Thumb over neck

[4real]

Well you 'can' but there are times when a 'proper' technique is required...thumb over is great but there are also times when the more legit technique works better.

In the end, use what works and feels comfortable...but it is also good to at least try to expand technique so that you have a 'chance' when you need it to play what is needed.

Still...anatomy does play some role...you wouldn't want to be playing a classical guitar and technique without the 'legit' technique...if I didn't have fairly long slenderish fingers and big hands and electric guitar necks weren't generally so skinny...maybe I'd play less 'thumb over'...perhaps that's why I wouldn't mind a bit of a wider neck if it were available...

[sumgai]

2Y,

Try fingering them this way: shift every finger such that instead of your pinkie hanging out in thin air, it gets used, and your first finger is the one left with nothing to do.

Let's make an example of the open G chord. Place your third finger on the 6th string/3rd fret, where the second finger used to be; the second finger goes on the 5th string/2nd fret, where the first finger used to be; and the pinkie is now holding down the 1st string/3rd fret, as formerly done by the third finger. Your first finger is now goofing off, and if you're not careful, it'll sneak out back and grab a quick smoke break! But in the meantime, done with a relaxed hand, you should find your thumb in a position that's commonly accepted as "a good place for beginners to start from". Obviously you can still abuse the position, but doing so should feel "unnatural".

These are my standard fingerings for the open chord - in all cases, the first finger is left flapping out in the breeze. Why? Simple - when I move up a fret or two, I can simply plop my first finger down for a barre, and Presto!, I'm playing the same chord with absolutely no fumbling of the fingers - it's all in the wrist, and simple contraction of one finger..... you get the idea.

Again, why? Because when I learn a progression, I tend to keep in mind that some singers with whom I come in contact are occasionally unable to perform in the original key as written. Using my "slightly alternative" fingerings, I can move up and down the fretboard at will, with nary a thought to how to finger something in this new key. Call it "mindlessly instant transposition", if you wish. But the point is, it works for me. (Or at least it did, when I was still able to play.)

HTH



sumgai

[4real]

that G shaped barre is a tricky one and a good example of where you want to be able to do that stretchy thumb behind the neck technique for sure...my first finger tends to look for was to play the sus4 on it with that form.

I must say that I think I really got into the thumb over thing from playing so much leaning back on the couch watching Tv though...unless you are sitting properly or standing, it is actually hard to get that thumb into a legit position!

I haven't played classical in a long time, but you really need that legit technique to play almost anything like that on a classical guitar...but even on electric, especially with finger picking type things, it is easy to damp things with the back side of your fingers if you can't arch your fingers enough...there are a few tunes that I always have a problem with due to an increasingly lazy technique...it's a good 'damping' technique for a lot of stuff, but gets in the way when you need it.

I imagine though as a teacher there is a bit of an imperative to teach the 'right' and most adaptable technique though...when i used to really practice scales and such as a kid (and if i were to do it now) I'd be using a correct technique for sure and grateful for it!