Legato shifting on classical guitar

A shift should move the left hand without interrupting the musical line. In this video, Simon uses a simple chromatic exercise to practise connecting notes across a change of position, with particular attention to the sound on either side of the shift.

Lesson notes from Simon’s video · approximately 6 minutes

Find a section in the video

• 0:39 — What a smooth shift should sound like
• 1:07 — The eight-note chromatic exercise
• 3:07 — Isolate the two notes around the shift
• 3:54 — Move the exercise to other strings
• 4:41 — Progress to groups of three and two

These links open the relevant moment on YouTube.

Listen for a continuous line

The goal is to make the shift as unobtrusive as possible. Simon asks you to listen for two things: a gap between notes and a sudden change in volume. Keeping the rhythm and dynamic even helps the listener hear one continuous phrase rather than two groups joined by a movement.

Start with four fingers in each position

1. On the first string, play frets 1, 2, 3 and 4 with fingers 1, 2, 3 and 4.
2. Shift the hand so that the first finger arrives at fret 5.
3. Continue with fingers 1, 2, 3 and 4 on frets 5, 6, 7 and 8.
4. Listen especially to the G-sharp at fret 4 and the A at fret 5. These two notes reveal whether the shift interrupts the line.

Simon’s focus is the transition, not simply completing all eight notes. Sustain the note before the shift as long as the movement allows, and make the shift itself quick and economical, with as little change in hand shape as possible.

Practise just the join

Reduce the exercise to the two notes around the shift: G-sharp with the fourth finger, followed by A with the first finger. Compare this with playing the same two pitches without a shift, using a hand position that accommodates both frets. The unshifted version gives your ear a reference for the connection you are trying to achieve.

Then return to the eight-note exercise. Avoid accenting the first note after the shift: an accurate landing can still sound like a break in the phrase if that note suddenly becomes louder.

Make the exercise more demanding

• Change strings. Try the same pattern on the second and third strings, then the bass strings. Listen for the extra shifting noise on the wound strings.
• Use groups of three. Play with fingers 1–2–3, shift, and repeat the pattern.
• Use pairs. Progress to 1–2, then try 2–3 and 3–4. Keep listening for evenness rather than emphasizing the groups.

For the bass strings, Simon demonstrates a small lift, movement and replacement to reduce scraping. Watch the movement in the video and listen carefully; recognizing the unwanted noise is the first step toward controlling it.

Carry the idea into a piece

Choose a shift in a scale or melody you already play. Isolate the notes on either side, compare their volume and connection, and then return them to the phrase. The same listening task applies: the musical line should guide the movement.

Continue your practice

• Scale workshops: put shifting into scale practice
• A left-hand position exercise
• Explore the technique library