RIGHT HAND ARPEGGIOS

by Robert Bekkers

Many etudes have been dedicated to arpeggios. Think of the first two etudes by H. Villa Lobos. Or the many etudes of F. Sor, M. Guiliani and many others. It must be clear: arpeggios are a basic element of guitarplaying. No need to say a lot of your time needs to be spend on this subject.

A good book, packed with exercises for right hand arpeggios is offered by Abel Carlevaro: I share the principle of his approach with you. He offers even more very interesting and useful variations. So just get it.

Once you have played the arpeggio four times in the first position, you move the diminished chord in your left hand one position up, play the figure again -no pause- and go to the next position. Thus with choosing the position you wish to reach, you also set the number of times you will be playing the exercise: A good way to discipline yourself!

Using this concept, we are able to create a total of twelve patterns: Three more, starting with the index finger Then four, starting with the middle finger and another four starting with the ring finger.

Chords are often broken in more complex pattern like: the "skipping a note" (Villa-Lobos Etude No.1). Note the p-i fingering is more flamenco style. It provides more control over timing and bigger volume. Sounds different, only suggested as an exercise.

In triplets.

Maybe try parallel arpeggios. First one is a narrow chord setting, the second an open chord setting. Very useful and excellent training to build righthand control.

*One principle to increase control, tone and timing, is to prepare the upcoming finger on the moment of attack from the previous finger. So, after you played a note, the next finger is placed on the next string of the pattern. It is a particular feeling you have to develop in the righthand, and it should be done very consciously, meaning SLOW! Only then you will improve.
Never try to make having string contact your way of playing arpeggios, because playing arpeggios is actually done in the opposite way: It needs to be very loose, with as little contact with the strings as possible: The hand needs "air" to relax and to allow the strings to resonate.

And always remember:

Use your ears a lot, a good sound comes from a good arpeggio.

Tip: A way to build speed is to chop patterns (i.e. arpeggios, scales) in managable parts, small enough to make them easy to understand: Play the separate sections fast and leave a pause before playing the next section. Keep the pause, just make them unhearable small. Having such "virtual" breaks wil give you control, even in very fast passages. And control is what you will need! See the lesson on study habits, coming soon.

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