Interesting RH problems arise in the "harp" style of one-note-per string playing so common in chordal tuned lutes playing 18th century music. (i.e., Weiss, Bach, d-minor lute.)
I have had to do a lot of RH retraining to cope. Background has been Renaissance lute and much earlier, classical guitar. Your bottom example illustrates the problem perfectly as far as it goes; but without the actual music- what note sequences on which strings, fret positions, tempi, etc. -an actual fingering solution on line here is impossible. And there is no one formula. Train your i-m-a fingers to not be locked in closed arpeggio patterns such as one encounters in Classical Guitar pedagogy (Carcassi et. al.) and learn to change strings/courses with each alternate finger when ascending or descending, and also slip-slide that index finger as needed when descending. Much harder to describe than to show or do. Here's a try: Rest thumb on 10 or 11 and forget about it. Unglue your pinky from the soundboard for a few minutes. Now, pluck courses- ascending- 6, 5, 4, w/ i, m, a. While slowly starting to pluck 4/w a, reach i down to 3rd course, being ready to pluck that in (slow!) even tempo after 4- and m & a fingers have already planted on courses 1 and 2. That's one practice pattern. Also- maybe more important- do it with just i-m, in three moves. (Or just four courses in two moves.) That is just ascending. Do it in reverse to descend. For a 4 note descension, one can also let i slip-slide from the 3rd note to the 4th. Sometimes I will slide the index finger, controlled & in tempo, over more strings. Next step, bring the thumb into play. It can do the ascending motion by going the opposite way of the index finger- a controlled, string-by-string "strum", and seamless transition to i, m, a for last three notes/strings. Suggested practice piece- the 1st movement, Prelude of the C major suite by Conradi. For this, put the little finger back down casually on the soundboard when it feels right. Or not, if you can maintain hand position, control tone, and keep from accumulating tension in wrist and forearm. Mine touches down frequently, comes up a lot. Especially on the 13 course lute. Also, study the early Baroque Italian masters- Kapsberger, Piccinini, et. al. Lute, archlute, theorbo. Very interesting arpeggio patterns. If you have significant Classical Guitar training in your background, you will need to learn to de-emphasize use of the 3rd finger. And then learn how to put it back in, when appropriate & necessary. On May 17, 2012, at 6:08 AM, Bernd Haegemann wrote: > as it seems this didn't reach the list.. > -------- Original-Nachricht -------- > > Betreff: Arpeggio question > Datum: Thu, 17 May 2012 11:17:09 +0200 > Von: Bernd Haegemann [1]<b...@symbol4.de> > Kopie (CC): lute-cs.dartmouth.edu List [2]<lute@cs.dartmouth.edu>, > baroque Lutelist [3]<baroque-l...@cs.dartmouth.edu> > > Dear all, > > sometimes we find in baroque lute music chains of chords, notated evenly > as it seems and with the mark "arpeggio" or "arp". > Now, if the chain looked like this (with n being the number of notes in > the chord) > > 4 4 4 4 4 4 4 4 > > or > > 5 5 5 5 5 5 5 5 > > one would think of some arpeggio scheme to use it in such a passage. > > But what the number of notes in the chords looks like this > > > 5 5 5 5 5 5 3 3 3 2 3 3 4 6 6 5 4 4 4 > > or so? > > What would you do? > Thank you for your hints! > > best regards > Bernd > > > > > > -- > > References > > 1. mailto:b...@symbol4.de > 2. mailto:lute@cs.dartmouth.edu > 3. mailto:baroque-l...@cs.dartmouth.edu > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
