In classical guitar, the right hand is developed in such a way that it can sustain two, three, and four voice harmonies while also paying special attention to tone production. The index (i), middle (m), and ring (a) fingers are generally used to play the melody, while the thumb (p) accompanies in the bass register adding harmony and produces a comparable texture and effect to that of the piano. The classical guitar is a solo polyphonic instrument, and it is difficult to master.

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Classical guitar techniques can be organized broadly into subsections for the right hand, the left hand, and miscellaneous techniques. In guitar, performance elements such as musical dynamics (loudness or softness) and tonal/timbral variation are mostly determined by the hand that physically produces the sound. In other words, the hand that plucks the strings defines the musical expression. Historically, this role has been assigned to the dominant hand which, for the majority of players, is the right hand. Similar reasoning is behind string players using the right hand for controlling the bow. In the following article the role of the hands should be reversed when considering left-handed players.

An introductory overview of classical guitar technique is given in the article Classical guitar.

The "classical" guitar is the traditional guitar of Spain. It is built so that the right-hand side falls at the back of the sound hole when it is placed on the left leg. Basic considerations in determining a chosen playing position include:

• the physical stability of the instrument
• ensuring the freedom of both hands such that they have free access to the instrument and can meet all technical demands without having to be occupied with supporting the instrument or keeping the instrument upright
• elimination of general muscular tension and physical stress by assuming a comfortable and balanced body position.

A number of different approaches have been taken.

Over the history of the guitar, there have been many schools of technique, often associated with the current popular virtuoso of the time. For example, Mauro Giuliani (1781-1829) is associated with arpeggio playing and his compositions are largely based on their use. Giuliani's solution to achieving independence between the fingers (evening out constraints or differences between the fingers) in the right hand was playing his 120 Right Hand Studies. By contrast, Andres Segovia maintained that playing scales two hours a day "will correct faulty hand position" (1953) and for many years, this was the accepted practice. In both schools—one being all free-stroke (Giuliani arpeggio practice) and the other rest-stroke (Segovia scale practice) -- the basis for learning the technique is hours of repetition.

In 1983, Richard Provost outlined principles of scale and arpeggio technique based on his study of anatomy to make the 'inherent kinesthetic tendencies' ("our limitations") of the human body work for the player. Rather than working around them, the intention being production of "a musical, articulated sound within our physical limitations".^[3] The basis of this technique is referred to by Charles Duncan as "the awareness of the release of tension".^[4]

The traditional names of the right-hand fingers are pulgar, índice, medio, and anular, derived from Spanish. They are generally called p, i, m, and a, "p" being the thumb and "a" being the ring finger. (c = little finger or "chiquito").

The four fingers of the left hand (which stop the strings) are designated 1 = index, 2 = middle, 3 = ring finger, 4 = little finger The number 0 designates an open string, one not stopped by a finger of the left hand. On the classical guitar the thumb of the left hand is rarely used to stop strings from above (as may be done on other guitars): the neck of a classical guitar is too wide and the normal position of the thumb used in classical guitar technique do not make that possible.

Scores (in contrast with tablature) do not systematically indicate which string is to be plucked (although in most cases the choice is obvious). When indication of the string is required, the strings are designated 1 to 6 (1 for the high E, to 6 the low E) with the string number inside a circle.

The fret/position where the first finger of the left hand is placed on the fingerboard is usually not systematically indicated, but when necessary (mostly in the case of the execution of barrés) indicated with Roman numerals corresponding to the fret number from the string nut (which has no numeral) towards the bridge.

The two primary plucking techniques are:

• Rest-stroke (apoyando), in which the finger that plucks the string lands on the next string; and
• Free-stroke (tirando), in which the finger does not land on the string behind, but, rather, continues until the energy of the stroke is dissipated.

Rest stroke is useful for single-line melody playing. Free-stroke is mainly used in arpeggio ("broken-chord") playing. They are often combined to provide contrasting voices, between melody and harmony. "Rest-stroke on the melody" is a common approach to balancing the voices.

One of the tenets of right-hand technique in melody playing is strict alternation of i and m. That is, no right-hand finger should be used twice in a row (excluding the thumb). The a finger is occasionally used if i-m alternation creates an awkward string-crossing in the right hand. Otherwise, the default is strict alternation of i and m. Where the a finger is used, i-a or a-m fingering is preferred to m-a, due to the physical constraints of the hand.

• Scale playing: Usually an alteration of the index and middle finger; however other alterations using the annular finger (or even an alterations with the thumb) are common as well
  Factors that influence the choice might be the speed of the scale and the progression of the melody over more than one string, i.e., a scale usually starts on one string and continues on another.
  However, during slower movements (especially of contrapuntal music) guitarists might not alternate the fingers strictly if this facilitates the interpretation by preserving tonal similarity. An example of this might be when the index finger (or the thumb) is used to play one melody line on the 3rd string while the annular finger might be used for a melody on the first string. A melody line can move over various strings, so a flexible approach is needed, experimentation and development of patterns that suit individual preference.

Historically (for baroque guitars, right up to classical or romantic repertoire of Sor and Mertz) the free-stroke was used. One of the first classical guitarists to use the rest-stroke was the Spaniard Julian Arcas (1832–1882)^[5] (and it may have been used by Jose Ciebra as well^[6]), though it was already in use for flamenco music.

The choice of stroke that a guitarist will use is motivated by personal choice of tone quality, dynamic control and efficiency.

While the right hand is responsible for the sound of the guitar, the left hand performs two functions: pressing on the strings (to shorten their effective length and change the pitch) and articulation, i.e. slurring (commonly known as 'hammer-ons' and 'pull-offs') and vibrato. In musical notation, the left-hand fingers are referred to as 1, 2, 3, and 4 (starting with index).

The basic position for the left hand is much the same as that of the right, except upside down. Unlike many players of steel-string and electric guitars, which have a narrower neck and fingerboard, classical guitarists do not place their left-hand thumbs over the top of the neck. Instead, they place them behind the neck, usually behind the second finger.

It is possible to play the same note on different strings, called "registration" or "registering". For example, the note "e", first string open, may be played, or "registered" on any string.

The guitarist often has choices of where to "register" notes on the guitar based on:

• Ease of fingering. Beginners learn the open, first position before anything else and might be more comfortable registering notes on open strings in the first position. Advanced players might find solutions in higher positions based on musical expression or using a shift on a string as a guide.
• Playing "on the string"—Keeping a melody or musical line on one string for continuity of tone or expression.
• The advent of nylon strings. Historically, the early guitar (pre-WW II) was strung with catgut rather than the nylon commonly used since then.
• For reasons of counterpoint: allowing a voice on one string to vibrate for its duration while playing a moving voice on another string.

• Classical guitar pedagogy