I grew up playing without nails and loved it. A year or two prior to college, I was encouraged to switch to a more “established” teacher to prepare for college auditions. He insisted I play with nails, and it pretty much ruined my relationship with the guitar. I started to hate playing… I spent more time worrying about my nails than practicing. This was especially severe, as I have very fleshy fingers and my nails need to grow about 4-6mm longer than most people’s nails to even clear the tip of my finger. I spent all day at school polishing my nails, had to stop certain sports (like basketball), and had to frequently repair damaged nails with ping pong balls and super glue (which, if I accidentally glued the pingpong ball piece in too far below my nail, would cause bad inflammation and would make my finger too sore to play for weeks). Funnily enough, I eventually opted to apply for composition programs and not guitar. Although I still had to pass a guitar entrance exam as a minor, the pressure was a little less than had I applied as a guitar major. So for my audition CD (since I was applying overseas), I returned to flesh playing, and was accepted. My new guitar teacher at university then told me I had been admitted on the strength of my musicality (which, mind you, I attribute very much to flesh playing) and then, just like my former teacher, insisted that I switch to nail playing! That was pretty much the straw that broke the camel’s back, and from that initial meeting, I never practiced again, got through the first year with a courtesy C- in guitar, and then was luckily allowed to drop my minor in guitar to focus on composition. I haven’t picked up the classical guitar since-not once in 25 years. However, next week I am being delivered my new classical guitar (well actually not “new” but a 1978 vintage Japanese guitar) and I can’t wait to play again! I am full of joy. And I will never again let anyone tell me to use nails! It actually makes me tear up just thinking of it all. I used to love playing with every fiber of my body and I feel like I was robbed and violated somehow. It still makes me furious. And I can’t help but wonder… had the internet been more established then, players like yourself might have given me the confidence to refuse my teachers’ requests. It would have been something to point to… a precedent. But at 19 or 20, in a foreign country by myself, under the authority of a top university and a famous guitar educator… I just gave up. Thanks for sharing your passion and knowledge. There will be young men and women watching this across the world, who might never have to give up on the guitar, because people like yourself will give them the encouragement to play the way that makes them happy and feel connected to the music. Sometimes all you need is one single ally.
Thank you for your story! How utterly awful it must have been but how wonderful to hear you have been able to return to the guitar! I feel your fury. To have been totally put off the instrument for 25 years because of such insensitive teachers, on the false basis that you can't play without nails, is an outrage. Yes I hope those of us doing this will help establish something, a precedent as you say, on which better players might build. I'm greatly moved by your comments. I'd love to know how you get on with the guitar after all these years.
I've seen this all my life and in different fields, but mostly in arts, teachers become gatekeepers and operate on arbitrary values, killing the joy and enthusiasm of their students. Hope you find some of it back!
Thank you very much for sharing your experience. I´ve just cut off my nails, after 20 years playing and teaching classical guitar. Tunning the guitar a third minor down has been a good beggining after very bad and frustrating first days.
It can be very difficult at first, and requires slow, careful, patient practice. I more or less just played open strings for the first several days, getting used to a new right-hand touch and its possibilities. Best wishes with it!
Thank you for clearing up so many misconceptions about flesh playing. The most common seem to be decreased volume and limited range of timbre, but I think you demonstrated both very well.
Thanks William, my pleasure. The volume/timbre issue was something that for a while put me off cutting my nails, so hopefully this will help assuage other people's similar concerns.
I thought your comment about cradling the guitar, forming almost a romantic attachment to it, was very insightful. It reminds me of the concept of "Earthing", which advocates walking barefoot outside or just touching or hugging trees, allowing you to make physical contact with the Earth. Our fingertips are probably the most sensitive parts of our bodies, and touching the strings with them helps us get in touch with the instrument on a much more intuitive level.
Huh, I'd forgotten I'd said that! Yes I think the sense of returning to something elemental and naked is part of the appeal of playing with flesh. Walking barefoot is an interesting analogy, must think on it
no nail playing is more poetic is think, when you are done with all the fast loud virtuos stuff and you have matured as a player, and person, and you dont have to prove anything to anybody anymore, then the time is right to make music. Personally im kind of stuck between the two worlds, often growing out my nails only to cut them off a few weeks later. Anyway these videos are great for new no nail players, i wished someone broke it down like that for me when i started because it was a rather frustrating experience
Yes I hope these videos are in some way helpful to newcomers. Oh in the beginning it was so frustrating -- and in certain ways it still is (as is much about playing an instrument! the struggle is part of what makes it so rewarding). I think it may be true that those of us who cut off our nails are more interested in what might be called the poetry of music, but I wouldn't say that any technique is inherently more poetic. I would be curious to experiment with nails again; I don't know how you've found returning to nails, but I've pretty much forgotten what it was like.
@@StevenWatsonMusic hehe, well it sounds terrible for a few days but then as your technique changes the tone comes back. I like the sound of nail playing too because i imensly enjoy the old segovia and bream recordings. Its a different world of tone and i cant decide which one i like better and so i often go back and forth. what i liked the best tho is playing with flesh but having nails that are long enough so you could still use them when you claw your hand. Maybe my guitar is so blame, i always think it needs more brightness but aquila alabastro helped me imensely
@@StevenWatsonMusic hehe well playing without nails takes alot of brightness away i think, so your guitar is probably a good choice for nonail playing. mine tends to sound too dull, but as i have said, alabastro helps to brighten things back up;) cant wait for your video on technique
@@FS.2772.guitar yes that's true. Not sure when or even if I'll do a video just on technique. I still don't feel like I have a settled way of playing without nails (yet). I'm still constantly trying new things.
I have played with (16 years)and without nails (32 years). I studied with Emilio Pujol's teaching assistant, Hector Garcia. Maestro taught me sound....the sound is just pure. I have also found, as mentioned tuning down also, especially with some 'new' strings. The tension is a bit much. A suggestion is to move to LT gauged strings. I currently am using Aquila Sugar Strings, amazing, and Savarez Blanche card. the technique is also different and like it or not you have to be on top of your technical side of the guitar. Nails can mask a lot of errors and fluff. The goal is to make your heart weep. Silky sound more Frederica Von Stade and less Kiss. Without nails it is also good to grasp that loud does not mean better, it the soul of the guitar you want to express. Great information Steven.
Nails were one thing that held me from learning guitar. I am not connected to music so ive never researched topic enough until the start of 2024. Rn im learning to play classical guitar from complete scratch and without nails. Already couple of teachers i hired told me that i need to grow nails to be effective. Funny enough they could not say anything when ive showed them Mr. Sor's and Tarrega's opinion on nail playing. Its so cool to experience all this from start and not heaving to relearn. Many authors motivated me to start and keep going without fear of reaching the ceiling to fast. Ps As im literally supper beginner it's cool to discover techniques. What ive felt recently that i touch the string with the flesh and nail at the same time since my finger pad deformes under the tension. Idk if that helps. But the sound goes much louder that way with this pluck technique
What you describe at the end sounds like how many nail players play: the flesh and (short) nail touch the string together, though sometimes flesh first, then you push through for the stroke, with the nail producing the sound. This is not the same as playing without nails, where the nail never touchez the string. This is what Sor and Tarrega meant by playing without nails. Many teachers unfortunately have the view you describe. I'm hopeful that in time we'll be able to increase understanding among guitarists and that there may even be fertile ground for a new, flourishing school of nonailers to serve as an example. It's a dream, but not an impossible one...
@@StevenWatsonMusicI guess you are correct. I've just finished guitar practice in which I found myself filling my nail to a shape. Because I couldn't cut it any shorter. But still natural shape was causing the string to catch and scratch, what one of masters specifically forbids. I don't remember who wrote it (Romero, Sor, maybe Aguado, or even Segovia), but it went something like "one should pluck and release the string in one motion. Many bad players scratch the string with their nails which is bad" (written from memory, possibly translated). So yeah I guess I somehow accidentally rediscovered playing with nails without having nails. The tone also changes and becomes less calming and more piercing. But yeah. The position for free pluck (tirando) should be okayish (if I interpreted books and lessons correctly). Fingers are together in one straight line. Somewhere around 45° to the strings. Touching with the left side of the finger tip (for the right hand. The side facing thumb). Plucking motion goes directly to the palm. Starting from the knuckle joint. But since I don't let my distal joint collapse, the string pushes into the flesh and lands itself on the nail even if it's nonexistent. So I guess I naturally pluck with both nail and Interesting. Idk if you are interested in all that nonsense I wrote. I can film an access via link RUclips video and post it here tomorrow for people who are interested. And again to whomever may read this. I am complete beginner rn. So no one should take advise from me.
@@stalex35 hard to say much without seeing you play. But it's not uncommon for new players to have trouble avoiding the nail. Usually because they continue a hand position they learnt when playing with nails. If you are happy with the sound you're getting, that's great, but if you want to try a pure flesh sound, maybe experiment with flattening the wrist, curling the fingers less, or tilting the hand slightly rightwards. As I said, it's rather difficult to make this all clear via text!
Thanks for this video. Now I'm thinking of giving up nails, I used to play without them (there is a video "lonely autumn" on my channel if you're interested), then I grew them again. But now I want to play classical and acoustic guitar with steel strings (I can't play it with my nails, they don't hold up, and I don't want to do nail-varnish), so you gave me confidence. I know that Rob plays without nails, I still can't 100% believe that Virginia plays completely without them. But I think I'll try to cut my nails soon-) I also like the lute, many musicians as far as I know play it without nails.
Thanks Sergey. I'm certainly interested and will go listen to your video. I confess to having been at times a bit sceptical about Virginia Luque's nailless technique too, but as I progress and understand playing without nails more I'm becoming less sceptical. It's also worth checking out, if you haven't already, recordings of historic no-nail players like Juan Mercadal and Manuel Cubedo to see the kind of virtuosic playing that is possible without nails. Best of luck with it, I'd be interested to know how you get on
Hola Steven, te felicito por tu decisión de tocar sin uñas. He conocido a muchos guitarristas que dicen tocar sin uñas, y lo único que hacen es tocar con las uñas muy cortas. Pero eso no es suficiente, es importante que la uña nunca roce la cuerda. En la guitarra clásica, se pueden producir tres defectos en la mano derecha: De posición, de Elasticidad (Falta de relajación) y de Movimiento. La primera falange de los dedos I, M y A no pulsa la cuerda, su única misión es llevar la punta del dedo hasta la cuerda. Haciendo una comparación: La primera falange es la marina y las falanges dos y tres son los marines. Gracias por tu atención. Saludos
Ha, good luck, Steven! I've been doing it for 30 years. No looking back. Lots of info on my classical-guitar website rmclassicalguitar regarding other players who play without nails, but it sounds like you've been there already. Best wishes. Rob
Thank you Rob, very much appreciate all the work you've done and yes, I've been on your site often! I doubt I would have begun this journey without your example, and I know I'm not the only one. So many many thanks
@@StevenWatsonMusic Cheers, Steven. It’s nice to be acknowledged, but not necessary. I’m sure your playing will inspire many more to contemplate no-nails playing.
@@RobMacKillop1 Rob you are a living legend! Thanks to you i cut off my nails. Whatever my college teacher said i couldn't care less. The No nail playing is the way to go!
A very useful overview. Thanks for sharing your experiences. I played with nails for close to forty years, struggling with breakage constantly. I used superglues and ping pong balls at one point to make replacements for a broken thumbnail, then, one day, I came across a video on RUclips wherein an hirsute young man who reminded me of so-called hippies of the 1970s, claimed that the path to strong nails was to keep one’s hands out of dishwater and apply olive oil or some other natural oil to one’s nails a few times a day to replace the natural oil that is lost during the course of the day through hand washing and other activities. Sceptical at first, I began applying Burt’s Bees hand wax. The result was amazing. In matter of a few months, my nails were as hard as poker chips. So why, you ask, would I after finally happening on the secret of growing bullet-proof nails, did I then proceed to cut them off? Two things, a guitar student who could not grow nails and got the most gorgeous sound from her student model Yamaha guitar, and a nasty hook that developed on the side of my newly strengthened right hand thumbnail. At about the same time, I discovered Rob MacKillop’s excellent website and was enchanted by the lovely sound he obtained with ends of his fingers. I knew of Emilio Pujol’s “Escuela Razonada” and was delighted to discover that it had been translated into English and published by Orphee. For the next year I beavered away at the Pujol’s rational method, which, I felt must be the closest thing to the teaching of Tarrega as possible. I played at a=440, on hard tension D’Addarrio strings, and am happy to say I had no problem with nasty calluses of the kind you describe, Steven. Pujol’s approach, and by extension, Tarrega’s, utilized an “upright “ right hand and was heavy on the rest stroke. Of particular interest was the approach to chords, which if executed properly will grant the player more volume, I swear, than he or she had with nails. There is an illustration in the second volume of the method that shows the right hand at the completion of plucking a four note chord. In it the hand is a fist with the thumb bent, its tip resting against the first and second fingers. At the start of the stroke, Pujol instructs the player to rest the fingers of the right hand against the strings, exert pressure by pushing against them, them simultaneously bringing the index, middle and annular fingers up and across the strings into the palm while bringing the thumb down with simultaneously flexing its tip joint, thus arriving at the illustrated fist position. The flexible tip of the thumb is used by many guitarists, notably, David Russell. It’s critical in Pujol’s technique since it enables the player to set the bass strings in motion in a perpendicular motion to the ground, rather that in a horizontal direction that moving the thumb outward does. This allows the string to be struck with a lot of force while avoiding any buzz. Try it with a a series of four note chords. You will be astounded by the amount of volume you can generate. The point you make about resting the little finger on the face of the guitar is not mentioned by Pujol, but the 19th century guitarists were certainly high on doing it. I think this may be because by planting the little finger thus, the right hand is set at an angle whereby the fingers will strike the string at an angle that exposes more of the tip to it. In the end, the greatest argument for nailers playing is the beautiful, twang-free tone that can be obtained playing this way. The greatest contemporary guitarists, it seems to my ear, manage to get a full, rich tone that creates the impression that they are not using nails. Your tone is exquisite btw. I’m thrilled to have discovered this channel. Thanks
Thanks Rob, it's a pleasure to meet you and read your story. I went through similar experimentations to improve my nails, including carrying around, everywhere I went, a small nail-varnish bottle than I instead filled with olive oil... It definitely helped, but I never quite got the sound I wanted, so I was pleased that the lockdowns gave me the opportunity to try playing without. Yes you're right about the way resting the little finger lets you use more fingertip and get a fuller sound. That's one reason Pujol's method, in its entirety, has never quite worked for me, though evidently it does for others.
Very informative advice here Steven which has 'reinforced' my confidence in playing without nails. I haven't actually had any issues playing this way except perhaps with rest stroke speed bursts but overall prefer the no nails approach! Thanks for your video!
Thanks for watching. Glad to hear your nonails playing has been without issue! Faster rest stroke is actually something I'm working on at the moment. I'm experimenting with playing off the right-hand corner at the very tip of my finger, to minimise the surface area which could slow down the stroke.
You did a great video on this topic. I also prefer flesh when playing the classical guitar. You developed sound, your playing sounds awesome. Best wishes….🌟
To me I have to cut my nails short because of my academic/professional career in Medical school. And my most important struggle is the force/pressure when plucking the strings. I get very impatient because I have gotten used to force control with the nails.
Yes, plucking with flesh requires a different strength and motion. It takes careful practice, but you should feel results fairly quickly. I felt much improvement by about a month in, then it felt totally natural by six months.
An interesting listen, Steven! Great to hear your thoughts on this topic 🧐. I generally just hit record and go, but I'll make an outline ahead of time so I'll know how to structure the video. When I do a voiceover I usually script it, but I don't script my reviews. I tried once and found it too difficult, LOL.
Thanks Josh. Yes I jotted down a plan but promptly forgot most of it. It is a strange thing talking to a camera, nothing to react to, feels quite cold. I am realising it is quite a skill in itself.
Great video and terrific playing. I was 'blessed' with crap nails. I envy those with great guitar nails, particularly re: playing tremolo. If i could just achieve the same level of clarity with no nails, I'd be delighted. Also, as few of us will ever grace a stage, at least the loss volume wouldnt pose a concern. ... Id love to see a renaissance of no-nail players and evolution in thst technique!
Thanks Seymour! Re volume, I've played various concerts since cutting off my nails, in all sorts of places, and I can project fine. I would dispute the common claim that there is a loss of volume. Juan Mercadal was one of the strongest and loudest players around, and he played without nails. Personally, I can play with flesh as loud as I could with nails. The fundamental difference is in the kind of sound I get, not the volume of sound. Re tremolo, there are recordings of both Manuel Cubedo and Brandon Acker playing tremolo very successfully without nails.
nice video! great talk on this topic. I have switched to no nails playing as well, though my A finger needs a lot of work. For some reason my a finger's tone sounds plastic, and I hardly make a nice tone consistent and homogenous.
Thanks Bryan! The a finger is difficult. I had trouble with its tone when I played with nails too. It improves noticeably but slowly. It requires a lot of experimentation with playing off different parts of the fingers in different ways. I don't think I will ever achieve complete equality of sound between each finger; I've grown to enjoy each having its own characteristic, which is how lutenists usually approach the right-hand (and possibly some 19th century guitarists).
@@StevenWatsonMusic thanks for responding. yeah the a figer seems to be an oddball considering that it is the finger that is generally used on trebles, which are mostly doing melodic lines0
Thanks for the overview of your approach. I enjoyed hearing your experience and confidence that you can in fact play well without nails. I was wondering if you found that you had to change the angle of your wrist either higher or lower using no nails? Also curious to know if you found that altered the angle that you strike the strings? Thanks again for sharing your knowledge!
Pleasure, glad this video has proved useful! Yes my wrist is a bit lower without nails. With nails, I used to arch my wrist quite a bit, sort of like John Williams; without nails I'm much more comfortable with a straight unbent wrist. If the wrist is too high when playing without nails, I find it is more likely the nail will accidently hit the string. I try to strike the string at many different angles. Depending what part of the fingertip I use, I can get slightly different sounds. Hope that helps.
I have just started the classical Guitar (7 weeks). Initially I was playing without nails. The my teacher encouraged me to grow nail (mine do not grow fast). I now have a little nail and hate them. Considering how long they took to grow I am considering cutting them off. Going for a walk to consider cutting my nails off.
Personally, I think it can be good for classical guitar students to play without nails for the first year or so. (Pepe Romero advocates something similar as it happens.) Then after a year of learning the fundamentals without nails, try growing nails if this interests you. Moreover, it's much easier to go from playing without nails to playing with nails than it is the other way round.
I started flesh playing a little over a year because two of my nails broke so I decided to cut the other ones off and try it out. It's been a great experience, I struggle with tremolo a little but I'm working it out. I don't think I'll ever be growing back my nails anytime soon.
Great to hear! Yes getting a good tremolo does seem to be even harder without nails, though certainly possible. I hope to study nailless tremolo myself at some point, once I've finished studying a hundred other things...
If you are blessed with hard as nails nails, good for you! Some us are not blessed with this dna. There is absolutely nothing you can do. A person can only ingest so much gelatin or milk, etc, with limited and non-lasting results. This should in no way deter someone from classical/finger-style guitar. Yes the technique is slightly different but that’s where muscle memory comes into play. Anyway, thanks Steven, for inspiring others to pursue a passion, regardless of the stuffy, snobby, elitest school of thought! PS - “no nails” opened up more uniform tapping skills too!!! 😂
'Hard as nails nails' -- ha, very good. It would seem that only a minority are blessed with really good nails. But modern nailcare or fakes can do wonders, in fairness. And so can the flesh of the fingertips. It's good to live at a time when there are so many options. Glad to hear I've been of some help!
I've clicked on this video hoping to find some info about no-nail tremolo, because I find it to be the most challenging technique regarding no-nails but well, although you've mentioned quite a few different techniques, you haven't mentioned tremolo at all which I find very strange? Does it mean that you didn't find any challenge at all when playing tremolo without nails? Thanks!
It's a very common question. I didn't play tremolo with nails and I don't play it without; it's just not something I enjoy enough to put in the months of practice to get it smooth. But other no-nailers manage tremolo fine. Hear Brandon Acker: ruclips.net/video/1rdWQ6_bjkg/видео.htmlsi=xc1b76gd1k5PH2lC or Manuel Cubedo:ruclips.net/video/8uw_zHubhH8/видео.htmlsi=XG3cMx6p4QoNz04j
I used to let a small amount grow to support flesh, but now I have the white of the nail filed all the way back. I think it's partly because the flesh of my fingertips has become firmer with time. But also accidentally catching the nail was a minor problem. Possibly subtle changes in hand position were a factor as well. I really need to make an updated video!
This has been an encouraging video and I thoroughly enjoyed the analytical approach. My sport is climbing and this isn’t compatible with having long nails. Due to the wearing effect of rock on skin, the climbing toughens the finger tip but without hardening (callousing) or roughening. I’m not sure whether climbing should be encouraged as part of guitar practice! My point is to say thank you for lifting a concern I have carried for a while about not having nails as I learn guitar.
Thank you, glad to help. As long as you can get a good sound, I wouldn't worry about how much of a callus you have. Some like Rob MacKillop have none; some like Juan Mercadal have a lot. And I like the sound of both very much. Certainly an injury to the fingertip will affect the sound, though -- the risk of which is enough to scare me off things like rock climbing!
Thank you for posting this. I am considering going flesh and this was very inspiring. My I finger is also less fleshy than my m and a. I am curious about how you have dealt with that. One thought I had was to cut the I fingernail shorter to provide less support and maybe soften up that finger.
Thanks, hope you enjoy exploring flesh playing. At first, I grew out my m and a nails to support the flesh more. But now, a year and a half later, the flesh has gradually firmed up on all fingers and there's no need.
Thanks for this great video! When more paralel are the right hand fingers to strings more flesh in contact: so more sweet sound (as renaissance lute players;)
Thanks for watching. I agree that can help with the sound, but it is also possible to get a very full sound with a perpendicular hand position (in the manner of Tarrega), especially using apoyando.
this morning i was bored and cut off my nails. then i realized that i have an awful, weak tone without nails... even with my nails cut short im struggling to pluck the string without slightly hitting it with the nail. i can get it to sound nicely when i play quietly. i am worried about calluses on my fingers though.
Cutting off your nails is not like casting a spell that will suddenly make your playing sound new and lovely. It takes weeks of careful right-hand study in order to fundamentally reconfigure the right hand. Then many more weeks to have a strong control over tone and dynamics. Some kind of callus may build up; unlike some other players, I don't try to avoid this. What I do avoid is blisters. Go slow and gently and don't play for too long at first. Short but efficient practice is best.
Thank you for your very detailed and thoughtful explanation way. In fact very few people on YT achieve this level. Normally poor thoughts poorly formulated and I don't continue.. Congratulations, you should consider teaching in some way at least.
Pulgar needs no nail with modern bass strings but the nylons enjoy a clearly ramped nail. The either/or fingernail debate is unnecessarily polarising This is not rocket surgery 🎉
For starting out, something low tension. You could just try any strings and tune them down a semitone or tone to get a lower tension. Many nonail players prefer rougher strings to help the right-hand fingertips 'grip' the string (normal nylon strings have a smooth surface). For rougher-surface strings, I recommend rectified nylons like Savarez 520R or D'addario EJ30 (which are my current favourites). Both companies also do lower tension varieties, which as I say I recommend if you are starting out. Which strings work best will depend on you and your guitar -- you just have to experiment. Go slowly, listen carefully.
Can I ask does playing without the nails affect your tremolo? As someone who is starting to learn the guitar and also will be playing without nails it's a pity there is no reliable information on it or good sources for technique. The opinion seems to be you can not reach an equivalent level of play without nails, it's a shame so many are closed to the idea.
I have not studied in depth tremolo without nails. But it certainly is possible -- listen for example to this old recording of Manuel Cubedo (who played without nails and was a student of Emilio Pujol) playing the Alhambra without nails: ruclips.net/video/8uw_zHubhH8/видео.html Regarding the technique, the mechanics are the same (Pujol did advise using rest stroke where possible, though not just in tremolo but in one's playing generally. I disagree with him on this). The sound is different -- for me softer and less percussive, though I stress that my tremolo technique without nails is not very developed.
Cheers, without the experience myself it's impossible to have an informed option on it, but there seems to be some out there with regards to not being able to get the speed into your tremolo without nails so good to hear that's not necessarily the case..
@@0Magician00 for me the speed isn't the difficult thing, it's the strength and stamina required to keep a good, continuous, regular tremolo. But to some extent that was true for me when playing with nails.
Have tried out 9 month ago. But without nails is not my thing. Because i can't cut my nails at i and m finger short enough to play without. It was still a bit of nail. But not on the a finger. So, i and m had a complete other tone colour than a. It was horrible sounding. But now, i keep nail shorter and have better sound now, for my taste. And better control.
Well, whatever works for you. Short nails can work very well. I would say that playing without nails requires a slightly different right-hand position to playing with nails. If you just use the same position as with nails, then no matter how short you cut your nails they may catch the string. The fingers should not be curled round too far -- more relaxed and extended, not curled as if moving towards making a fist -- and the wrist kept lower, not arched. I'm not presupposing this is what you did, but it is a common mistake for players to cut off their nails and then continue to play using the same technique they had with nails.
I currently like Savarez 520Rs. Otherwise I still like Aquila Ambra 900s. But really it depends on your guitar and which strings suit it. The only strings I would not recommend are carbon -- the thinness and texture are ill-suited to flesh playing, I think.
There is a similar number of possibilities with or without nails -- they are just different. If you like a nail sound palette, play with nails; if you like a flesh sound palette, play with flesh.
@@StevenWatsonMusic I completely agree! With nails if you want to have a sound rich in possibilities, without nails if you want to have a pasteurized sound.
@@LuisGabert65 you are tedious. I would also point out that your laboured comparison makes little sense. Pasteurization is generally regarded as a good thing, improving the life and health of milk.
Yes, many historic nonails players did exactly that. Tarrega himself played it without nails. We have at least one recording to demonstrate this, by Manuel Cubedo, who followed the nonail technique of his teacher, Emilio Pujol, who in turn learnt it from Tarrega. Listen here: ruclips.net/video/8uw_zHubhH8/видео.html
@@StevenWatsonMusic Wow that's impressive, I thought it would be impossible to play it without nails but now I'm going to try to learn this technique. Thanks !
@@nokres9654 Best wishes! It is a very difficult technique with or without nails, and takes months of careful practice to master (I have yet to dedicate myself to it properly). Without nails, it will likely sound somewhat different -- I think Pujol described it as more 'ethereal'.
There is a third path, of course, which I intend to take, i.e., fingerpicks. Many respected guitarists use, for example, Alaska Piks. (Delcamp endorses them here on YT.) And frankly, I see no difference between acrylic fake nails, used by vast numbers of professional CGs, and, say, Alaska Piks. Both are temporary prostheses. I've also sent off for butterfly picks which look promising. If you can simulate natural nails with decent, artificial, removable alternatives, then why not do it?
I've not heard great things about them? That they are uncomfortable to wear for long periods and don't sound as good as real nails. But for me, I prefer the sound of flesh to nail anyway, so I doubt the picks are something I'll ever try.
@@StevenWatsonMusic Many intelligent, serious players like you advocate nailless playing, of course. I would love to join you, chiefly because having to grow and care for nails is a terrible obstacle for many. I myself gave up up playing at 16, and only recently took up the CG again. I'm 59, and feel a certain tragedy at having lost those years. But I don't think it can be denied that the nailless sound is blunt. I even hear missed notes in great players like Hector Garcia. Missed or inadequately-realised. I wish, in other words, that nails (or nail-surrogates) were unnecessary. But in my view, they are necessary. Se la vie, but also, each to his own. Your videos are, in any case, excellent.
@@p1ranesi sure, each to their own. Many will prefer the sharper brighter sound nails can give, which is fine. Garcia was a pretty inconsistent player, judging from both the recordings I've heard and accounts I've read. Mercadal or Cubedo are better examples. Of course, most nail players also hit many bad and wrong notes (at least when playing live -- their recordings are usually heavily edited). Thanks for the comments and compliment, and best wishes with your playing!
@@StevenWatsonMusic All the best to you too. You're a very good player, notwithstanding my personal misgivings about the nails. In fact, I like your sound much more than most other nailless players'. (Or my own noise, unsalvaged by nails or picks.)
@@p1ranesi that's nice of you to say. In many ways my technique is more like modern nail players than many nonailers, who are often more influenced by early/19th century practices than I am. I'm sure your sound is better than you suggest! I think it's often like the way we dislike the sound of our voice (especially on the guitar, which is such a personal, intimate and responsive instrument).
Manuel Cubedo, who played without nails in the mid 20th century and was a student of Emilio Pujol, recorded the Alhambra. The recording quality is imperfect, but it gives you an idea: ruclips.net/video/8uw_zHubhH8/видео.html I intend to study tremolo without nails myself at some point, but there are others things I wish to do first...
@@StevenWatsonMusic Thanks! this is why I watch you and sub to u you have the hardest to find info out here thanks. I myself started classical (not classically trained but did some heavy metal back in college) recentlly. I started without nails but grew them out to try it out. Its harder for me than normal people cause I have skin asthma but I feel my nails are quite good they are as hard as H picks. But consequently the left side of my body has more bruising.
@@elcidgaming Thanks, yes I love researching the obscure corners of guitar history... I'm not familiar with skin asthma I'm afraid? I hope you find something some way of that works well for you. I have a background in metal too - quite a few classical guitarist converts seem to.
@@StevenWatsonMusic Yes its funny. seems llike metal is kinda like a gateway to classical ? haaha ah yeah skin asthma means my skin is sensitive in a nutshell. So I am prone to scratching so its hard for me to live with long nails
@@elcidgaming ah I see. Yep I think there's often a musical ambitiousness about a lot metal (even a kind of geekiness dare I say) that leads people to classical
I've not yet studied tremolo without nails, but the fundamental principles are the same with or without nails. (Though Emilio Pujol, the greatest pedagogue of no-nail technique, believed it should be played apoyando wherever possible.) The resulting sound will be somewhat different without nails. I can link you to a couple of historic recordings if you like
I can't grow nails. I also much prefer the tone I produce. Nail sound is thin to me. As a classical guitarist whose hands get a lot of abuse in my job, I am very happy NOT to have nails!
Hi Steven,i always played with nail,but a cut off my nails to try New tones. I can't play tremolo stuff now,it's possible to play tremolo like alhambra stuff with the flesh? Can you show a example?
It's very possible. I haven't yet studied tremolo myself without nails (at least not enough to record an example) but historic no-nailers have left us a few recordings. The best example is Manuel Cubedo: ruclips.net/video/8uw_zHubhH8/видео.html Your fingertips will need a lot of time, however, to adjust to their new role before you can re-learn tremolo.
@@StevenWatsonMusic , the instrument is normally just referred to as "7-string guitar" (семиструнная гитара / семиструнка). In English, people sometimes call it "Russian guitar". I don't actually play it so couldn't tell you much about the details, but I did once get given a textbook for beginners, and I remember there being a specific injunction against playing with nails. I've also read accounts of people who, during the Soviet era, went through formal classical guitar training as kids without nails. That said, I am 90% sure that Sergey Orekhov, the Russian equivalent of Paco de Lucia, played with nails. Robert MacKillop has a series of videos where he works through some studies from a popular 19th century Russian guitar textbook (the Morkov method).
@@StevenWatsonMusicI'll search for some clues later. Rn I found 1939 book of M F Ivanov and V M Jurien (Yuorien or smth) School of 7 string guitar М Ф Иванов В М Юрьен Школа Семиструнной Гитары. Ran through it. Unfortunately it tells absolutly nothing. It just gives you basic vintage classic Tarrega / Pujol hand position with classic explanation of movement from big joint. One sentence explicitly tells you that nails must be cut short. Then book goes deep into sheet music and music theory. Later, somewhere in the middle of the book authors tell you that there are different colors of sound (hand position on string etc etc. the basic ones) AND there is a nail sound color allegedly originated from Spain. Authors suggest to try it out see if you like it. Do totally same thing with hand placement. Also they suggest to grow nail only on a pincky if one wants to have this ornament in their arsenal for occasional use. I really remember in the 90th I still saw some old guitarists with long pincky nail. So basically that book is like Sor + Pujol . I'll try to search for different old 7 string guitar methods. Edited The most detailed explanation to this point I found in 1973 1st of two part course of seven string guitar by V Krasnyy (В Красный) Author teaches 2 techniques. Basic apyando with no differences and tirando, a plucking one where author suggest to pull the string towards you an a little up (10°) not down, into the guitar. Hand position also classical vintage (Tarrega like). Key point. Author strongly suggest to have a Thumb on a string for anchoring. That's it. Also author explicitly shows incorrect hand position, 1-1 carbon copy of modern classical angled hand position. And author tells us it is also incorrect to have head of the guitar higher than at shoulder level). And tells us not to use pinky for anchoring. So I guess there is no any secret technique. We've got a goal to be comfortable, agile and get the fullest sound pallette. We should experiment and do what it takes for us
The guitar in this video was an Esteve, which is a 'normal' big-bodied Spanish-style guitar. I now play a guitar by a French luthier that is slightly less conventional. These are the only guitars I own, but I've played many more without nails.
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I grew up playing without nails and loved it. A year or two prior to college, I was encouraged to switch to a more “established” teacher to prepare for college auditions. He insisted I play with nails, and it pretty much ruined my relationship with the guitar. I started to hate playing… I spent more time worrying about my nails than practicing. This was especially severe, as I have very fleshy fingers and my nails need to grow about 4-6mm longer than most people’s nails to even clear the tip of my finger. I spent all day at school polishing my nails, had to stop certain sports (like basketball), and had to frequently repair damaged nails with ping pong balls and super glue (which, if I accidentally glued the pingpong ball piece in too far below my nail, would cause bad inflammation and would make my finger too sore to play for weeks).
Funnily enough, I eventually opted to apply for composition programs and not guitar. Although I still had to pass a guitar entrance exam as a minor, the pressure was a little less than had I applied as a guitar major. So for my audition CD (since I was applying overseas), I returned to flesh playing, and was accepted.
My new guitar teacher at university then told me I had been admitted on the strength of my musicality (which, mind you, I attribute very much to flesh playing) and then, just like my former teacher, insisted that I switch to nail playing! That was pretty much the straw that broke the camel’s back, and from that initial meeting, I never practiced again, got through the first year with a courtesy C- in guitar, and then was luckily allowed to drop my minor in guitar to focus on composition. I haven’t picked up the classical guitar since-not once in 25 years.
However, next week I am being delivered my new classical guitar (well actually not “new” but a 1978 vintage Japanese guitar) and I can’t wait to play again! I am full of joy. And I will never again let anyone tell me to use nails!
It actually makes me tear up just thinking of it all. I used to love playing with every fiber of my body and I feel like I was robbed and violated somehow. It still makes me furious.
And I can’t help but wonder… had the internet been more established then, players like yourself might have given me the confidence to refuse my teachers’ requests. It would have been something to point to… a precedent. But at 19 or 20, in a foreign country by myself, under the authority of a top university and a famous guitar educator… I just gave up.
Thanks for sharing your passion and knowledge. There will be young men and women watching this across the world, who might never have to give up on the guitar, because people like yourself will give them the encouragement to play the way that makes them happy and feel connected to the music. Sometimes all you need is one single ally.
Thank you for your story! How utterly awful it must have been but how wonderful to hear you have been able to return to the guitar! I feel your fury. To have been totally put off the instrument for 25 years because of such insensitive teachers, on the false basis that you can't play without nails, is an outrage. Yes I hope those of us doing this will help establish something, a precedent as you say, on which better players might build. I'm greatly moved by your comments.
I'd love to know how you get on with the guitar after all these years.
I've seen this all my life and in different fields, but mostly in arts, teachers become gatekeepers and operate on arbitrary values, killing the joy and enthusiasm of their students. Hope you find some of it back!
Nice comment. I liked very much.
@@hugomcdinosaur5273 It's true.
و عسى ان تكرهوا شيئاً و هو خيرٌ لكم.
Thank you very much for sharing your experience. I´ve just cut off my nails, after 20 years playing and teaching classical guitar. Tunning the guitar a third minor down has been a good beggining after very bad and frustrating first days.
It can be very difficult at first, and requires slow, careful, patient practice. I more or less just played open strings for the first several days, getting used to a new right-hand touch and its possibilities. Best wishes with it!
Thank you for clearing up so many misconceptions about flesh playing. The most common seem to be decreased volume and limited range of timbre, but I think you demonstrated both very well.
Thanks William, my pleasure. The volume/timbre issue was something that for a while put me off cutting my nails, so hopefully this will help assuage other people's similar concerns.
I thought your comment about cradling the guitar, forming almost a romantic attachment to it, was very insightful. It reminds me of the concept of "Earthing", which advocates walking barefoot outside or just touching or hugging trees, allowing you to make physical contact with the Earth. Our fingertips are probably the most sensitive parts of our bodies, and touching the strings with them helps us get in touch with the instrument on a much more intuitive level.
Huh, I'd forgotten I'd said that! Yes I think the sense of returning to something elemental and naked is part of the appeal of playing with flesh. Walking barefoot is an interesting analogy, must think on it
no nail playing is more poetic is think, when you are done with all the fast loud virtuos stuff and you have matured as a player, and person, and you dont have to prove anything to anybody anymore, then the time is right to make music. Personally im kind of stuck between the two worlds, often growing out my nails only to cut them off a few weeks later. Anyway these videos are great for new no nail players, i wished someone broke it down like that for me when i started because it was a rather frustrating experience
Yes I hope these videos are in some way helpful to newcomers. Oh in the beginning it was so frustrating -- and in certain ways it still is (as is much about playing an instrument! the struggle is part of what makes it so rewarding). I think it may be true that those of us who cut off our nails are more interested in what might be called the poetry of music, but I wouldn't say that any technique is inherently more poetic. I would be curious to experiment with nails again; I don't know how you've found returning to nails, but I've pretty much forgotten what it was like.
@@StevenWatsonMusic hehe, well it sounds terrible for a few days but then as your technique changes the tone comes back. I like the sound of nail playing too because i imensly enjoy the old segovia and bream recordings. Its a different world of tone and i cant decide which one i like better and so i often go back and forth. what i liked the best tho is playing with flesh but having nails that are long enough so you could still use them when you claw your hand. Maybe my guitar is so blame, i always think it needs more brightness but aquila alabastro helped me imensely
@@FS.2772.guitar Ah my guitar is the opposite -- too bright -- it takes work to tame it. Yes the Bream/Segovia soundworlds are enchanting.
@@StevenWatsonMusic hehe well playing without nails takes alot of brightness away i think, so your guitar is probably a good choice for nonail playing. mine tends to sound too dull, but as i have said, alabastro helps to brighten things back up;) cant wait for your video on technique
@@FS.2772.guitar yes that's true. Not sure when or even if I'll do a video just on technique. I still don't feel like I have a settled way of playing without nails (yet). I'm still constantly trying new things.
I have played with (16 years)and without nails (32 years). I studied with Emilio Pujol's teaching assistant, Hector Garcia. Maestro taught me sound....the sound is just pure. I have also found, as mentioned tuning down also, especially with some 'new' strings. The tension is a bit much. A suggestion is to move to LT gauged strings. I currently am using Aquila Sugar Strings, amazing, and Savarez Blanche card. the technique is also different and like it or not you have to be on top of your technical side of the guitar. Nails can mask a lot of errors and fluff. The goal is to make your heart weep. Silky sound more Frederica Von Stade and less Kiss. Without nails it is also good to grasp that loud does not mean better, it the soul of the guitar you want to express. Great information Steven.
Glad flesh playing has been so fruitful for you Rodney!
Nails were one thing that held me from learning guitar. I am not connected to music so ive never researched topic enough until the start of 2024. Rn im learning to play classical guitar from complete scratch and without nails. Already couple of teachers i hired told me that i need to grow nails to be effective. Funny enough they could not say anything when ive showed them Mr. Sor's and Tarrega's opinion on nail playing. Its so cool to experience all this from start and not heaving to relearn. Many authors motivated me to start and keep going without fear of reaching the ceiling to fast.
Ps
As im literally supper beginner it's cool to discover techniques. What ive felt recently that i touch the string with the flesh and nail at the same time since my finger pad deformes under the tension. Idk if that helps. But the sound goes much louder that way with this pluck technique
What you describe at the end sounds like how many nail players play: the flesh and (short) nail touch the string together, though sometimes flesh first, then you push through for the stroke, with the nail producing the sound. This is not the same as playing without nails, where the nail never touchez the string. This is what Sor and Tarrega meant by playing without nails.
Many teachers unfortunately have the view you describe. I'm hopeful that in time we'll be able to increase understanding among guitarists and that there may even be fertile ground for a new, flourishing school of nonailers to serve as an example. It's a dream, but not an impossible one...
@@StevenWatsonMusicI guess you are correct. I've just finished guitar practice in which I found myself filling my nail to a shape. Because I couldn't cut it any shorter. But still natural shape was causing the string to catch and scratch, what one of masters specifically forbids. I don't remember who wrote it (Romero, Sor, maybe Aguado, or even Segovia), but it went something like "one should pluck and release the string in one motion. Many bad players scratch the string with their nails which is bad" (written from memory, possibly translated). So yeah I guess I somehow accidentally rediscovered playing with nails without having nails. The tone also changes and becomes less calming and more piercing.
But yeah. The position for free pluck (tirando) should be okayish (if I interpreted books and lessons correctly). Fingers are together in one straight line. Somewhere around 45° to the strings. Touching with the left side of the finger tip (for the right hand. The side facing thumb). Plucking motion goes directly to the palm. Starting from the knuckle joint. But since I don't let my distal joint collapse, the string pushes into the flesh and lands itself on the nail even if it's nonexistent. So I guess I naturally pluck with both nail and
Interesting.
Idk if you are interested in all that nonsense I wrote. I can film an access via link RUclips video and post it here tomorrow for people who are interested.
And again to whomever may read this. I am complete beginner rn. So no one should take advise from me.
@@stalex35 hard to say much without seeing you play. But it's not uncommon for new players to have trouble avoiding the nail. Usually because they continue a hand position they learnt when playing with nails. If you are happy with the sound you're getting, that's great, but if you want to try a pure flesh sound, maybe experiment with flattening the wrist, curling the fingers less, or tilting the hand slightly rightwards. As I said, it's rather difficult to make this all clear via text!
The sound hole is the only guitar romance I need.
Thanks for this video. Now I'm thinking of giving up nails, I used to play without them (there is a video "lonely autumn" on my channel if you're interested), then I grew them again. But now I want to play classical and acoustic guitar with steel strings (I can't play it with my nails, they don't hold up, and I don't want to do nail-varnish), so you gave me confidence. I know that Rob plays without nails, I still can't 100% believe that Virginia plays completely without them.
But I think I'll try to cut my nails soon-) I also like the lute, many musicians as far as I know play it without nails.
Thanks Sergey. I'm certainly interested and will go listen to your video. I confess to having been at times a bit sceptical about Virginia Luque's nailless technique too, but as I progress and understand playing without nails more I'm becoming less sceptical. It's also worth checking out, if you haven't already, recordings of historic no-nail players like Juan Mercadal and Manuel Cubedo to see the kind of virtuosic playing that is possible without nails. Best of luck with it, I'd be interested to know how you get on
@@StevenWatsonMusic thank you!
Hola Steven, te felicito por tu decisión de tocar sin uñas. He conocido a muchos guitarristas que dicen tocar sin uñas, y lo único que hacen es tocar con las uñas muy cortas. Pero eso no es suficiente, es importante que la uña nunca roce la cuerda.
En la guitarra clásica, se pueden producir tres defectos en la mano derecha: De posición, de Elasticidad (Falta de relajación) y de Movimiento.
La primera falange de los dedos I, M y A no pulsa la cuerda, su única misión es llevar la punta del dedo hasta la cuerda. Haciendo una comparación: La primera falange es la marina y las falanges dos y tres son los marines.
Gracias por tu atención. Saludos
Ha, good luck, Steven! I've been doing it for 30 years. No looking back. Lots of info on my classical-guitar website rmclassicalguitar regarding other players who play without nails, but it sounds like you've been there already. Best wishes. Rob
Thank you Rob, very much appreciate all the work you've done and yes, I've been on your site often! I doubt I would have begun this journey without your example, and I know I'm not the only one. So many many thanks
@@StevenWatsonMusic Cheers, Steven. It’s nice to be acknowledged, but not necessary. I’m sure your playing will inspire many more to contemplate no-nails playing.
@@RobMacKillop1 Rob you are a living legend! Thanks to you i cut off my nails. Whatever my college teacher said i couldn't care less. The No nail playing is the way to go!
@@lilm00lly47 Thanks! I never thought of myself as a living legend. My wife will have a good laugh at that 😂 Best wishes to you! Rob
A very useful overview. Thanks for sharing your experiences. I played with nails for close to forty years, struggling with breakage constantly. I used superglues and ping pong balls at one point to make replacements for a broken thumbnail, then, one day, I came across a video on RUclips wherein an hirsute young man who reminded me of so-called hippies of the 1970s, claimed that the path to strong nails was to keep one’s hands out of dishwater and apply olive oil or some other natural oil to one’s nails a few times a day to replace the natural oil that is lost during the course of the day through hand washing and other activities. Sceptical at first, I began applying Burt’s Bees hand wax. The result was amazing. In matter of a few months, my nails were as hard as poker chips.
So why, you ask, would I after finally happening on the secret of growing bullet-proof nails, did I then proceed to cut them off? Two things, a guitar student who could not grow nails and got the most gorgeous sound from her student model Yamaha guitar, and a nasty hook that developed on the side of my newly strengthened right hand thumbnail.
At about the same time, I discovered Rob MacKillop’s excellent website and was enchanted by the lovely sound he obtained with ends of his fingers. I knew of Emilio Pujol’s “Escuela Razonada” and was delighted to discover that it had been translated into English and published by Orphee. For the next year I beavered away at the Pujol’s rational method, which, I felt must be the closest thing to the teaching of Tarrega as possible. I played at a=440, on hard tension D’Addarrio strings, and am happy to say I had no problem with nasty calluses of the kind you describe, Steven. Pujol’s approach, and by extension, Tarrega’s, utilized an “upright
“ right hand and was heavy on the rest stroke. Of particular interest was the approach to chords, which if executed properly will grant the player more volume, I swear, than he or she had with nails. There is an illustration in the second volume of the method that shows the right hand at the completion of plucking a four note chord. In it the hand is a fist with the thumb bent, its tip resting against the first and second fingers. At the start of the stroke, Pujol instructs the player to rest the fingers of the right hand against the strings, exert pressure by pushing against them, them simultaneously bringing the index, middle and annular fingers up and across the strings into the palm while bringing the thumb down with simultaneously flexing its tip joint, thus arriving at the illustrated fist position. The flexible tip of the thumb is used by many guitarists, notably, David Russell. It’s critical in Pujol’s technique since it enables the player to set the bass strings in motion in a perpendicular motion to the ground, rather that in a horizontal direction that moving the thumb outward does. This allows the string to be struck with a lot of force while avoiding any buzz. Try it with a a series of four note chords. You will be astounded by the amount of volume you can generate.
The point you make about resting the little finger on the face of the guitar is not mentioned by Pujol, but the 19th century guitarists were certainly high on doing it. I think this may be because by planting the little finger thus, the right hand is set at an angle whereby the fingers will strike the string at an angle that exposes more of the tip to it.
In the end, the greatest argument for nailers playing is the beautiful, twang-free tone that can be obtained playing this way. The greatest contemporary guitarists, it seems to my ear, manage to get a full, rich tone that creates the impression that they are not using nails.
Your tone is exquisite btw. I’m thrilled to have discovered this channel. Thanks
Thanks Rob, it's a pleasure to meet you and read your story. I went through similar experimentations to improve my nails, including carrying around, everywhere I went, a small nail-varnish bottle than I instead filled with olive oil... It definitely helped, but I never quite got the sound I wanted, so I was pleased that the lockdowns gave me the opportunity to try playing without. Yes you're right about the way resting the little finger lets you use more fingertip and get a fuller sound. That's one reason Pujol's method, in its entirety, has never quite worked for me, though evidently it does for others.
Very informative advice here Steven which has 'reinforced' my confidence in playing
without nails.
I haven't actually had any issues playing this way except perhaps with rest stroke speed
bursts but overall prefer the no nails approach!
Thanks for your video!
Thanks for watching. Glad to hear your nonails playing has been without issue! Faster rest stroke is actually something I'm working on at the moment. I'm experimenting with playing off the right-hand corner at the very tip of my finger, to minimise the surface area which could slow down the stroke.
Great video, as a welder I don’t like or have long nails, makes me more hopeful I can learn without them.
Thanks. You can certainly can -- there are many like you who, for practical reasons can't grow nails and are doing very well without. Best wishes!
You did a great video on this topic. I also prefer flesh when playing the classical guitar. You developed sound, your playing sounds awesome. Best wishes….🌟
Thanks Daniel! All the best to you too
Ciao, molto utile, very very useful. I think that this sound is the "real" sound of a classical guitar. Tks, b.r.
Thank you. I like many ways of playing classical guitar, and I generally avoid discussions about what is authentic technique etc.
@@StevenWatsonMusic In fact, that's in my opinion, no discussions 😉😉😉
@@pierluigibeltrame1020 ha, okay
To me I have to cut my nails short because of my academic/professional career in Medical school. And my most important struggle is the force/pressure when plucking the strings. I get very impatient because I have gotten used to force control with the nails.
Yes, plucking with flesh requires a different strength and motion. It takes careful practice, but you should feel results fairly quickly. I felt much improvement by about a month in, then it felt totally natural by six months.
An interesting listen, Steven! Great to hear your thoughts on this topic 🧐. I generally just hit record and go, but I'll make an outline ahead of time so I'll know how to structure the video. When I do a voiceover I usually script it, but I don't script my reviews. I tried once and found it too difficult, LOL.
Thanks Josh. Yes I jotted down a plan but promptly forgot most of it. It is a strange thing talking to a camera, nothing to react to, feels quite cold. I am realising it is quite a skill in itself.
We meet again, Josh!
@@musictime23752 Yes, indeed, ha ha! Always great to see you around, Brian!
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@@StevenWatsonMusicj
Great video and terrific playing. I was 'blessed' with crap nails. I envy those with great guitar nails, particularly re: playing tremolo. If i could just achieve the same level of clarity with no nails, I'd be delighted. Also, as few of us will ever grace a stage, at least the loss volume wouldnt pose a concern.
... Id love to see a renaissance of no-nail players and evolution in thst technique!
Thanks Seymour! Re volume, I've played various concerts since cutting off my nails, in all sorts of places, and I can project fine. I would dispute the common claim that there is a loss of volume. Juan Mercadal was one of the strongest and loudest players around, and he played without nails. Personally, I can play with flesh as loud as I could with nails. The fundamental difference is in the kind of sound I get, not the volume of sound.
Re tremolo, there are recordings of both Manuel Cubedo and Brandon Acker playing tremolo very successfully without nails.
nice video! great talk on this topic. I have switched to no nails playing as well, though my A finger needs a lot of work. For some reason my a finger's tone sounds plastic, and I hardly make a nice tone consistent and homogenous.
Thanks Bryan! The a finger is difficult. I had trouble with its tone when I played with nails too. It improves noticeably but slowly. It requires a lot of experimentation with playing off different parts of the fingers in different ways. I don't think I will ever achieve complete equality of sound between each finger; I've grown to enjoy each having its own characteristic, which is how lutenists usually approach the right-hand (and possibly some 19th century guitarists).
@@StevenWatsonMusic thanks for responding. yeah the a figer seems to be an oddball considering that it is the finger that is generally used on trebles, which are mostly doing melodic lines0
Great sound!!
Thanks!
Juan Mercadal (1925-1998), guitarrista clásico y profesor de guitarra, tocaba sin uñas.
Thanks for the overview of your approach. I enjoyed hearing your experience and confidence that you can in fact play well without nails. I was wondering if you found that you had to change the angle of your wrist either higher or lower using no nails? Also curious to know if you found that altered the angle that you strike the strings? Thanks again for sharing your knowledge!
Pleasure, glad this video has proved useful! Yes my wrist is a bit lower without nails. With nails, I used to arch my wrist quite a bit, sort of like John Williams; without nails I'm much more comfortable with a straight unbent wrist. If the wrist is too high when playing without nails, I find it is more likely the nail will accidently hit the string.
I try to strike the string at many different angles. Depending what part of the fingertip I use, I can get slightly different sounds.
Hope that helps.
I have just started the classical Guitar (7 weeks). Initially I was playing without nails. The my teacher encouraged me to grow nail (mine do not grow fast). I now have a little nail and hate them.
Considering how long they took to grow I am considering cutting them off. Going for a walk to consider cutting my nails off.
Personally, I think it can be good for classical guitar students to play without nails for the first year or so. (Pepe Romero advocates something similar as it happens.) Then after a year of learning the fundamentals without nails, try growing nails if this interests you. Moreover, it's much easier to go from playing without nails to playing with nails than it is the other way round.
Bravo!!
Thank you
I know it about The middle finger hurts supernaturally even touching a paper hurts, now I wish it to the enemies... Thanks To mention
I started flesh playing a little over a year because two of my nails broke so I decided to cut the other ones off and try it out. It's been a great experience, I struggle with tremolo a little but I'm working it out. I don't think I'll ever be growing back my nails anytime soon.
Great to hear! Yes getting a good tremolo does seem to be even harder without nails, though certainly possible. I hope to study nailless tremolo myself at some point, once I've finished studying a hundred other things...
ruclips.net/video/T1YiH2TnEZA/видео.html
If you are blessed with hard as nails nails, good for you! Some us are not blessed with this dna. There is absolutely nothing you can do. A person can only ingest so much gelatin or milk, etc, with limited and non-lasting results. This should in no way deter someone from classical/finger-style guitar. Yes the technique is slightly different but that’s where muscle memory comes into play. Anyway, thanks Steven, for inspiring others to pursue a passion, regardless of the stuffy, snobby, elitest school of thought! PS - “no nails” opened up more uniform tapping skills too!!! 😂
'Hard as nails nails' -- ha, very good. It would seem that only a minority are blessed with really good nails. But modern nailcare or fakes can do wonders, in fairness. And so can the flesh of the fingertips. It's good to live at a time when there are so many options.
Glad to hear I've been of some help!
I've clicked on this video hoping to find some info about no-nail tremolo, because I find it to be the most challenging technique regarding no-nails but well, although you've mentioned quite a few different techniques, you haven't mentioned tremolo at all which I find very strange? Does it mean that you didn't find any challenge at all when playing tremolo without nails?
Thanks!
It's a very common question. I didn't play tremolo with nails and I don't play it without; it's just not something I enjoy enough to put in the months of practice to get it smooth. But other no-nailers manage tremolo fine. Hear Brandon Acker: ruclips.net/video/1rdWQ6_bjkg/видео.htmlsi=xc1b76gd1k5PH2lC or Manuel Cubedo:ruclips.net/video/8uw_zHubhH8/видео.htmlsi=XG3cMx6p4QoNz04j
I wish you showed a close-up of your right hand finger tips for clarity as you say you have some nail to support the flesh.
I used to let a small amount grow to support flesh, but now I have the white of the nail filed all the way back. I think it's partly because the flesh of my fingertips has become firmer with time. But also accidentally catching the nail was a minor problem. Possibly subtle changes in hand position were a factor as well. I really need to make an updated video!
This has been an encouraging video and I thoroughly enjoyed the analytical approach. My sport is climbing and this isn’t compatible with having long nails. Due to the wearing effect of rock on skin, the climbing toughens the finger tip but without hardening (callousing) or roughening. I’m not sure whether climbing should be encouraged as part of guitar practice! My point is to say thank you for lifting a concern I have carried for a while about not having nails as I learn guitar.
Thank you, glad to help. As long as you can get a good sound, I wouldn't worry about how much of a callus you have. Some like Rob MacKillop have none; some like Juan Mercadal have a lot. And I like the sound of both very much. Certainly an injury to the fingertip will affect the sound, though -- the risk of which is enough to scare me off things like rock climbing!
Thank you for posting this. I am considering going flesh and this was very inspiring. My I finger is also less fleshy than my m and a. I am curious about how you have dealt with that. One thought I had was to cut the I fingernail shorter to provide less support and maybe soften up that finger.
Thanks, hope you enjoy exploring flesh playing. At first, I grew out my m and a nails to support the flesh more. But now, a year and a half later, the flesh has gradually firmed up on all fingers and there's no need.
My trachers , Paolo Pugliese and Claudio Maccari also play without nails❤
I am just looking up them now -- they have some wonderful recordings! Thanks for the info
To me playing without nails is closer to my soul. So I think it is the optimum.
Glad you found something that works for you
Thanks for this great video! When more paralel are the right hand fingers to strings more flesh in contact: so more sweet sound (as renaissance lute players;)
Thanks for watching. I agree that can help with the sound, but it is also possible to get a very full sound with a perpendicular hand position (in the manner of Tarrega), especially using apoyando.
@@StevenWatsonMusic I have made a little video to show it. IMHO better for early music on modern guitars: ruclips.net/video/4_tmDHhGHjQ/видео.html
this morning i was bored and cut off my nails. then i realized that i have an awful, weak tone without nails... even with my nails cut short im struggling to pluck the string without slightly hitting it with the nail. i can get it to sound nicely when i play quietly. i am worried about calluses on my fingers though.
Cutting off your nails is not like casting a spell that will suddenly make your playing sound new and lovely. It takes weeks of careful right-hand study in order to fundamentally reconfigure the right hand. Then many more weeks to have a strong control over tone and dynamics. Some kind of callus may build up; unlike some other players, I don't try to avoid this. What I do avoid is blisters. Go slow and gently and don't play for too long at first. Short but efficient practice is best.
Thank you for your very detailed and thoughtful explanation way. In fact very few people on YT achieve this level. Normally poor thoughts poorly formulated and I don't continue.. Congratulations, you should consider teaching in some way at least.
Thanks Vlad, very gratifying to read
Great video, very interesting..
Thanks Peter
Pulgar needs no nail with modern bass strings but the nylons enjoy a clearly ramped nail.
The either/or fingernail debate is unnecessarily polarising
This is not rocket surgery 🎉
thank you for this nice video i wonder what kind of strings is better for nailless players?? I mean which brand and which model? and which tenstion?
For starting out, something low tension. You could just try any strings and tune them down a semitone or tone to get a lower tension. Many nonail players prefer rougher strings to help the right-hand fingertips 'grip' the string (normal nylon strings have a smooth surface). For rougher-surface strings, I recommend rectified nylons like Savarez 520R or D'addario EJ30 (which are my current favourites). Both companies also do lower tension varieties, which as I say I recommend if you are starting out.
Which strings work best will depend on you and your guitar -- you just have to experiment. Go slowly, listen carefully.
Thank you.
Your welcome
Can I ask does playing without the nails affect your tremolo? As someone who is starting to learn the guitar and also will be playing without nails it's a pity there is no reliable information on it or good sources for technique. The opinion seems to be you can not reach an equivalent level of play without nails, it's a shame so many are closed to the idea.
I have not studied in depth tremolo without nails. But it certainly is possible -- listen for example to this old recording of Manuel Cubedo (who played without nails and was a student of Emilio Pujol) playing the Alhambra without nails: ruclips.net/video/8uw_zHubhH8/видео.html Regarding the technique, the mechanics are the same (Pujol did advise using rest stroke where possible, though not just in tremolo but in one's playing generally. I disagree with him on this). The sound is different -- for me softer and less percussive, though I stress that my tremolo technique without nails is not very developed.
Cheers, without the experience myself it's impossible to have an informed option on it, but there seems to be some out there with regards to not being able to get the speed into your tremolo without nails so good to hear that's not necessarily the case..
@@0Magician00 for me the speed isn't the difficult thing, it's the strength and stamina required to keep a good, continuous, regular tremolo. But to some extent that was true for me when playing with nails.
Have tried out 9 month ago. But without nails is not my thing. Because i can't cut my nails at i and m finger short enough to play without. It was still a bit of nail. But not on the a finger. So, i and m had a complete other tone colour than a. It was horrible sounding. But now, i keep nail shorter and have better sound now, for my taste. And better control.
Well, whatever works for you. Short nails can work very well. I would say that playing without nails requires a slightly different right-hand position to playing with nails. If you just use the same position as with nails, then no matter how short you cut your nails they may catch the string. The fingers should not be curled round too far -- more relaxed and extended, not curled as if moving towards making a fist -- and the wrist kept lower, not arched. I'm not presupposing this is what you did, but it is a common mistake for players to cut off their nails and then continue to play using the same technique they had with nails.
Thank you.
Would you recommend particular HT strings that would sound well when played without nails?
I currently like Savarez 520Rs. Otherwise I still like Aquila Ambra 900s. But really it depends on your guitar and which strings suit it. The only strings I would not recommend are carbon -- the thinness and texture are ill-suited to flesh playing, I think.
For me it doesn't mean discovering new sounds. It means working with fewer possibilities, impoverishing musical discourse.
There is a similar number of possibilities with or without nails -- they are just different. If you like a nail sound palette, play with nails; if you like a flesh sound palette, play with flesh.
@@StevenWatsonMusic I completely agree! With nails if you want to have a sound rich in possibilities, without nails if you want to have a pasteurized sound.
@@LuisGabert65 you are tedious. I would also point out that your laboured comparison makes little sense. Pasteurization is generally regarded as a good thing, improving the life and health of milk.
@@StevenWatsonMusic Since you started off with the personal insult, I'll stop here.
Do you think it is possible to play recuerdos de la alhambra without nails ?
Yes, many historic nonails players did exactly that. Tarrega himself played it without nails. We have at least one recording to demonstrate this, by Manuel Cubedo, who followed the nonail technique of his teacher, Emilio Pujol, who in turn learnt it from Tarrega. Listen here: ruclips.net/video/8uw_zHubhH8/видео.html
@@StevenWatsonMusic Wow that's impressive, I thought it would be impossible to play it without nails but now I'm going to try to learn this technique. Thanks !
@@nokres9654 Best wishes! It is a very difficult technique with or without nails, and takes months of careful practice to master (I have yet to dedicate myself to it properly). Without nails, it will likely sound somewhat different -- I think Pujol described it as more 'ethereal'.
try the tremolo picking stuff without nails.
Others have already done that:
ruclips.net/video/1rdWQ6_bjkg/видео.htmlsi=4KGmBNp6W6Dg_h0a
ruclips.net/video/LH4FzsIXKFc/видео.htmlsi=VKsZMGld3F-lUtNB
ruclips.net/video/8uw_zHubhH8/видео.htmlsi=y225ztPcaymyPwsU
There is a third path, of course, which I intend to take, i.e., fingerpicks. Many respected guitarists use, for example, Alaska Piks. (Delcamp endorses them here on YT.) And frankly, I see no difference between acrylic fake nails, used by vast numbers of professional CGs, and, say, Alaska Piks. Both are temporary prostheses. I've also sent off for butterfly picks which look promising. If you can simulate natural nails with decent, artificial, removable alternatives, then why not do it?
I've not heard great things about them? That they are uncomfortable to wear for long periods and don't sound as good as real nails. But for me, I prefer the sound of flesh to nail anyway, so I doubt the picks are something I'll ever try.
@@StevenWatsonMusic Many intelligent, serious players like you advocate nailless playing, of course. I would love to join you, chiefly because having to grow and care for nails is a terrible obstacle for many. I myself gave up up playing at 16, and only recently took up the CG again. I'm 59, and feel a certain tragedy at having lost those years. But I don't think it can be denied that the nailless sound is blunt. I even hear missed notes in great players like Hector Garcia. Missed or inadequately-realised. I wish, in other words, that nails (or nail-surrogates) were unnecessary. But in my view, they are necessary. Se la vie, but also, each to his own. Your videos are, in any case, excellent.
@@p1ranesi sure, each to their own. Many will prefer the sharper brighter sound nails can give, which is fine. Garcia was a pretty inconsistent player, judging from both the recordings I've heard and accounts I've read. Mercadal or Cubedo are better examples. Of course, most nail players also hit many bad and wrong notes (at least when playing live -- their recordings are usually heavily edited). Thanks for the comments and compliment, and best wishes with your playing!
@@StevenWatsonMusic All the best to you too. You're a very good player, notwithstanding my personal misgivings about the nails. In fact, I like your sound much more than most other nailless players'. (Or my own noise, unsalvaged by nails or picks.)
@@p1ranesi that's nice of you to say. In many ways my technique is more like modern nail players than many nonailers, who are often more influenced by early/19th century practices than I am. I'm sure your sound is better than you suggest! I think it's often like the way we dislike the sound of our voice (especially on the guitar, which is such a personal, intimate and responsive instrument).
What about tremollo? I searched this cause I was curious how tarrega's recuerdos sounded like without nails since he himself played without nails
Manuel Cubedo, who played without nails in the mid 20th century and was a student of Emilio Pujol, recorded the Alhambra. The recording quality is imperfect, but it gives you an idea: ruclips.net/video/8uw_zHubhH8/видео.html
I intend to study tremolo without nails myself at some point, but there are others things I wish to do first...
@@StevenWatsonMusic Thanks! this is why I watch you and sub to u you have the hardest to find info out here thanks.
I myself started classical (not classically trained but did some heavy metal back in college) recentlly. I started without nails but grew them out to try it out. Its harder for me than normal people cause I have skin asthma but I feel my nails are quite good they are as hard as H picks. But consequently the left side of my body has more bruising.
@@elcidgaming Thanks, yes I love researching the obscure corners of guitar history... I'm not familiar with skin asthma I'm afraid? I hope you find something some way of that works well for you. I have a background in metal too - quite a few classical guitarist converts seem to.
@@StevenWatsonMusic Yes its funny. seems llike metal is kinda like a gateway to classical ? haaha ah yeah skin asthma means my skin is sensitive in a nutshell. So I am prone to scratching so its hard for me to live with long nails
@@elcidgaming ah I see. Yep I think there's often a musical ambitiousness about a lot metal (even a kind of geekiness dare I say) that leads people to classical
How would you do tremolo with no nails?
I've not yet studied tremolo without nails, but the fundamental principles are the same with or without nails. (Though Emilio Pujol, the greatest pedagogue of no-nail technique, believed it should be played apoyando wherever possible.) The resulting sound will be somewhat different without nails. I can link you to a couple of historic recordings if you like
I can't grow nails. I also much prefer the tone I produce. Nail sound is thin to me. As a classical guitarist whose hands get a lot of abuse in my job, I am very happy NOT to have nails!
Yes, playing without nails does have a few practical advantages!
Hi Steven,i always played with nail,but a cut off my nails to try New tones. I can't play tremolo stuff now,it's possible to play tremolo like alhambra stuff with the flesh? Can you show a example?
It's very possible. I haven't yet studied tremolo myself without nails (at least not enough to record an example) but historic no-nailers have left us a few recordings. The best example is Manuel Cubedo: ruclips.net/video/8uw_zHubhH8/видео.html
Your fingertips will need a lot of time, however, to adjust to their new role before you can re-learn tremolo.
@@StevenWatsonMusic thanks for answering my question! greetings from Brazil 🇧🇷
Where might one go to study nailless tremolo?
There is actually an established pedagogy for playing without nails for Russian 7-string guitar. Unfortunately, all in Russian.
Ooh, I didn't know that! What's it called? I can probably glean some information with it, with the help of google translate
@@StevenWatsonMusic , the instrument is normally just referred to as "7-string guitar" (семиструнная гитара / семиструнка). In English, people sometimes call it "Russian guitar". I don't actually play it so couldn't tell you much about the details, but I did once get given a textbook for beginners, and I remember there being a specific injunction against playing with nails. I've also read accounts of people who, during the Soviet era, went through formal classical guitar training as kids without nails. That said, I am 90% sure that Sergey Orekhov, the Russian equivalent of Paco de Lucia, played with nails.
Robert MacKillop has a series of videos where he works through some studies from a popular 19th century Russian guitar textbook (the Morkov method).
@@StevenWatsonMusicI'll search for some clues later. Rn I found 1939 book of M F Ivanov and V M Jurien (Yuorien or smth) School of 7 string guitar М Ф Иванов В М Юрьен Школа Семиструнной Гитары. Ran through it. Unfortunately it tells absolutly nothing. It just gives you basic vintage classic Tarrega / Pujol hand position with classic explanation of movement from big joint. One sentence explicitly tells you that nails must be cut short.
Then book goes deep into sheet music and music theory.
Later, somewhere in the middle of the book authors tell you that there are different colors of sound (hand position on string etc etc. the basic ones) AND there is a nail sound color allegedly originated from Spain. Authors suggest to try it out see if you like it. Do totally same thing with hand placement. Also they suggest to grow nail only on a pincky if one wants to have this ornament in their arsenal for occasional use.
I really remember in the 90th I still saw some old guitarists with long pincky nail.
So basically that book is like Sor + Pujol . I'll try to search for different old 7 string guitar methods.
Edited
The most detailed explanation to this point I found in 1973 1st of two part course of seven string guitar by V Krasnyy (В Красный)
Author teaches 2 techniques. Basic apyando with no differences and tirando, a plucking one where author suggest to pull the string towards you an a little up (10°) not down, into the guitar.
Hand position also classical vintage (Tarrega like). Key point. Author strongly suggest to have a Thumb on a string for anchoring. That's it.
Also author explicitly shows incorrect hand position, 1-1 carbon copy of modern classical angled hand position. And author tells us it is also incorrect to have head of the guitar higher than at shoulder level). And tells us not to use pinky for anchoring.
So I guess there is no any secret technique. We've got a goal to be comfortable, agile and get the fullest sound pallette.
We should experiment and do what it takes for us
I hate having long nails.
Ohne Nägel: es tönt ein bisschen wie reden ohne Zähne (without nails: it sounds a little bit like talking without teeth)
Well, it's a strange comparison that doesn't make much sense.
That looks like a Daniel Friedrich. Not exactly a normal guitar.
The guitar in this video was an Esteve, which is a 'normal' big-bodied Spanish-style guitar. I now play a guitar by a French luthier that is slightly less conventional. These are the only guitars I own, but I've played many more without nails.
Thumbs up, no nails :)
aaa
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What it was? Talk talk talk? Without playing? Why?🤔
I have plenty of other videos of me playing, if that's what you want
Is this a joke? Nail is half of the tone. Other half is non callused flesh.
Yawn. There is no such things as "the tone".
@@StevenWatsonMusic no wonder those who are close minded with no nail playing sounds the same is because they believe in "the tone".
@@BryanParnala this is often true, sadly