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String Choices and Tone: Managing Multiple Locations for the Same Note

Capítulo 9

Estimated reading time: 6 minutes

Why the Same Written Pitch Exists in Multiple Places

On guitar, a single written pitch can often be played on more than one string because the strings overlap in range. For example, the pitch E appears as:

1st string open (E)
2nd string, 5th fret (E)
3rd string, 9th fret (E)
4th string, 14th fret (E)

This means that when you see a note on the staff, the notation tells you the pitch and rhythm, but it may not always tell you where to play it. Unless the score includes explicit string numbers, position indications, or fingerings, you must choose a location that supports musical flow and tone.

When Notation Specifies the Intended String (and When It Doesn’t)

In many classical guitar scores, the composer/editor may add:

String numbers (small circled numbers ①–⑥) to force a specific string choice.
Position markers (e.g., V, VII) to suggest a left-hand region.
Fingerings (0 1 2 3 4) that strongly imply a location.

But in other passages, none of these appear. That is not “missing information”; it is an invitation to choose the most practical and musical option.

Four Practical Factors for Choosing a Location

1) Avoiding Unnecessary Shifts

Shifts cost time and can create noise or breaks in rhythm. If a phrase can be played in one area of the neck with minimal movement, it is often the most reliable sight-reading choice.

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Step-by-step check:

Circle (mentally or lightly in pencil) any notes that have multiple locations.
Ask: “Can I keep my hand in one position for the next 2–4 beats?”
Prefer the option that reduces large jumps, especially during fast rhythms.

2) Maintaining Legato (Sustaining and Connecting Notes)

Legato on guitar is partly about right-hand continuity, but left-hand choices matter: playing consecutive notes on different strings can allow notes to overlap slightly, creating a smoother connection. Conversely, playing everything on one string can create a vocal, sliding quality but may require shifts that interrupt the line.

Useful idea: If you want notes to ring together, consider using adjacent strings. If you want a single “sung” line color, consider staying on one string (when practical).

3) Timbre Differences Between Strings

The same pitch sounds different on different strings because of string thickness, tension, and where the note sits on the fretboard.

Higher string / lower fret (e.g., 1st string open or low frets): often brighter, more direct.
Lower string / higher fret (e.g., 2nd string 5th fret): often warmer, rounder, sometimes slightly softer.

This is a core classical guitar skill: choosing a string not only for convenience, but for color.

4) Preparation for Upcoming Notes

Sometimes the best location for the current note is the one that sets up the next measure. A “comfortable now” choice can cause a difficult shift later. Think ahead by one beat (beginner) or one measure (intermediate).

Step-by-step preview:

Look at the next 3–6 notes.
Identify any notes that force a position (for example, a high note that is easiest in VII position).
Choose the current note location that leads naturally into that area.

Try Two Fingerings: Same Notes, Different Results

In the examples below, you will play the same written pitches with two different left-hand location choices. Listen for: (1) smoothness of connection, (2) amount of shifting, (3) tone color consistency.

Example 1: A Simple Four-Note Idea (E–F–G–F)

Option A (mostly first position, minimal shifting):

E = 1st string open
F = 1st string 1st fret
G = 1st string 3rd fret
F = 1st string 1st fret

Option B (warmer color on 2nd string):

E = 2nd string 5th fret
F = 2nd string 6th fret
G = 2nd string 8th fret
F = 2nd string 6th fret

Compare:

Which option feels more stable at your current tempo?
Which option produces a more even tone from note to note?
Does Option B’s higher position make your left hand tenser, or does it feel comfortable?

Example 2: A Descending Line Where Ringing Matters (A–G–F–E)

Option A (adjacent strings for overlap):

A = 3rd string 2nd fret
G = 3rd string open
F = 4th string 3rd fret
E = 4th string 2nd fret

Option B (single-string “vocal” line on 4th string):

A = 4th string 7th fret
G = 4th string 5th fret
F = 4th string 3rd fret
E = 4th string 2nd fret

Compare:

Which option gives you more sustain between notes?
Which option makes the phrase sound like one connected voice?
Do you hear a timbre change when you switch strings in Option A?

Mini-Checklist: Making a Quick Choice While Reading

Question	If “Yes,” lean toward…
Can I avoid a shift by staying here?	Current position / nearby frets
Do I want the notes to ring together?	Different strings (where possible)
Do I want a consistent color for the whole phrase?	Same string or same region
Is a big note coming soon that needs a higher position?	Move early to prepare

Exercises with String Numbers and Position Markers (Then Without)

Play each exercise twice: first exactly as indicated, then repeat the “no hints” version and decide your own locations. Keep the tempo slow enough that you can listen to tone and feel shifts calmly.

Exercise 1: Forcing a Warm Color in V Position

Version A (with hints):

Pos. V

E (②-5)
F (②-6)
G (②-8)
A (①-5)
G (②-8)
F (②-6)
E (②-5)

Version B (no hints):

E – F – G – A – G – F – E

Task: In Version B, try (1) staying in first position, then (2) recreating the V-position color. Decide which better matches the sound you want.

Exercise 2: Avoiding Shifts by Staying in One Area

Version A (with hints):

Pos. II

B (②-0) (allowed as an exception: open string)
C (②-1)
D (②-3)
E (①-0)
D (②-3)
C (②-1)
B (②-0)

Version B (no hints):

B – C – D – E – D – C – B

Task: In Version B, test two solutions: one using open strings heavily, and one that minimizes open strings to keep tone consistent. Note which sounds more even.

Exercise 3: Preparing Early for a Higher Note

Version A (with hints):

Pos. V

C (③-5)
D (③-7)
E (②-5)
F (②-6)
G (②-8)
A (①-5)
B (①-7)
C (①-8)

Version B (no hints):

C – D – E – F – G – A – B – C

Task: In Version B, choose a fingering that makes the final high C feel prepared rather than rushed. Try (1) shifting late, and (2) shifting early, and compare cleanliness.

Exercise 4: Same Pitch, Two Strings, Two Colors (Target Note: E)

Version A (with hints):

E (①-0)
G (①-3)
F (①-1)
E (①-0)
E (②-5)
G (②-8)
F (②-6)
E (②-5)

Version B (no hints):

E – G – F – E – E – G – F – E

Task: Make the first four notes bright and the second four notes warm without changing dynamics. Use string choice to create the contrast.

How to Self-Evaluate (Quick and Practical)

Smoothness: Are there audible gaps between notes? Do shifts cause hesitations?
Noise control: Do shifts create squeaks or accidental string contact?
Tone consistency: Does the phrase sound like one instrument “voice,” or does it change color unexpectedly?
Future-proofing: Does your choice make the next measure easier or harder?

Now answer the exercise about the content:

When a written note can be played in multiple places and the score gives no string numbers, positions, or fingerings, what is the best basis for choosing where to play it?

You are right! Congratulations, now go to the next page

You missed! Try again.

If notation doesn’t specify a string, you decide. A good choice reduces awkward shifts, supports legato and sustain, considers tone color differences between strings, and sets up the next notes.