![]() Also, the B-A in the third beat are slurred in the first string, like the "turn arounds" in measures 1,5,6,7, and 8. In measure nine, both notes of the the F#-A in the first beat, and A-F# in the fourth beat, are on the fourth string, At present, in the ascent they are separately articulated I don't slur them. These notes are then slurred in reverse descent in the next beat. In measure four, the F#-G# in the second beat are slurred in ascent on the second string. 3 is an ascending slur on the sixth string. The first two notes of the third beats in measures 1,5,6,7, and 8 (the tops of the arpeggios as they "turn around" to descend) are all on the first string. The exceptions to the "no consecutive notes" are as follows: In facillitation of this, in the right hand, the first notes of measures 1, 5, and 6 are played with the index finger. In those measures, with some exceptions, there are no consecutive notes within any measure fingered on the same string. So - not below VI position for the first seven, sometimes eight measures, in measure nine I reach back to IV position. The F#s in the first and fourth beats of measure nine are on the fourth fret of the fourth string. ![]() In measure seven, I sometimes play the first and fourth beat Gs on the fifth fret of the fourth string, or sometimes I use the open G. In my fingerings for the first seven measures, I don't locate any note below the sixth fret. Here's an unusual, maybe maverick approach. Since Villa Lobos' Etude 2 is such a mysterious piece with regard to left and right hand fingerings, I thought I'd start a thread where people could share their suggestions for both left and right fingerings for the piece. It also utilizes a very logical finger 2, string 2 GUIDE finger transfer for the high part of the arpeggio. So in conclusion the above right hand pattern is great for practicing PIMAMI patterns. 1 for the descending arpeggio portion with finger 2 on string 2 again as a GUIDE finger and then the right hand fingering -> a (string 2), m (string 3), i (string 4) and finally P (string 5). I chose this particualr fingering because it adheres to (im) for the ascending string cross before and after the slur with (a) on string 1.Īfter m plays the open e we again transfer to pos. IX with finger 2 as a GUIDE finger on string 2 and from there the right hand fingering is -> i (string 2), m (string 1), (a) slur (string 1), i (string 2), m (string 1). P and slur (string 5), P (string 4), i (string 3), m (string 2), a (string 2).Īfter (a) plays open e we transfer to pos. ![]() It all depends on what you want to practice I suppose. I've heard of people using all (im) alternations for the ascent and descent of the arpeggio also. This is a very natural PIMA MI right hand pattern. The same fingering is used in bar 6 when the arpeggio takes a minor form as a A minor arpeggio. For the A Major arpeggio that starts the piece in bar 1, bar 5 and bar 13. IX I used a PIM combo, but I like (and am now used to) this better because it keeps (P) in the bass and utilizes the fingers for all the higher strings.ġ. I used to play a variation where after the transfer to pos. Although this is most likely a common fingering. Here's mine for the A Major (a minor) arpeggios.
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