and second fingers.
4. Spread the fingers, one finger to a fret, without forcing them.
5. You're now in a parallel hand position.

These methods provide various approaches to finding the parallel hand position, accommodating different learning styles and physical comfort levels. By practicing and teaching these methods, guitarists can achieve a parallel hand position that facilitates effective playing.

Let's review the details of the parallel hand position:

• Alignment with the Neck: In the parallel hand position, the hand aligns with the neck, causing the second and third fingers to run parallel with the frets. They are not turned or angled but remain parallel.
• Finger Leaning: The first finger leans to the left, while the little finger leans to the right.
• Perpendicular Stance: The second and third fingers stand perpendicularly to the frets, maintaining parallel alignment with the frets. The second and third fingers stand perpendicularly to the frets, maintaining parallel alignment with the frets.
• Positional Changes: In lower positions where the frets are further apart, the first finger may lean significantly to the left for most players. As you move up the neck, the first finger tends to straighten, assuming a more vertical position. This adjustment is normal and occurs because the frets get closer together as you ascend up the neck.

• Slanted vs. Parallel: In the slanted hand position, the little-finger side of the hand swings away from the neck. In contrast, the parallel position brings this part of the hand closer to the neck, aligning it with the frets.
• Little Finger Behavior: In the slanted position, the little finger straightens, flattening out. When transitioning to the parallel position, the joints of the little finger bend. This bending is advantageous. Bending the finger joints makes the fingers stronger. A straightened little finger weakens it, putting it at a disadvantage.
• String Clearance: The parallel position also offers better clearance of the strings behind the ones you're holding down. If you play on the third string with a parallel position, you'll have clearance of the second string behind your fingers. In the slanted position, the little finger may touch the second string, hindering simultaneous play and causing a clunky sound.
• Advantages of Parallel Position: The parallel position's benefits include maintaining finger strength and providing better string clearance. It's particularly helpful in passages where the little finger plays a significant role, as it supports the finger's performance.

Most of the time in classical guitar playing, it's essential for the fingers to land perpendicular on the strings, playing on the very tips of the fingers. This positioning is crucial for several reasons:

• Avoiding Adjacent Strings: In classical playing, we often fret a note while playing open strings around the note we're holding. If the fingers lean over, they may touch an adjacent string, muting it or causing buzzes. Perpendicular placement helps avoid this issue.
• Default vs. Intentional Positioning: While there are instances where you might intentionally angle a finger to dampen an adjacent string, the default position should be perpendicular. The parallel hand position facilitates this alignment.
• Challenges with Slanted Position: In the slanted position, the fingers tend to lean over and rotate into the next string, which can create problems. Again, the parallel position offers advantages over the slanted position in this regard.

When moving from one string to another, certain adjustments are necessary:

• Finger Curvature: As you move from the first string to the sixth, the amount of curvature in the fingers and the hand's position against the neck will change slightly. On the first string, the fingers are more acutely bent, while on the bass strings, they assume a more rounded shape.
• Hand Position on the Neck: Depending on the string being played, the hand may rest on the neck or be slightly away from it. For example, when playing the sixth string, the hand can rest on the neck, provided the first string is not being played simultaneously.
• Wrist Position: The wrist position also changes when moving from string to string. On the higher strings, the wrist remains fairly flat, but it may arch slightly to reach the bass strings. This arching is natural and should not be a cause for concern.
• Maintaining Parallel Alignment: Despite these adjustments, the parallel alignment with the neck remains consistent in the parallel hand position.
• Avoiding Excessive Arching: When playing the treble strings, it's vital to keep the wrist flat or straight. Excessive arching can cause the fingers to lean forward, potentially bending the strings and affecting intonation. This common mistake can pull the string out of tune.
• Importance of Sitting Position: The way you sit can also impact your wrist position. Leaning back or having the guitar leaning back too far can add unnecessary bend to the wrist. Ensure that the guitar sits squarely on your leg and that you sit up straight to maintain a straight wrist.

Understanding your hand position while playing the treble strings also involves paying attention to the webbing between your fingers.

• Positioning with the Pencil Trick: Lay a pencil across the webbing between your fingers. It should align evenly with the plane of the fingerboard, lying flat on it. This trick helps you test your hand's position when you play the treble strings.
• Avoiding High Arch: Don't arch your hand too high, as this raises the center of gravity of your hand. Instead, aim to keep your hand on the low side. When playing on the bass strings, the wrist will have a natural arch.
• Exceptions and Center of Gravity: There are exceptions (as in playing on the bass strings), but generally, if you arch too high, your center of gravity will be off. Lay the pencil on the webbing, lower your hand until the pencil sits flat on the fretboard, and you'll find a good position.
• Monitoring the Arch: Keep an eye on the arch of your hand. Even if other aspects are correct, if it's arched too much when playing the treble strings, it can cause problems due to the center of gravity being too high.
• Finger Alignment: Ensure your second and third fingers stand perpendicularly to the strings and the fretboard. Don't let them lean to the left, even if your hand position is correct. Leaning fingers may indicate weakness in the joints.

• Finger Proximity to Frets: Keep your fingers close to the frets. Being further away makes it harder to press the string down, and some believe it may affect the sustain of the note. Stay close to, but not on top of, the frets. Press just hard enough to produce the tone.
• Left Elbow Position: Most of the time, let your elbow hang loosely and comfortably. Some teachers advise having the elbow out a little when playing in the first position. Experiment to see what works best for you. As you approach higher positions, let the elbow hang down loosely.

The thumb serves as a balance point for the hand, and its position will continually change to meet the demands of the music. Here's a detailed look at the thumb's positioning:

• Parallel Hand Position: In the parallel hand position, the thumb is usually located between the first and second fingers. Its exact position may vary along the length of the neck, depending on what you're playing. However, it should not be off to the left of the index finger. It should be about in the middle of the neck. Placing it too high (towards the 6th string) can cause tension in the forearm.
• Thumb Proximity: Some musicians prefer the thumb opposite the index finger, while others place it opposite the middle finger. This preference may depend on finger lengths and the relative length of the thumb compared to other fingers. Generally, the thumb should be in this range most of the time.
• Thumb Orientation: In the parallel position, the thumb rests slightly on its left side. In the slanted position, it shifts more to the right, resting flatter on the neck.
• Locked Thumb: Usually, the tip joint of the thumb is locked into place, especially in the parallel position. It won't bend at the tip joint or wobble; it stays flat and locked.
• Switching Strings: As you switch strings in the parallel hand position, the thumb's position will also change. From the sixth string to the first, the thumb will walk along, adjusting slightly with each string.
• Constant Movement: The thumb doesn't stay in one spot; it's always adapting to the musical requirements.
• Spacing with Index Finger: Always maintain space between the thumb and the inner part of the index finger. Don't grab or hug the neck of the instrument. This space remains constant in the parallel hand position, regardless of the string being played.
• Slanted Hand Position: In the slanted hand position, the angle between the thumb and index finger is slightly different, but the space must still be maintained.

The thumb's role in playing the guitar is often misunderstood. It should act as a passive participant, exerting minimal pressure on the neck most of the time.

• Avoiding Excessive Pressure: Don't use a vice grip between the thumb and fingers. Instead of relying on squeezing, use the force of gravity and the weight of the left arm as the primary pressure source.
• Utilizing Arm Weight: In many left-hand situations, little effort is required to play the notes if you let the fingers sink into the strings next to the frets. Instead of squeezing out the notes, hang on the strings. You'll achieve clear notes with far less effort.
• Understanding and Using the Weight of the Arm: The weight of the arm is the downward force exerted by the forearm. If you place your four fingers on the 3rd string in the fifth position and take your thumb off the neck, allowing the weight of your arm to hold the string down, you'll find that the weight of your arm pulls the string down toward the floor.
• Combining Downward Motion and Pulling the Guitar Against Your Chest: In reality, you use not only the downward weight of the arm but also use the arms to pull the guitar against your chest. If you used just the weight of the forearm, you'd end up pulling the string out of tune. Combine the weight of the arm with pulling the guitar against your chest to hold the strings down.
• Practicing Without the Thumb: You can practice without the thumb on the neck, wiggling it to ensure it's relaxed. Try playing different chords to feel the elbow and the weight of the arm holding the strings down.
• Playing for Real: When playing for real, combine the arm weight and pulling the guitar into your chest, then place the thumb lightly on the back of the neck as a passive participant. This technique will enable you to play without fatigue and with greater strength.
• Handling Difficult Chords: For challenging chords like bar chords, use both the left arms' weight and pulling the guitar into your chest. Pull the guitar against your chest equally with both arms to avoid moving the guitar out of position.
• The Thumb's Role: Even in difficult chords, the thumb remains a passive participant. Most of the strength comes from the arms, not the small muscles between the thumb and index finger. You can even play chords without the thumb on the neck, relying entirely on arm strength.

By understanding the thumb's passive role and learning to utilize the weight and strength of the arms, you can play with less effort and more precision. This approach emphasizes the importance of the thumb's position and the way it interacts with the rest of the hand, leading to more efficient and effective playing.

The range of left-hand positions in playing the guitar can be illustrated through the comparison of two different chords: A major and G flat major seven. Both require entirely distinct hand positions, each correct according to the specific needs of the chord.

• A Major Chord: When playing an A major chord, the hand adopts a slanted position, swinging out from the neck. The elbow wings out slightly to the left instead of hanging down loosely. This positioning is tailored to the requirements of the A chord.
• G Flat Major Seven Chord: Transitioning to the G flat major seven chord brings a significant change in hand position. The elbow comes in, the hand turns in, and the little finger side of the hand comes much closer to the neck than the first finger side. This position goes beyond parallel.
• Parallel Position Consideration: Playing the G flat major seven chord in a parallel position is possible, but it may strain the hand. Turning the hand in closer to the neck adds an advantage, particularly for the little finger, giving it more strength.

These two examples demonstrate the dramatic differences in hand positions that can occur within the same piece of music. Both positions are correct for their respective situations, emphasizing the importance of adaptability and understanding the unique demands of each chord or note.

The slanted hand position is a fundamental technique in playing the guitar. Here's an in-depth look at this position and its applications:

• Definition and Usage: The slanted hand position is commonly used to play basic chords, often referred to as folk guitar chords or cowboy chords, in the first position. It is especially employed when two or more fingers are at the same fret.
• Examples of Chords:
  • A chord: Three fingers at the same fret, slanted position.
  • D chord: Two fingers at the same fret, slanted position.
  • B seventh: Three fingers at the same fret, slanted position.
  • E Major, E minor, G chord: Two fingers at the same fret, slanted position.
• Comparison with Parallel Position:
  • Playing a D chord or B seventh in a parallel position can be done but may cause discomfort or buzzing.
  • The slanted position is not limited to the first position; it can be used anywhere on the neck.
  • In fast passages, it might be inconvenient to switch between parallel and slanted positions.
• General Rule: About 95% of the time, if two or more fingers are at the same fret, the slanted hand position will be more comfortable and effective.
• Thumb Positioning:
  • In the slanted position, the thumb is flatter and more to the right, sometimes even higher (closer to the 6th string rather than in the middle of the neck).
  • The thumb's position constantly changes, especially in folk chords.
  • It may come around the neck more (closer to the 6th string) for certain chords, like D major, or point slightly to the left or right for certain chords.

1. Good for playing bar chords and passages that combine bars with single notes.
2. Superior for slurs and pull-offs, providing more power and clarity.

• Flexibility and Adaptation:
  • Both slanted and parallel positions have their advantages and are used interchangeably.
  • The hand's position constantly changes, adapting to the music's demands.
  • The elbow and wrist also move, and the forearm's movement adds to the complexity.
• Importance in Classical Music:
  • Many classical pieces by composers like Sor, Giuliani, Carcassi, and Carulli are based on basic folk guitar chords.
  • Understanding hand positioning for these chords is essential for both beginner and advanced repertoire.
• Avoiding Misconceptions:
  • The thumb's position is flexible; it's not locked in one place.
  • It's essential not to hug the neck or maintain a rigid thumb position.
• Conclusion: The slanted hand position is a dynamic and versatile technique that adapts to various musical contexts. Understanding its nuances and applications can significantly enhance a musician's performance.

By breaking down the complexities of the slanted hand position and contrasting it with the parallel position, this overview provides a comprehensive understanding of a critical aspect of musical technique. Whether playing simple folk chords or intricate classical pieces, the ability to master these hand positions is a vital skill for any guitarist.

Although many teachers consider the parallel position the default position for classical guitarists, it might not be suitable for beginners, especially children or adults with small hands. Here's an exploration of this topic:

• Difficulty for Beginners: Playing in the first position with a parallel hand position can be challenging even for intermediate guitarists. This difficulty is exacerbated if the player lacks long fingers, natural spread or stretch between the fingers, or if the guitar's scale length is too long for the player's fingers.
• Traditional Teaching Method: Most beginners are taught the notes on the strings in the first position, starting with the E, F, and G notes, usually using the third finger on the G. However, maintaining a parallel hand position when transitioning between these notes can be extremely difficult or even painful for many beginners.
• Tension and Control Issues: The struggle to hold the hand in this position often leads to excessive tension. The little finger may stick out straight, making it hard for beginners to control the finger.
• Historical Perspective: Notably, 19th-century guitarists like Fernando Sor often specified the use of the little finger at the third fret. This approach allows for a more comfortable and slightly less parallel position, reducing stress on the hand and making it easier for beginners.
• Potential Solutions:
  • One workaround is to teach beginners using a capo on an upper fret, allowing them to play on frets that are closer together. This method facilitates an easier stretch between the fingers and a more comfortable parallel position.
  • Or as mentioned above, beginners can use the 4th finger to play notes at the 3rd fret.
  • As beginners progress to studies by composers like Sor, Carulli, and Carcassi, they will encounter chords and formations requiring non-parallel hand positions. The parallel position may not be needed for a while.
• The Need for Parallel Position Later On: The parallel position becomes more important in the intermediate and advanced repertoire, especially for playing passages with bar chords, slurs, and pull-offs.
• Considerations for Teachers:
  • While the parallel position may not be necessary in the early stages, it becomes vital later on.
  • An argument could be made for introducing this position to beginners to foster good habits and finger and wrist flexibility.
  • However, this decision requires careful consideration, as introducing it too early may create excessive tension or even pain. On the other hand, waiting too long might make it more difficult to teach the parallel position to someone who has been playing with the slanted position for several months.
• Conclusion: The suitability of teaching the parallel hand position to beginners is a nuanced issue. While it's a fundamental technique for more advanced players, its introduction at the beginner level can lead to difficulties and discomfort. Teachers must weigh the benefits and challenges, considering individual student needs and long-term development.

In summary, the left-hand position (left hand position) on the classical guitar is dynamic and constantly changing. Understanding the nuances of finger placement and the positioning of the wrist, hand, and elbow can enhance your playing technique and help you navigate the fretboard with precision and ease. Although the parallel hand position, with its emphasis on perpendicular finger placement, offers distinct advantages and serves as a foundational hand position for classical guitarists, the slanted hand position is just as important.

Be sure to watch the video on this web page for a demonstration of all of these details. Or, watch it on YouTube: https://www.youtube.com/watch?v=D3ExUTpn2Nw.