Lesson 6- Cross String Fingerings-Part 1
One of the more striking techniques used by modern guitarists is cross string fingerings. They are exceptionally smooth and haunting. Most guitarists use them for changes in color, and for flowing legato (especially in fast passages).
The difference between a "conventional" fingering and a cross string fingering is demonstrated below.
Conventional fingering (on the E string)
--5-4-2-0---
Cross String Fingering (on the E and B strings). Let all the notes ring through as long as possible.
-5-4----0--
-------7-----
Nice effect isn't it? Now let's try a few scales with this idea.
Here's E harmonic minor (one octave)
-0--------------------------------------------
-----4--------0-------------------------------
----------5------------0-----------------------
------------------7---------4-------------------
-----------------------------------7--------------
---------------------------------------------------
I want you to notice that this technique does not work if the left hand fingers stop a note before the next note is played. The "overlapping" of the two sounds is the key to the legato effect. Also, you have to make certain that your fingers on the left hand are not accidentally stopping strings around them! This means that your left hand wrist has to be arched a bit more than usual to keep the fingertips clear of the other strings.
Here is G Major (two Octaves) This scale is very difficult to make clear and legato but when you get it you'll see how beautiful the effect can sound. Make sure you keep preparing your left hand (Lesson 2).
3---------0-------------------------------------------------------------------------------------
-----7----------3------------0------------------------------------------------------------------
------------------------5----------------0-----------------------------------------------------
------------------------------------7----------4-----------0-------------------------------------
-------------------------------------------------------7-----------3-----------0----------------------
---------------------------------------------------------------------------7-----------3-----------------
Here is an example of using conventional and cross string fingerings in the same passage. It's from Francisco Guerau's "Marionas" . S = slur
5--s--3----------0-------------------------------------------------------
-------------5----------3-----------0--------------------------------------
-------------------------------5-----------2--s--0-----------------------
--------------------------------------------------------3--s--2--s--0-----
----------------------------------------------------------------------------3
I hope that helps you to start thinking about the notes on the fretboard a little differently. For other good examples of this technique I would highly recommend Sharon Isbin's editions of the Bach Lute Suites. Elliot Fisk's editions are filled with them as well. They are difficult at times for the left hand but the possibilities of color and speed make this technique indispensable.