Example NYLON STRING PIECE
[General] Throughout the intro and verse sections, make sure you let the notes ring during each phrase by keeping the chord shapes fretted down until the shape itself has to change. This will ensure a fluid, ringing sound, and not a staccato, ‘cut off’ one - it’s a concept that’s natural for experienced fingerstyle players. [Bars 1- 4] For the first part of the intro, approach the picking as indicated at the beginning of the tab stave; ‘p’ (thumb) plays the bottom three strings; ‘i’ (first finger) plays the third string, ‘m’ (second finger) plays the second string, and ‘a’ (third finger) plays the first string. In bar 2, make sure you change to the C/E chord on the G note on the ‘2&’, and let the bass notes ring through while letting the treble string melody be heard clearly. [Bars 5-7] The first two of these bars is a repeat of bars 1 and 2, but bar 7 differs from bar 3 as it uses ‘sliding 6ths’ to ascend through the melody. Let the open fourth string ring here, and change to the Gsus4 chord on the ‘2&’. [Bars 8-11:] These four bars are a repeating Amadd9 arpeggiated chord. This acts as a secondary intro and sets up the mood of the verse. Again, keep these notes ringing and nice and evenly. The thing to watch out for here is making sure you don’t let the open sixth string ring into the open fifth, as this will make things sound muddy and untuneful. Try using the edge of your picking thumb to do the muting. [Bars 12-19] This is the verse section of the tune. Again note the picking as indicated beside the tab stave. It has changed to ‘p’ on the sixth and fifth strings, but ‘i’, ‘m’ and ‘a’ have moved to the fourth, third and second strings respectively. The only change to this new approach is in bars 15, 18 and 19, indicated under the appropriate notes in the tab. Remember, these are all only suggestions; feel free to experiment if other methods suit you better.