One of Chile’s Finest Fingerstyle Guitarists, German Herlein

JGT contributor Joe Barth sits down with guitarist German Herlein to discuss his approach.

Born in Argentina, German Herlein, currently lives in Chile.  Though great with an electric guitar, his focus is on fingerstyle nylon string guitar. 

JB:  Were you born in Chile? Did you start with flamenco guitar, and what inspired you to play fingerstyle guitar?

GH:  I was born in Buenos Aires, Argentina. I’ve lived in several countries, and I’m currently based in Chile.  My approach to fingerstyle came from listening to many guitarists, but Tuck Andress (of Tuck and Patti) was definitely a key influence early on.
 

JB:  What was most helpful in the development of your technique?

GH:  It’s really a blend of different styles. I never wanted to over-focus on technique, because that can easily affect your flow.  For me, technique is just a tool — something you rely on when needed, but not something you build your identity around.

JB:  To you, what are three of the most significant, influential guitar albums and why? 

GH:  I tend to associate music with specific moments in my life, so these records are important to me both musically and personally:

Tuck Andress — Taking the Long Way Home
Kelly Joe Phelps — Tap the Red Cane Whirlwind
Michael O’Neill — Never Too Late

I also had the chance to see Michael O’Neill live quite often in Los Angeles, which made a strong impression on me.

JB:  Talk about one of your CDs. 

GH:  I don’t really work in the traditional album format. Instead, I’ve been developing a project called River of Consciousness.  It’s based on inviting musicians from different cultural backgrounds into a single composition. Each collaboration reshapes the piece, bringing a different identity, not only through the instrument but through cultural perspective.

JB:  You have performed with guitarist John Stowell.  Talk about John’s impact on your playing?

 GH:  I had the chance to play and later record Over the Rainbow as a duo with John Stowell.   Years before that, I had picked up his album Lines & Spaces in San Francisco just because of the cover. He’s truly one of a kind, with a very distinctive musical voice.

JB:  I have seen you play a nylon-string guitar. Talk about the guitars you use.GH:  I play a guitar built by Ricardo Louzao, an outstanding Argentine luthier and a close friend, who passed away some years ago.   The instrument is inspired by Greg Smallman’s design, but with Louzao’s own developments:  a Cedar neck,  Ebony fingerboard, and Schaller tuners.  It has a very strong sustain and projection. Even unplugged, it can still feel slightly amplified. It also produces a natural reverb effect in the space, which is something not every guitar achieves.
I also had the honor of contributing to Ricardo’s book, which is an important work in the luthier world.

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JB:  You have written a book, MA: Six Principles to Play Within.  Tell us about it.

GH:  It’s a very short book, designed more as a reference than something you read once and put away.  It doesn’t deal with theory or technical aspects of music. Instead, it focuses on awareness and perception — how one listens, how one connects, and how we communicate through music.  It’s meant to shift attention away from complexity and toward intention and interaction.  It’s available for free on my website.

JB:  You have had some interaction with Mike Stern.

GH:  I met Mike Stern when I worked as an artist liaison during one of his tours. I helped him with logistics, translations, media appearances, and masterclasses.  We also spent time playing music together in his hotel room, which was an amazing experience.  By coincidence, his record label, Heads Up Records, was running a giveaway at the time, and I ended up winning his Yamaha signature guitar.

JB:  Talk briefly about your composing of guitar music. GH:  I don’t follow a defined method. I always wanted composing to feel as natural as walking.  A close friend and mentor, Jorge Pasquali, used to say that playing music is like walking alongside someone — that awareness gives you timing. It’s not about level, it’s about attitude.

I’m especially drawn to accompaniment. Listening to how players support the music — like Robben Ford or Keith Richards — is something I really value.

Most of the time, I start from noodling and let things develop organically. Melody and harmony come together — I don’t separate them. It’s closer to a pianistic approach in that sense.

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JB:  You live in Chile as a gigging musician. Talk about the music scene in your country?

 GH:  I wouldn’t describe myself as an active gigging musician here — I’m mostly focused on teaching at the moment.  In cities like Santiago, live music in venues like hotels or restaurants aren’t very common, partly due to regulations. That said, there are still clubs, bars, and jam sessions happening.  Chile has a very strong musical identity. Artists like Violeta Parra represent something truly unique — comparable, in a way, to Piazzolla in Argentina.  There are also important cultural spaces like Casa de Salud in Concepción, which has a very active scene.

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