Many beginner guitarists can reach the high E in measure 11 of Lágrima, but the real challenge is keeping the phrase legato when they try to reach back for the A on the fourth string on beat 2. They’ll often try to reposition the pinky to maximize the stretch, which can lead to a break in legato.
Most students don’t realize that relying exclusively on the pinky for the stretch makes this passage much more difficult. The key to maximizing stretches (and making this passage easier) is to fully utilize the stretching ability of both your 4 and 1 fingers. In this post, you’ll learn how to maximize your own stretching and find the position that helps this passage flow.
Step 1:
Gently place the pad (fingerprint) of your index finger on the 4th string A on beat 2 and let your index finger lie over 3, 2, and 1 as if you were playing a barre chord. Let the other fingers lie flat against the strings in a similar way. Your fingers need only to touch the strings; do not apply any pressure. Your hand should be relaxed and in the VII position.
Step 2:
Keep your first finger in place. Spread your fingers apart like a fan (abduct) until your pinky reaches the XII fret. For me, the pad of my pinky ends up hovering over 2. Your thumb may move forward about the amount needed for 1/4-1/2 of a 1-fret position change.
Step 3:
Use the 1 finger tip as a pivot while rotating the hand (via shoulder abduction to help the pinky reach its target. Keep 1 flat in a barre position and do not move it from the VII position. Make sure the tip of your 1 stays put.
It is important to understand that only the tip of 1 stays stationary; the rest of the finger rotates along with the arm. To assist in proper execution, you can imagine a pin going straight through the 1 fingernail and into the fretboard.
While keeping the tip of 1 in place, move your elbow and arm away from your body. When done properly, the hand will rotate. The pinky side of the hand will move away from the fretboard. The first knuckle of 1 will move towards the headstock. Compare the angle of the first finger to the frets in this photo and the last one. You will see a slight change; it is more parallel to the fret than before.
Stop when the pad of the pinky is over XII on 1 . Your hand is now in the basis position needed to play this chord.
Step 4:
Your hand is now in its basic position, so we can test the chord. Here, use a technique classical guitarists are taught to avoid: use the pad of the 4th finger instead of the tip. Professional players know this makes stretches easier, though you won’t always see them use it, since the stretch isn’t challenging for them.
Press down the A with the pad of your first finger (as if it were a 1-string barre) while also pressing down the E with the pad of your pinky, and test the notes out. If you struggle to get the high E to ring out with the pinky, it may be because the 1st knuckle (MCP) is too far behind the fretboard, preventing you from applying adequate pressure. To remediate this, flex your wrist slightly while moving your elbow and arm slightly away from your body. For my body, the wrist moves forward by less than 1 inch during this movement. This will raise the first finger (except the tip) away from the fretboard while also moving the 4 finger MCP forward, improving leverage.
If you still cannot play these notes cleanly, try this tip from the m. 5 barre chord exercises: add a little tension to your upper arm and shoulder. Imagine pinching the notes between your fingers and elbow.
Mastering Lagrima m. 11
When you play this passage, landing in the correct position on the high E is essential. But even if the stretch itself feels easier, you still need a clear plan for releasing that position without breaking the legato line.
I’m currently creating a complete technical and musical guide to Lágrima that explores these kinds of details in depth. In the meantime, you can download my high-quality score, created with a special focus on clarity, accuracy, and beautiful engraving. I hope it gives you a more enjoyable and musically satisfying experience with the piece.
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