Using the Arpeggio Patterns in Your Classical Guitar Pieces
Hi Reader: If you are new to CGS, welcome and thanks for stopping by. This post is part of a larger (free) course on playing arpeggios on the classical guitar. You may want to explore the main arpeggio course page first, so you understand the references I make in the video and article. You could also start here.
Using the arpeggio patterns in real pieces!
Arpeggios on the classical guitar are a big subject for guitarists. They are part of an ongoing technique workout that we all should be doing if we are to reach our potential as musicians and guitarists.
But we can’t just practice them as abstract exercises. Eventually, we need to be able to use the movements we practice in our actual pieces of music.
This video shows how to hunt through your pieces and find examples of the primary arpeggio patterns.
Often, there will be a primary pattern, a note or two that use alternation, and then perhaps another of the primary patterns.
In real music, it isn’t always simple and easy. But by identifying the primary arpeggio patterns, you can create a framework that you can use to maintain good technique, hand position, and tone.
This also helps you to memorize pieces faster. Identifying the patterns will get easier in time. It may be a little slow at first, and that’s fine (most things are slow at first.)
The important thing is that you approach your music with curiosity, and the eye of a detective. An attitude of exploration and investigation, just for the fun of it, will help you more than just about anything to advance as a guitarist.
Hi, I’m Allen Mathews.
I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two stellar teachers – one focused on the technical, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully. Click here for a sample formula.
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