To conclude our video series covering right-hand technique development in Heitor Villa-Lobos’ Etude N°1, I’ll explore how to use the concept of bursts (another rhythmic manipulation) to develop speed and further strengthen right-hand rhythmic precision, right-hand preparation, control, and clarity.
Aside from the lush harmonies and hauntingly evocative melodies of Heitor Villa-Lobos’ music, the physicality of strumming or arpeggiating through all six strings, of sinking a fat thumb rest-stroke into a deep melody, of sliding all four left-hand fingers across the fretboard through diminished 7th chords produces a visceral joy unlike any other I experience when playing the guitar.
One great example of a passage providing this physical joy is the arpeggio section of Prelude Nº2. While there are a few tricks for making the left hand slide around with more facility, I’m going to focus on some possible right hand fingering solutions that have helped my students over the years.
There are three patterns to master with the first offering most possibilities. Try to work on all patterns carefully until they all feel fluid. The thumb should play through both the 6th and 5th strings. I prefer using a light rest stroke so that I land on string 4 and am ready to proceed from there.
ppimamip – This fingering seems to be the favorite for most of my students. Thumb gets overworked a bit and when it is next to other patterns the right hand has to shift its position across the strings increasing the margin for error.
pimaiiip or pimaiiii or ppimaaaa – These options work well but require careful practice to sound precise. I prefer the first for clarity and I cannot get the last to work for me but have seen other guitarists use it successfully.
pimamami – This fingering can work well as m is the longer finger and can reach out of a stable hand position for the first string.
pimapima – This one is pretty straight forward but requires a clear movement from the thumb to move through two strings as if it were one.
mipmipmi or aipaipai or amiamiam – The favorite is the first option. While the last option (no thumb) works well to keep the hand in place, I find that involving the thumb allows faster speeds. I prefer the second pattern.
Once you’ve determined which patterns feel right to your hand, work them up and then work on mastering them back to back with the other patterns.
Pattern 1 + 2
Pattern 1 + 3
Hope this helps!
If you all were inspired (or recovered) from watching Ekachai Jearakul whip off Heitor Villa-Lobos’ Etude Nº2, you may find this post helpful. While I was a student at the New England Conservatory, the second half of one of my degree recitals was simply Villa-Lobos’ Twelve Etudes. While some of the etudes are manageable, others require relentless and careful practice, and they all have moments that can fill endless practice hours with frustration. To add to the matter, I was studying with the great Eliot Fisk and despite all of his valuable advice and help, watching him display what was possible on a regular basis conjured both extreme inspiration and a sense of hopelessness at achieving such a level of comfort with these pieces. Needless to say, the year preceding that recital, I was immersed in a figurative amazonian finger jungle and found my own way of surviving.
For those working on this particular etude, there are a few spots where I found less obvious fingerings less problematic. These solutions are personal but if the spots have been frustrating for any of you, give the following solutions a try.
Measure 3 (repeats not counted)
In order to increase the resonance, I like having the 3rd and 2nd strings open on this one so I shift to 5th position to enable this. There are a few alternate right hand fingerings to explore but I prefer the 1st.
In this solution, guide fingers are highlighted in red. While the right hand solution is personal, I like switching to rest-stroke on the highest note of the run. If yo prefer to play free-stroke, you might choose to switch to 1st position by playing the first note of measure 12 on the 1st string open and using that to shift. The second finger would still work as a great guide in this situation.
In this example, ending the repeat with a slight alteration makes a noticeable difference in playing measure 22. Again, I’ve included some alternate right hand fingerings for exploration but I prefer the 1st.
Hope this helps!