{"id":1121,"date":"2014-09-04T11:28:11","date_gmt":"2014-09-04T18:28:11","guid":{"rendered":"http:\/\/classicalguitarshed.foureyes.com\/?p=1121"},"modified":"2024-07-03T03:48:53","modified_gmt":"2024-07-03T10:48:53","slug":"variation","status":"publish","type":"post","link":"https:\/\/classicalguitarshed.com\/variation\/","title":{"rendered":"Adding Variation to Arpeggio Practice on the Classical Guitar"},"content":{"rendered":"<h3><\/h3>\n<p class=\"centerc\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/iAHX8hGO2sw?rel=0&amp;showinfo=0&amp;autohide=1\" width=\"700\" height=\"393\" frameborder=\"0\"><\/iframe><\/p>\n<p>Before we dive in, please note that this article is not a starting point. \u00a0It is more of an advanced step in the arpeggio practice process. \u00a0If you are coming to this as a new reader to CGS, you may want to begin your arpeggio exploration with the <a href=\"https:\/\/classicalguitarshed.com\/how-to-learn-classical-guitar-arpeggios-right-hand-technique\/\">free arpeggio course<\/a>, or you can <a title=\"Start Here\" href=\"https:\/\/www.classicalguitarshed.com\/start-here\/\">start here<\/a>.<\/p>\n<p>Ok, that said, let&#8217;s jump in.<\/p>\n<h1 style=\"text-align: center;\">Adding variation to arpeggio practice on the classical guitar<\/h1>\n<p>Now that you&#8217;ve gotten the basic movements of some <a title=\"Free Arpeggio Course for Classical Guitar\" href=\"https:\/\/www.classicalguitarshed.com\/arpeggios\/\">primary arpeggio patterns<\/a>, and incorporated some left hand progressions to make it all sound more like real music, now what?<!--more--><\/p>\n<h3>Check-in<\/h3>\n<p>Well first, let&#8217;s ensure that you&#8217;ve gotten the basics before moving on. \u00a0Answer the following questions about your arpeggio patterns. \u00a0If you can answer yes to everything, great. \u00a0If not, make a note of which ones you still have work to do with. \u00a0As you add some of the variations in the video and this article, you may notice that these basics take care of themselves. \u00a0(But maybe not, so stay alert either way!)<\/p>\n<ol>\n<li>Do you know each movement that makes up each arpeggio pattern?<\/li>\n<li>Can you stop (freeze) between each movement?<\/li>\n<li>Can you play with a steady beat, keeping true to the movements?<\/li>\n<li>Can you play some or all of the primary arpeggio patterns with a steady rhythm using a left hand chord <a title=\"Keeping Arpeggios Fun on Classical Guitar\" href=\"https:\/\/www.classicalguitarshed.com\/arpeggio-practice\/\" target=\"_blank\" rel=\"noopener noreferrer\">progression<\/a>?<\/li>\n<\/ol>\n<p>How did you do? \u00a0Remember you can always back up and return to the basics. \u00a0Returning periodically to the basics of good form and motion is probably one of the best things you can do when <a href=\"https:\/\/www.classicalguitarshed.com\/learn-classical-guitar\/\" target=\"_blank\" rel=\"noopener noreferrer\">learning classical guitar<\/a>.<\/p>\n<p><strong>Note<\/strong>: \u00a0No extra points for speed, unless your form and motion are flawless. \u00a0Speed creates the illusion of perfection. \u00a0If you can&#8217;t ace it slowly, you can&#8217;t ace it. \u00a0Period.<\/p>\n<p>&nbsp;<\/p>\n<h2>Altering Timbre (aka tone)<\/h2>\n<p>One variation we can bring in is to to alter the tone, or sound of the notes. \u00a0There are two main ways to do this. \u00a0We can either change where on the guitar our right hand is placed, or we can change the angle with which we are striking the strings.<\/p>\n<h3><span style=\"color: #323333;\"><b>The different tone centers of the classical guitar<\/b><\/span><\/h3>\n<p>On the classical guitar, we play generally over the soundhole, as a rule. \u00a0However, we can get some really interesting tonal &#8220;colors&#8221; if we play in other places.<\/p>\n<p>The two extremes of this are:<\/p>\n<p>1. <strong>Over the neck:<\/strong> \u00a0When you move your right hand position more toward the neck of the guitar, actually over the frets, we can get a very warm, \u201cwooly&#8221; sound. \u00a0This sound has also been described as \u201cdark\u201d, or \u201cwet\u201d. \u00a0While we generally want a rich, warm sound in the pieces of music we play, there is a point of diminishing returns here. \u00a0Past a certain point it becomes more of an effect.<\/p>\n<p>2.<strong> Close to the bridge:<\/strong> \u00a0When you play very close to bridge, at the very end of the strings, the sound is metallic and bright. \u00a0It can almost sound like a harpsichord or a steel-string guitar when played here.<\/p>\n<p>For practicing, try moving between the extremes of both these directions (over the frets to near the bridge). \u00a0Take each as far as you can. \u00a0All the way to the 12th fret, to all the way to the bridge.<\/p>\n<p>To move between these, you can go about it in (at least) two ways. \u00a0You can smoothly and steadily move your hand\/arm back and forth, always in motion. \u00a0Or you can quickly shift from one position to the other. \u00a0I recommend mastering both ways of moving.<\/p>\n<h3><span style=\"color: #323333;\"><b>Using hand position to change tone<\/b><\/span><\/h3>\n<p>The other way of changing timbre (or tone) is to alter the angle through which you play the strings.<\/p>\n<p>In the lesson on <a title=\"Fundamental Concepts of Classical Guitar Technique\" href=\"https:\/\/www.classicalguitarshed.com\/basics\/\" target=\"_blank\" rel=\"noopener noreferrer\">fundamentals of playing classical guitar<b>,<\/b><\/a> I talked about alignment. \u00a0In general, you want your fingers to move in such a way that, if your fingers were long enough (say, 2 feet long), they would tap your elbow with each stroke. \u00a0This way, your wrist is straight and aligned with your forearm.<\/p>\n<p>Well, if instead of keeping this alignment you instead move the hand position around, you can get a multitude of different sounds and \u201ccolors\u201d.<\/p>\n<p>At the level of the string, we usually play through the string at about a 45 degree angle. \u00a0In this technique, we vary that angle all the way from perpendicular (90 degrees to the string), to nearly parallel to the string (you may notice that the wound strings will be very noisy, as your nails scrape them).<\/p>\n<h3>How to practice<\/h3>\n<p>For practicing, you can again switch quickly or slowly between extremes. \u00a0Make sure that you are always exaggerating everything in your practice. \u00a0Take everything to the limits. \u00a0Later, if performing, you will naturally mellow some of the exaggeration out. \u00a0If you have not been exaggerating in practice, your playing will likely come off somewhat bland to your listeners. \u00a0(they won\u2019t tell you this, but it happens all the time.)<\/p>\n<p>For both of the exercises above, you could choose a number of repetitions for each position, and play with steady tempo. \u00a0For instance, two times through the arpeggio pattern over the neck, then move quickly and play two arpeggio patterns near the bridge. \u00a0The same concept applies to number two from above, but simply move from one hand position to the other.<\/p>\n<p>Likewise, you could move move smoothly between the two points, reaching the extreme of each within a set number of repetitions. \u00a0The challenge here is keeping the arm moving at a steady pace, while also playing with good rhythm. \u00a0Again, you can modify this same idea for number 2 from above.<\/p>\n<p>&nbsp;<\/p>\n<h2><span style=\"color: #323333;\"><b>Altering Dynamics (aka volume)<\/b><\/span><\/h2>\n<p>In the music we play, one of our main goals is to play expressively, and beautifully. \u00a0One of our most powerful tools in this art is our ability to control <a href=\"https:\/\/www.classicalguitarshed.com\/3-levels-sound-dynamics\/\" target=\"_blank\" rel=\"noopener noreferrer\">dynamics<\/a>.<\/p>\n<p>Dynamics are how loud and\/or softly we play. \u00a0This could include a whole piece, a section, a phrase, just a few notes, or a single note. \u00a0(We deal with single notes in the \u201cAccents\u201d section below.)<\/p>\n<p>The better we can control the volume of our playing, the better we sound. \u00a0This is huge, so please hear it. \u00a0The better we can control the volume of our playing, the better we sound. \u00a0If you want to play so that your music affects people in a positive way, practice and master dynamics.<\/p>\n<p>There are two ways of altering dynamics that we will talk about here: \u00a0terraced dynamics, and crescendos\/decrescendos.<\/p>\n<h3><span style=\"color: #323333;\"><b>Terraced Dynamics<\/b><\/span><\/h3>\n<p>Imagine the terraced rice fields of southeast Asia. \u00a0Each level is flat, then moves suddenly to the next level, which is also flat.<\/p>\n<p>Besides being a metaphor for practice in general, terraced dynamics are the same way. \u00a0You are playing at a nice fortissimo (very loud), and all of a sudden you are playing pianissimo (very quiet). \u00a0There is no transition between the two. \u00a0It\u2019s like black and white.<\/p>\n<p>For practice, vary between extremes (as I&#8217;ll say again and again). \u00a0As loud as you can to as soft as you can. \u00a0Remember to keep the rhythm steady. \u00a0You may need to turn on the metronome to stay honest.<\/p>\n<p><strong>Note: Always (really, always!) exaggerate wildly in your practice!<\/strong><\/p>\n<h3>Crescendos and Decrescendos (swells and fades)<\/h3>\n<p>The other way to get from \u00a0your loudest playing to your softest playing is to go there gradually. \u00a0You can do this by swelling louder, or fading down softer.<\/p>\n<p>Crescendos (getting louder) and decrescendos (getting quieter) are one of the most powerful tools you have to play beautifully and expressively. \u00a0The better you get at controlling your dynamics in this way, the better you will sound and the more people (and yourself) will connect emotionally with the music you are playing.<\/p>\n<h3>How to practice<\/h3>\n<p>To practice, decide exactly what you are doing, and then do it while keeping the rhythm absolutely steady.<\/p>\n<p>A couple of examples (you can come up with different ones as well):<\/p>\n<ul>\n<li>Starting quietly, play the arpeggio pattern twice getting louder (arriving at your loudest by the end), then twice getting quieter (arriving at your softest by the end). \u00a0Then change harmony in your left hand and repeat, all in rhythm.<\/li>\n<li>Starting loudly, play the arpeggio pattern twice getting softer, then twice getting louder. \u00a0Change harmony and away we go.<\/li>\n<\/ul>\n<p>(note: I like this second one better than the first, because it crescendos TO the left hand harmony change, which is usually more musical and moves the music forward more organically. \u00a0But master both of these, and every other one you can come up with)<\/p>\n<p>&nbsp;<\/p>\n<h2>Using Accents<\/h2>\n<p>I love <a href=\"https:\/\/www.classicalguitarshed.com\/accents\/\" target=\"_blank\" rel=\"noopener noreferrer\">accents<\/a>. \u00a0Accents tell your listener what exactly to listen to. \u00a0They can create a melody line that rises above all the muck and mire that can come with classical guitar music (bass notes, middle voices, <a href=\"https:\/\/www.classicalguitarshed.com\/chords\/\" target=\"_blank\" rel=\"noopener\">chords<\/a>, etc.).<\/p>\n<p>We play so many notes. \u00a0It&#8217;s a service to your listeners to show them precisely what the main point of the music is. \u00a0Otherwise, it can just be a river of notes (which is cool, but not really THAT cool.)<\/p>\n<p>What often happens is that players often accent notes that don&#8217;t make sense to accent, and undermine the flow and beauty of the music. \u00a0They don&#8217;t mean to, it&#8217;s just that they don&#8217;t realize that they are doing it, or have habits (like accenting the highest note of a phrase, or accenting any place where the thumb and finger play at the same time) that they do without thinking or questioning whether it&#8217;s the best musical choice.<\/p>\n<p>There are places in music that work really well to accent, and others that don&#8217;t. \u00a0Where those places are is a subject for another day. \u00a0But for now, just work on being able to accent at will.<\/p>\n<p>By mastering your ability to use accents, you become more able to create the &#8220;three-dimensional&#8221; sound that can be so interesting and captivating to listen to. \u00a0It&#8217;s a huge step on your path to <a href=\"https:\/\/classicalguitarshed.com\/teach-yourself-learn-classical-guitar\/\" target=\"_blank\" rel=\"noopener\">learn classical guitar<\/a> at a high level.<\/p>\n<p>Sure, it&#8217;s hard work, but what else are you going to do with your life?<\/p>\n<h3>What is an accent?<\/h3>\n<p>An accent is a note that stands out from\u00a0the notes around it.<\/p>\n<blockquote class=\"right\"><p>&#8220;An accent stands out from\u00a0the notes around it.&#8221;<\/p><\/blockquote>\n<p>This is a deceptively simple statement. \u00a0Most people&#8217;s first impulse is to just play that note louder. \u00a0Easy, right?<\/p>\n<h3>The problem with just playing the note louder:<\/h3>\n<p>On the classical guitar, we have a fairly small dynamic range. \u00a0That means the difference in our loudest and softest playing is not very big (when compared to a piano, or an orchestra, or any car stereo).<\/p>\n<p>If we are just playing at a &#8220;normal&#8221; volume, then make one note louder, the difference is pretty small. \u00a0And it takes more effort to play the loud note, which can add tension, which carries over to the next note, so on and so forth until we are all tensed up and everything (and therefore nothing) is accented.<\/p>\n<h3>The solution:<\/h3>\n<p>To play an accent, first make all the notes around it much quieter. \u00a0This way, you increase the <strong>contrast<\/strong> between the accented and un-accented notes, which makes the accented note stand out.<\/p>\n<p>So the major task to focus on when playing accents is not the note itself, but the <span style=\"text-decoration: underline;\">surrounding notes<\/span>. \u00a0They are where to put your attention.<\/p>\n<p><strong>Caution:<\/strong> \u00a0Watch out for the note right after the accented note. \u00a0It often will want to be loud as well. \u00a0Keep it black and white, loud and quiet. \u00a0If you need to, put a pause before and after the accent so that you can organize the levels of sound in your mind. \u00a0(This is like playing with terraced dynamics, only note-by-note.) \u00a0Then put it back in rhythm, keeping the contrast between notes.<\/p>\n<h3>Practicing using accents<\/h3>\n<p>To practice playing with accents, first play your chosen arpeggio pattern with a steady rhythm at a very low dynamic (that means quietly).<\/p>\n<p>Then choose a particular note to accent. Keep everything else really quiet, while letting the accented note be louder. \u00a0Ideally for practice, <strong>we exaggerate the contrast<\/strong> (told you I would bring up exaggeration again!).<\/p>\n<p>note: In actual pieces, the level of accent depends on the individual situation. \u00a0But for practice, we want to just isolate the skill and get a strong grasp on it. \u00a0We can always do less later if we need to.<\/p>\n<p>One at a time, accent each note in whatever arpeggio pattern you are practicing. \u00a0You may only have time for one arpeggio pattern in a practice session, because you are repeating it so many times accenting the different notes. \u00a0That&#8217;s fine. \u00a0This is time well spent.<\/p>\n<p>So as an example, using the PIM arpeggio pattern:<\/p>\n<ol>\n<li>Play everything quietly (super rhythmic)<\/li>\n<li>Accent just the P. \u00a0Play through your entire <a title=\"Keeping Arpeggios Fun on Classical Guitar\" href=\"https:\/\/www.classicalguitarshed.com\/arpeggio-practice\/\" target=\"_blank\" rel=\"noopener noreferrer\">progression<\/a>.<\/li>\n<li>Accent just the I. \u00a0Play through your entire progression.<\/li>\n<li>Accent just the M. \u00a0Play through your entire progression.<\/li>\n<li>Pat yourself on the back for your great focus and good practice.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before we dive in, please note that this article is not a starting point. \u00a0It is more of an advanced step in the arpeggio practice process. \u00a0If you are coming to this as a new reader to CGS, you may want to begin your arpeggio exploration with the free arpeggio course, or you can start here. Ok, that said, let&#8217;s &#8230; <\/p>\n<div><a href=\"https:\/\/classicalguitarshed.com\/variation\/\" class=\"more-link\">Read More<\/a><\/div>\n","protected":false},"author":1,"featured_media":34958,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,434],"tags":[124,359,368],"class_list":["post-1121","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technique","category-main-content-parent","tag-arpeggios","tag-right-hand-technique","tag-technique-concepts"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Right Hand Technique: Add Variations to Arpeggio Practice<\/title>\n<meta name=\"description\" content=\"Improve your right hand classical guitar skills with these variations on common exercises. 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