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At this time, Miguel Llobet was making his debut as a concert artist outside Barcelona. He began his studies with Francisco Tárrega in 1902, when he was sixteen years of age. Stick with it and soon your arpeggio speed, evenness, control, and right-hand finger independence will increase dramatically.Emili Pujol was born in the little village of Granadella just outside Lleida, Spain. This is another one of those exercises that needs to be practiced absolutely every day for three to six weeks to see results. (A separate window will open that you can minimize in order to still see the written musical example as you listen.)
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The pattern I use for performance is "piam." If you practice El Abejorro with these patterns, note that you must change the order of the written notes for the "pama" and "pmim" patterns:Īlthough El Abejorro ( The Bumblebee) takes the drudgery out of practicing these patterns, it also can be used as a fun concert piece or encore. These are the movements that are used in one way or another in almost any other arpeggio pattern except for some patterns where a finger plucks simultaneously with the thumb. My top speed is MM=160 for all four patterns.Īs you can see, there is nothing magical about them! They are very basic.
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Write them down! I start at MM=100 every day (tick on each thumb stroke). Practicing the "im" patterns between the "ma" patterns helps the "m" and "a" fingers to "recover," preventing any kind of overuse problems.Īs your top speed increases over time, increase your starting speed so you are not practicing more than thirty minutes on these arpeggios. I also recommend that you practice the patterns in the order given. Only tick on the thumb strokes, you may want to have it tick on the thumb and the accented note. Think of the thumb as the downbeat and the accented note as the upbeat. If the downbeat and upbeat are placed rhythmically precisely, the entire arpeggio will usually be even. This helps keep the arpeggio rhythmically even. Be sure to accent the third note of each pattern. Play at varying volume levels especially very quiet and very loud. Pay particular attention to the two patterns using "m" and "a." The natural lack of independence between those two fingers is the major cause of uneven arpeggios and arpeggios that fail at high speed. Play each pattern at least ten to twenty seconds and play all four patterns at each speed setting. Using a metronome, increase your speed notch by notch (or by five's if your metronome "dial" is digital) over a thirty-minute period. This will prevent you from reaching your top speeds.
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As you try to speed up, the tension will increase. If you begin at too fast a tempo tension will be triggered in the right hand. There should be no tension in the right hand. Start everyday at an easy, relaxed speed at which you can play all four patterns absolutely evenly and effortlessly. The four patterns may be practiced on open strings as shown here, on any chord progression of your choice, or for a little more fun, on a piece titled El Abejorro ( The Bumblebee) by Emilio Pujol. The downside of the Giuliani and Carlevaro books is that they require a tremendous amount of time to practice properly.īut if you develop speed and evenness with just the four patterns illustrated here (instead of all 230 Carlevaro patterns), you will be able to play almost any arpeggio pattern with great precision and speed. Of the two, I think the Carlevaro is far better because it is more thorough. There is nothing wrong with practicing the Giuliani or Carlevaro right-hand arpeggio studies. Want to DRAMATICALLY improve your right-hand arpeggio technique? Forget the Giuliani 120 studies or the Carlevaro 230-they're for people who enjoy root canals and filling out income tax forms. This article may be reprinted, but please be considerate and give credit to Douglas Niedt.