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                  <text>from: Carulli, Ferdinando. Method pour la guitare. Paris: Launer, No.6, n.d.(ca.1825) p.14&lt;br /&gt;&lt;a href="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383" title="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383"&gt;https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Roch, Pascual. Método moderno para guitarra. Schirmer, NY. 1921. pp. 34-37&lt;br /&gt;&lt;a href="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)" title="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)"&gt;https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)&lt;/a&gt;</text>
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                <text>There are many arpeggios that have three vertical pitches in Pascual Roch's Método moderno para guitarra. Vol. 1 (1921) &#13;
&#13;
Here are twelve from pages 34-37 combined with triads.&#13;
&#13;
These examples are written with the C Major triad, but play any triads you like.&#13;
Play the arpeggio with a chord, then move the triad one fret and play the arpeggio again. Or, try any other chord changes.&#13;
&#13;
It's simplest to apply these arpeggios to chord changes that don't move between sets of strings so fingers don't have to leap between strings.  &#13;
&#13;
Combining Tarrega arpegios with triads, and practicing them slow, can develop accuracy, tone, volume, and fretboard knowledge.  &#13;
&#13;
Roch often writes the same notes, but with different fingerings. I think that's key. Familiarity with many different fingerings builds versatility. &#13;
&#13;
Fingerings:&#13;
i= indice (index finger)&#13;
m= medio (middle finger)&#13;
a= anular (ring finger)&#13;
P= pulgar (thumb) </text>
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                <text>from: Roch, Pascual. Método moderno para guitarra. Schirmer, NY. 1921. Vol. 1 pp. 34-37&lt;br /&gt;&lt;a href="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)" title="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)"&gt;https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)&lt;/a&gt;</text>
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                <text>Many etudes in classical guitar have a steady arpeggio played over chord changes.&lt;br /&gt;Variations can be made by applying different arpeggio patterns to them.&lt;br /&gt;&lt;br /&gt;In this etude by &lt;a href="https://en.wikipedia.org/wiki/Ferdinando_Carulli" title="https://en.wikipedia.org/wiki/Ferdinando_Carulli"&gt;Carulli&lt;/a&gt;, each measure can be thought of as having four triad changes during a constant p,i,m, arpeggio.&lt;br /&gt;&lt;br /&gt;Try applying any three note arpeggio to this Carulli etude, it's effective technique practice, and your composing.&lt;br /&gt;&lt;br /&gt;The first two measures have a I-V (C-G7) chord progression. If you can't play the entire piece, repeat those measures only.&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/Mauro_Giuliani" title="https://en.wikipedia.org/wiki/Mauro_Giuliani"&gt;Mauro Giuliani's&lt;/a&gt; arpeggios from his &lt;a href="https://musikverket.se/musikochteaterbiblioteket/ladda-ner-noter/boijes-samling/boijes-samling-g/" title="https://musikverket.se/musikochteaterbiblioteket/ladda-ner-noter/boijes-samling/boijes-samling-g/"&gt;Op.1 (Boije 136)&lt;/a&gt; repeat C and G7 with 120 variations, so you'd be doing something like that.</text>
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                <text>from: Carulli, Ferdinando. Method pour la guitare. Paris: Launer, No.6, n.d.(ca.1825) p.14&lt;br /&gt;&lt;a href="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383" title="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383"&gt;https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383&lt;/a&gt;</text>
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                  <text>from: Carulli, Ferdinando. Method pour la guitare. Paris: Launer, No.6, n.d.(ca.1825) p.14&lt;br /&gt;&lt;a href="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383" title="https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383"&gt;https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Roch, Pascual. Método moderno para guitarra. Schirmer, NY. 1921. pp. 34-37&lt;br /&gt;&lt;a href="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)" title="https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)"&gt;https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)&lt;/a&gt;</text>
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                <text>Chord vamps are repeating progressions. Their repetition provides stability for improv and variations.&#13;
&#13;
Simple chord changes help with learning difficult fingerpicking arpeggios. The triads in these exercises stay on the same sets of strings, so we don't have to change our picking hand much.&#13;
&#13;
Major I/V and minor i/v progressions abound in music. These chord vamps are presented by difficulty, the first have open strings, and the last require half-barring and/or stretches.&#13;
&#13;
The (p,i,m) and (p,m,a) are the most ergonomic, but practicing all four develops balance and versatility.</text>
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