How Guitar Notation Signals Fingerings, Strings, and Positions

Fingerings and Position Marks: “How to Play It,” Not “What Note It Is”

In classical guitar notation, many symbols are added to the notes to tell you where and how to play them. These markings are performance instructions: they do not change the pitch written on the staff, but they guide your choices so the music sounds and feels as intended.

Why this matters: the same written pitch can often be played on different strings and at different frets. Without fingerings, string numbers, and position marks, the notation may be pitch-correct but still ambiguous for the guitarist.

Left-Hand Finger Numbers (1–4)

Left-hand fingerings are shown as small numbers near the notehead (or above/below the staff):

• 1 = index
• 2 = middle
• 3 = ring
• 4 = little (pinky)

These numbers tell you which finger to use to stop the string. They are especially useful when a passage could be played with multiple fingering solutions, or when a composer/editor wants a specific tone color, legato connection, or hand shape.

Practical checks when you see a left-hand number

• Confirm it matches the fret/string choice implied by other markings (string numbers, position marks, barre).
• Notice repeated finger numbers: they may suggest a guide finger (keeping a finger down while shifting) or a repeated note on the same string.
• If a fingering feels impossible, look for a missing clue nearby (often a position mark or barre indication earlier in the phrase).

Right-Hand Letters (p i m a)

Right-hand fingerings use letters (usually near the note stem or above/below the staff):

Continue in our app.

• Listen to the audio with the screen off.
• Earn a certificate upon completion.
• Over 5000 courses for you to explore!

Or continue reading below...

Download the app

• p = thumb (pulgar)
• i = index (índice)
• m = middle (medio)
• a = ring (anular)

These letters tell you which right-hand finger plucks each note. They are common in arpeggios, scale passages where alternation matters, and textures where a specific finger assignment helps balance voices.

Typical uses

• Melody + accompaniment: melody notes may be assigned to a or m while accompaniment uses p i or p i m.
• Arpeggio patterns: a repeated pattern might be indicated once (e.g., p i m a) and then assumed.
• String crossing control: right-hand letters can prevent awkward repeated-finger plucks or help keep tone even.

String Numbers (circled 1–6)

String numbers appear as circled numerals and indicate which string to play:

• ① = 1st string (highest)
• ② = 2nd string
• ③ = 3rd string
• ④ = 4th string
• ⑤ = 5th string
• ⑥ = 6th string (lowest)

String numbers remove ambiguity when the same pitch exists in multiple locations. They also guide tone color: the same pitch on a higher string often sounds brighter/more focused than on a lower string higher up the neck.

Example: one pitch, multiple places

The pitch E can be played in more than one place. Two common options:

• Open 1st string: E on ① (no left-hand finger needed)
• 5th fret on 2nd string: E on ② with left hand (often finger 4 or 3, depending on position)

If the score marks ②, you should choose the 2nd-string version even though the written pitch is the same.

Position Markers (Roman numerals: I, III, V, …)

Roman numerals indicate left-hand position, meaning the fret area where your first finger is placed:

• I position: 1st finger near fret 1
• III position: 1st finger near fret 3
• V position: 1st finger near fret 5

Position marks are usually written above the staff. They help you plan shifts and keep fingerings consistent across a passage.

How to use a position mark step-by-step

1. Set your hand frame: place finger 1 over the indicated fret (lightly, without pressing yet).
2. Assign fingers to nearby frets: in a basic frame, finger 2 covers the next fret, finger 3 the next, finger 4 the next.
3. Confirm with string numbers: if circled strings appear, they override “default” location guesses.
4. Watch for extensions: sometimes a note requires reaching back or forward one fret; the position mark still tells you the main hand area.

Barre Indications: C and ½C

A barre means one finger (almost always the left-hand index, finger 1) presses multiple strings at the same fret.

• C (or sometimes full barre): finger 1 covers multiple strings, typically across all six if needed.
• ½C (half barre): finger 1 covers only some of the top strings (commonly 1–3 or 1–4), depending on the chord/notes.

Barre markings are often paired with a Roman numeral to show the fret, for example: C V (full barre at the 5th fret) or ½C II (half barre at the 2nd fret).

Barre reading tip

Don’t assume “full barre” means all six strings must sound. It means your finger is laid across the fret so that the required strings can be stopped. Only the strings that are plucked need to ring cleanly.

Shift and Guide-Finger Indications

Editors often show shifts with position changes (Roman numerals) and/or fingerings that imply movement. Common clues:

• New Roman numeral above a note: move the hand to a new position.
• Same left-hand finger number repeated on consecutive notes: often indicates a guide finger sliding along the same string to a new fret.
• String number changes: may force a shift to keep a phrase on one string for tone or legato.

Sometimes a small line or subtle marking is used in editions to show a slide/shift, but the most reliable information is the combination of position marks, string numbers, and fingerings.

Removing Ambiguity: Same Pitch, Different Places

Below are short “location maps” showing how notation markings clarify choices. (The pitch name is the same; the performance instructions differ.)

If an editor wants Option B, you’ll often see a circled string number (e.g., ③ or ④) and/or a Roman numeral position to keep your hand in the right region.

Mini-Example 1: One Note, Two Solutions (and Why the Score Chooses)

Imagine a melody note written as E that must connect legato to a following note on the 2nd string. If you play E as open ①, you might lose the intended color match or make the next move awkward. The editor may mark:

• ② above the E note (play it on the 2nd string)
• Left-hand fingering 4 (or 3) to fit the position
• A Roman numeral (e.g., V) to keep the hand stable

The pitch is unchanged; the marking is about phrasing, tone, and efficiency.

Mini-Example 2: A 2-Bar Melody with Two Fingering Plans

Use this simple 2-bar melody (pitch-only). Write it on staff paper or in your notebook as note names first:

Bar 1: E  F  G  F | Bar 2: E  D  C  D

Now create two different performance plans. Below are two example solutions you can try; treat them as templates and adjust if your edition/fretboard preference differs.

Plan A: “Open/first-area” approach (easy, bright)

• Choose open strings when available.
• Use minimal shifting.
• Add right-hand alternation for smoothness (e.g., i m on stepwise notes).

Task: Mark above each note: (1) a left-hand finger number only when needed, and (2) right-hand i/m alternation. Then play and listen: do open strings make the tone brighter or less controllable?

Plan B: “Single-string/position” approach (more consistent tone)

• Keep the phrase on one string where possible (use circled string numbers to force the choice).
• Add a position mark (Roman numeral) at the start of the phrase to stabilize the hand.
• Use left-hand fingerings that support legato (consider repeated finger as a guide finger if shifting).

Task: Rewrite the same 2 bars, but this time add: (1) at least two circled string numbers to remove ambiguity, and (2) one Roman numeral position mark. Play again and compare: is the tone more even? Is it harder or easier for the left hand?

Comparison Checklist: Tone and Ease

After playing both versions, answer these quickly (write one sentence each):

• Tone: Which plan sounds more consistent in color from note to note?
• Legato: Which plan connects notes more smoothly without unwanted gaps?
• Effort: Which plan feels simpler for the left hand (less stretching/shifting)?
• Control: Which plan gives you better control of dynamics and vibrato (if used)?

How to Annotate Your Own Fingerings (Cleanly)

When you add fingerings to a score, keep them readable and consistent:

• Write left-hand numbers (1–4) close to the notehead but not touching it.
• Write right-hand letters (p i m a) near stems or above/below the staff consistently.
• Circle your string numbers (①–⑥) so they don’t look like left-hand fingerings.
• Use Roman numerals for positions above the staff; add C or ½C when a barre is required.