Classical guitar fingering is known for being challenging. Hence, nearly every piece of classical guitar music is extensively fingered, often for both hands. This post is all about simplifying fingering difficulties as well as giving you tips and tricks for when you get stuck. 

For review, let's make sure we're comfortable with the notation above. As you can see, we use the numbers 1-4 (and occasionally "T" for thumb) to represent the left hand fingers. The right hand uses the letters p, i, m, a, and e, moving clockwise from thumb to pinky (palm facing down). 

I'll mention that although we have these notational tools at our disposal, they're not always helpful. You'll find that some classical guitar music is cluttered with too many symbols. Don't be afraid to ignore or scratch out redundant fingerings. Always be chiefly concerned with the music itself. 
 

Most players would agree that classical guitar fingering is more complicated for the left (fretting) hand than the right (plucking) hand. I think this is largely true. For that reason, we'll spend more of this post discussing left-hand issues.

But we can't forget the right hand either. In many ways, it's the more essential hand. Outside of hammer-ons and pull-offs, our right hand is responsible for setting the guitar strings in motion, for the sounds themselves. 

While right-hand fingering always depends on the music you're playing, we can observe a few general rules: 
 

• The thumb (p) plucks the bass strings (6, 5, and 4). 
• The fingers (i, m, a) pluck the treble strings (3, 2, and 1). 
• Single lines of notes are usually plucked by alternating (p, i) / (i, p) or (i, m) / (m, i). The latter is a modern preference, while the former was favored among 19th-century players. 
• The ring finger (a), naturally weaker than i and m, should be given extra attention as it is often used for melody notes on the 1st string.
• The pinky (e) is rarely or never used. Some forward-thinking guitarists are trying to change this, but in any case you should never use e when i, m, or a is available. 

These guidelines are an excellent starting point. However, every guitarist develops her own preferences. I suggest you respect the opinions of the community by learning conventional fingerings at first, and then going with what works best for you. 

I believe every classical guitarist should aspire to right hand fluency. This is a state of "no fingerings," meaning you have liberated your right hand from self-conscious thoughts of p's and i's and m's and so forth. 

Ask yourself whether you plan on starting with your right foot or your left when you walk across the room. If you walk fluently and easily, you don't make such plans. So it is with the right hand. 

This sort of plucking freedom is built primarily through sight reading. Playing through unfamiliar music forces us to unburden ourselves with i's and m's (and their sequencing) and focus instead on pitches and rhythms: that is, on music. 

That said, there's nothing wrong with memorizing a fingering for your repertoire, especially in a tricky measure. But this sort of "I know I have to start with i here" thinking should be the exception rather than the rule. 

Let's discuss a few right hand trends for those who are interested. 

For starters, we're seeing movement away from picks in general. Styles once defined by pick-playing, including jazz, blues, and rock, increasingly feature fingerstyle virtuosos. 

A form of fingerstyle known as "hybrid picking" is also becoming more popular, as it allows a player to pick single lines without sacrificing harmonic possibilities. For great illustrations of this technique, check out Tim Henson and Tommy Emmanuel. 

More guitarists are also using all five fingers for plucking. Not long ago, the right-hand pinky was the one finger we rarely used, but recently I think more of us are making use of it. Among other uses, the pinky allows us to sound a five-note block chord, as well as a near six-note block chord. 

Although percussive uses of the right hand have always been a part of guitar playing, some players are taking those effects to the next level. Marcin, of course, comes to mind. Engaging the right hand for percussion often requires more from the left in the way of hammer-ons and pull-offs. Thus, slurs continue to be at the heart of masterful guitar technique. 

As a whole, the modern right hand is flexible, powerful, and sensitive. It seeks to make use of all the tools at its disposal, drawing inspiration from many players and styles. 

The left (fretting) hand faces very different challenges from the right. Outside of pull-off technique, we're not plucking with our fingers but rather applying varying degrees of pressure against the fingerboard. 

Although decent guitars don't require excessive fretting force, it's common for beginner players to develop blisters and callouses on their fingertips. And then we get into the sheer physicality of barre chords: certainly one of the most forbidding aspects of guitar playing. 

Also unlike the right, the left hand must often stretch to accommodate chords and intervals. Depending on the guitar, these stretches can be severe, making gymnastic demands of the fingers. I would go so far as to suggest daily finger stretching for serious players. 

With all of that said, let's delve into a few left hand fingering tips: 
 

• Your "position" on the neck is determined by that of your first finger (1). Each successive finger is responsible for the fret with which it aligns. For instance, in fifth position, 1 takes fret 5, 2 takes fret 6, 3 takes fret 7, and 4 takes fret 8. 
• Sometimes single fingers cover a two fret span or more. Generally 1 is easily stretched across multiple frets, and 4 also stretches fairly  well. This creates a six fret position rather the the usual four, as is the case in much of Barrios. 
• The height of your elbow can sometimes make or break a fingering. Raising the elbow is often needed when your fingers need to line up on a single fret. 
• Avoid trying to create horizontal distance between 2 and 3. It rarely works well. 
• Barring is really a set of techniques, meaning each barre is unique to a musical situation. Avoid barring more strings than necessary, and don't be afraid to experiment by rolling your finger one way or the other. 

Let's examine the E minor pentatonic scale shape above, with its root on the 7th fret of the 5th string. Many fingerings are possible for this scale, and I've illustrated two of them above. 

The first fingering uses 1 and 3 as the primary fingers. This is likely to agree with most guitarists, since these fingers are strong and coordinated. However, one downside of this fingering is that it requires a leftward shift from the 4th string to the 3rd on the way down, and the reverse on the way up. 

The second fingering uses 2 and 4, which is a bit more awkward, but it doesn't require shifting on the way down. Shifts tend to slow us down significantly, so one less shift is nothing to sneeze at. But at the same time, can we really be as nimble with 2 and 4 as we are with 1 and 3?

If you're a dedicated guitarist, you might lose sleep over questions like this. One possible answer is that 1 and 3 will always be preferable given the choice. Here, stronger fingers are stronger, period. 

Yet some guitarists contend that we ought to train all of our fingers to the same level, no matter how taxing that may be. Such players may lean on 2 and 4 more heavily, enjoying a more stable position. 

I don't think there's one right answer. The point is that questions of fingering are often nuanced and frustratingly open. Thus, be willing to experiment with even your most established fretting patterns. 

One more thing. You'll notice that the 4-fret spans on the 2nd and 3rd strings were fingered with 1 and 4 in both cases above. Depending on your fingers and guitar neck, you may want to switch that to 1 and 3, simply by stretching a bit more. See what you think! 
 

As I mentioned, barre chords represent a massive obstacle for guitarists. This is because they demand a formidable amount of force against the neck, all with one finger. They're exhausting. 

But that said, they can also be made easier or harder. First, if you find yourself wanting to use lots of barre chords in your playing, you should use a guitar that's built for that. Look for low-tension strings, which you'll find on electric and Spanish (classical) guitars. 

Second, never avoid learning a song or piece just because it has barre chords. You'll find that experience really counts, and if you put yourself through barre chord training camp early on, you won't ever struggle with them again. 

Third, if you're making a barre with all your strength and it isn't working, try repositioning it. You can move your finger up or down a fret, roll it, bend it, etc. With any luck, you'll discover a method that works for you. 

Be sure to check out my dedicated post on mastering barre chords for even more help. 

Classical guitar fingering is important to understand, and knowing it pays dividends across many styles. I've tried to stress throughout the post that, in most cases, many different fingering approaches are viable. Always be willing to experiment. 

Best of luck with your practicing, and I hope this guide was of some help to you!