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Classical Lesson

The document provides guidance on practicing arpeggios and scales for solo guitar. It discusses right hand technique, includes exercises from classical methods books, and presents short pieces to work on arpeggios and scales. Tips are given on fingering, stroke patterns, and maintaining rhythmic accuracy.

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29 views6 pages

Classical Lesson

The document provides guidance on practicing arpeggios and scales for solo guitar. It discusses right hand technique, includes exercises from classical methods books, and presents short pieces to work on arpeggios and scales. Tips are given on fingering, stroke patterns, and maintaining rhythmic accuracy.

Uploaded by

Lol
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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In playing solo guitar, classical or otherwise, most of your time will be spent doing one of two things:

arpeggiating chords or playing a melodic line (sometimes at the same time). So, it makes sense, as you
commence your studies of solo guitar, to spend a little time practicing those skills separately.
What you need to know:
 Letters represent fingers of the right hand.
p - thumb m
i - index i a
m - middle
a - ring

 Numbers next to notes represent p


fingers of the left hand.

2
3 1
4

 Circled numbers represent strings.


 Roman Numerals represent position, i.e. what fret your first finger is on.
 ‘C’ before a roman numeral indicates a bar with the first finger.
Fractions before the ‘C’ indicate partial bars.
Let’s try a few arpeggio exercises. Arpeggio exercises are to be played using free strokes. Please re-
view the section on right hand technique in Pumiping Nylon by Scott Tennant. Some players prefer using
rest strokes with the thumb to provide some stability for the right hand. This is fine but be careful not to let
the note struck by the thumb become overbearing. These exercises are from the Carcassi Complete Meth-
od.
Next let’s play an easy scale study. Traditionally these are played with rest strokes alternating i and m.
I cannot over stress the importance of maintaining the alternating pattern. Practice slowly to be sure you’re
doing it correctly. The biggest source of errors for students is string crossing during the descent. For exam-
ple, if the last note on the second string is played with i, and it comes to rest on the third string, it’s very
easy for i to play the first note on the third string, instead of the correct finger, m.
I encourage my students to play scale studies using both rest and free strokes and to try alternating m/a
and i/a as well as i/m. This study is from the Sor/Coste Method.

use the open E to give yourself


plenty of time to make the position shift

The following piece is a pleasant waltz by Carulli. It is an excellent example of how arpeggiated
chords can be used to create melody and accompaniment. Play at quarter note = 112..
Waltz
(Opus 121, #1)
Ferdinando Carulli (1770 - 1841)
edited by R. Wimer
While the “Waltz” works on arpeggios, the following piece, a renaissance dance, works on scale-based
melodic ideas. When deciding right hand fingering for such passages consider making string crossings as
natural as possible. For example, it’s more natural to play the third string with i followed be the second
with m than the reverse. Play the scale passages with free strokes and keep the voices balanced. The sug-
gested tempo is quarter note = 56.
Almande “La Mon Amy La”
Adrian Le Roy (ca. 1520 - 1598)
edited by R. Wimer

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