When you do this, what happens?

[lar]

Step1: Fret a G chord (either 3 or 4 finger chord, might try both)

Step 2: Strum once (OK, twice if you want to).

Step 3: Without moving your fretting fingers or hand position, pluck the A-string (string 5)

Step 4: Now, keep the same hand/finger positions, except now un-fret that same A-string by lifting only that finger (only on that string), and again pluck the now OPEN A-string.

What happened?

When you plucked the open A-string, did the string buzz against your middle finger (on the low-pitch E string)? Mine does, and it’s bugging the heck out of me – for some weird reason I just recently noticed this.

It’s difficult to correct with ‘technique’. Since my two other fingers are anchored at the bottom of the fret-board, the middle finger has to arch somewhat instead of being in a more vertical position. If I had longer fingers or less fleshy tips maybe this wouldn’t happen. Or I can just try to avoid this specific type of fingering/plucking I suppose.

Am I alone on this one - does anyone else have the same issue?

Anyway, I thought I’d ask before I call my ENTF doctor (Ear-Nose-Throat & Finger) to schedule surgery – removing some of that un-needed tip flesh, making that finger smaller in diameter. What-the-heck: might as well get-em all done. Anyone interested in a volume discount?

[Photojeep]

Lar,

I would suggest taking that "A" string finger off more quickly. Or better yet, use it to "flick" the string as it comes off. The buzzing you hear is caused by being too slow when lifting your finger off the string. If you want that string to ring out as an "A" you must use your fretting finger's tip to sort of strum it (that "flick" I mentioned above.)

Oh, and I'd stay away from any unnecessary surgery. Just practice the technique more. You'll get it.

Best,
PJ

[3notes]

I just did what you asked. I came up with a clean A string. I inspected my finger position on the G note(6th) string and what I saw is this....

I'm not using the very tip of my middle finger on that G note. I'm using the fatty portion of my middle finger which causes the tip of my finger nail to be well off the finger board. Hard to explain....

All I can say is form that G chord. Inspect your middle finger. Now, sort of put upward pressure on your middle finger and sort of roll it upward allowing the fatty portion of your middle finger to grab or, fret the note and see that the tip of that middle finger is well off the finger board.

Also, when you do this, don't bend that first knuckle much. Flatten it out some.

Hope you understand.

[3notes]

PhotoJeep.... In all due respect, I don't think this will help. You're asking him to do a pull off. That middle finger is still going to have contact with the A string and, because you're telling him to "flick" it(pull off) he would be adding vibration to the string furthering the middle finger contact.

See my post above, #3.

[Steve DeRosa]

Concert violinist Itzhak Perlman has mitts worthy of an NFL linebacker, and never had issues...

Jazz guitarist Tal Farlow could probably palm a basketball with no problem, and few players can match his speed and precision...

Most of it is a matter of technique - keep practicing...

Paradoxically, you might just need a thinner/narrower neck in order to achieve the proper "fingertip" approach to chording; I had a college bud with the same problem until he got a 1-5/8" neck '70s Guild - 1-3/4" isn't the be-all-end-all of acoustic guitar necks...

In any case I wouldn't go the surgery route...

[TomB'sox]

Yes, I was going to suggest a different neck width...If you have small hands perhaps a thinner neck would help, but if your fingers are just thicker, then a wider neck to give you more string separation may help. I could see both working for different situations. Some of the best players I have ever been around have short thick fingers and I wonder how they play so clean!

However, I think the best answer is to alter your technique to get that finger on the E string to be more upright, I think you may have just developed a bad habit that can be changed with practice unless you do actually have an issue with the finger that the range of motion is impaired.

Or keep everything the same and just avoid that situation.

PS, I am going to move this thread to the play section...you may get more help there.

[jaymarsch]

When I have fretting hand challenges like this, I see if changing the angle of the guitar neck helps. Sometimes by slightly raising it I can change how my fingers come in contact with the strings. Another thing that helps me it to relax the tension in my fretting hand and use just enough to get a clean tone. This can be less than I think I need. Also, slow it way down until you can do it cleanly and then speed it up by increments. Practice and experimentation is really what will eventually get you there.

Best,
Jayne

[rick-slo]

On the outside strings (1st and 6th) the virtual fretboard width is greater than the nominal fretboard width,
or in other words hang one half or more of the fingertips beyond the edge of the fretboard and you will have
plenty of free space between the adjacent 2nd and 5th strings.

[stanron]

Some people don't like the sound of that low B in the G chord. In those cases being able to mute the fifth string with the finger that frets the sixth string is an asset.

Another view is that fixating on the sound of a single string in a six string chord is not concentrating on playing music, it's more like getting distracted.

[simpl man]

If you play with the guitar with the body angled away from you, it becomes more difficult to get good fretting hand technique. Alot of new players do this so they can see the fingerboard better.

If this is the case, try re-positioning the guitar so that it is in more of a vertical plane in relation to your body. This obviously rotates the neck, as well, & makes getting the required space between you palm & the neck a little easier. Remember to relax the shoulder of your fretting arm, and put a little break in the wrist of your fretting hand. Your fretting hand should now be approaching the fingerboard from in front of it more, and less from underneath. Once in this position, cleaner fretting is made possible more easily, and not just for the low notes.

Hope this makes sense & helps!

[3notes]

Originally Posted by rick-slo

On the outside strings (1st and 6th) the virtual fretboard width is greater than the nominal fretboard width,
or in other words hang one half or more of the fingertips beyond the edge of the fretboard and you will have
plenty of free space between the adjacent 2nd and 5th strings.

This^^^^^^ is what I explained above. Yes. This.

[3notes]

Originally Posted by stanron

Some people don't like the sound of that low B in the G chord. In those cases being able to mute the fifth string with the finger that frets the sixth string is an asset.

Another view is that fixating on the sound of a single string in a six string chord is not concentrating on playing music, it's more like getting distracted.

In all due respect, I disagree. All chords should be played cleanly unless you've written the tune and muted strings are desirable.

[stanron]

Originally Posted by 3notes

In all due respect, I disagree. All chords should be played cleanly unless you've written the tune and muted strings are desirable.

Feel free to disagree all you want. Others may well do the same, but, as I said before some players think that that low B makes the chord sound muddy and deliberately mute the fifth string.

That decision is based on sound. It's based on how the player likes to hear their music. I wonder how experienced the OP is. There's a lot more down the guitar playing road for a player to get their teeth into than fretting(?) over notes thst are not meant to be played in the first place.

Maybe I'm just a sloppy player.

[Kerbie]

Originally Posted by 3notes

In all due respect, I disagree. All chords should be played cleanly unless you've written the tune and muted strings are desirable.

Not sure I get that, 3notes. Stanron is describing a common opinion. Lots of jazz stuff, including Freddie Green's entire philosophy, omits the 5th string.

Why do you think that's not a viable option? I do it a lot.

[Steve DeRosa]

Originally Posted by simpl man

If you play with the guitar with the body angled away from you, it becomes more difficult to get good fretting hand technique. A lot of new players do this so they can see the fingerboard better...

Maybe it's the old archtop player in me, but I beg to differ. A quick look at old photographs of the Big Band-era players - particularly the later ones where they're using larger (17"+) instruments - will reveal that a significant number of them held their guitars at a 45-degree (sometimes greater) angle from vertical when seated - and if you listen to any period solo/duet recordings, these guys were not only consummate musicians (who didn't need to look at the fingerboard constantly) but the cleanest players you're ever likely to hear; as a 9-year-old kid I was able to handle my teacher's blonde 17" L-5 comp box with no technique issues, and I still use "compers' position" for couch playing, auditioning a new acoustic of any size, or when I pull out one of the jazzboxes. Another advantage is that it lets you hear your guitar much as your audience would - lets you extract those subtleties of tone color that you'll never hear sitting behind an unported instrument (a big plus back in the days of 20-piece horn sections and no amplification) - and projects your sound in an upward "room-filling" direction (much like tilting back your amplifier) rather than "beaming" at a single point, handy if you're playing a true "unplugged" gig (been there/done that); my point here is that you use what feels most comfortable to you without compromising your technique, and recognize that while none of us can lay claim to all the answers you can extract valuable information from all of us and adapt it to your own needs...