Right hand
- Alternate pairs of right-hand fingers more evenly and with more economy of movement, using apoyando (rest) and/or tirando (free) strokes
- Use pairs of right-hand fingers simultaneously
- Improve independence of thumb movement when playing and damping
- Maintain stable right-hand shapes and positions, keeping a relaxed hand shape
- Improve the balance of sound between thumb and fingers in simple arpeggio patterns and begin to use arpeggios for simple song arrangements
- Use simple strumming techniques
- Play with a full, clear sound more consistently at two or more dynamic levels
Ask learners to work out and play by ear one-octave scales (apoyando and tirando, im and ma) on the upper four strings in keys relevant to the pieces being studied.
Ask learners to play repeated-note scales with four, three then two notes per scale degree, using neat and controlled finger movements.
Accompany learners as they play short, simple melodies with alternating fingers (apoyando and tirando).
When practising the apoyando stroke, excessive forward lifting can be avoided if each finger is allowed to remain in contact with the ‘resting’ string (as opposed to the ‘sounding’ string) until the alternate finger arrives.
Help learners to make audio recordings of their playing as a tool for evaluating their tone, using an audio recording app.
Accompany learners as they play thumb melodies with right-hand fingers planted on upper strings, making sure the hand stays still when the thumb changes string.
Ask learners to work out and play by ear part-octave and one-octave thumb scales on the lower four strings in keys relevant to the pieces being studied.
Play learners a solo piece or passage with and without damping open-string bass notes. Ask them to describe the difference and to point out where the music would benefit from damping.
Ask learners to play repeated notes with the thumb (fingers planted) and individual fingers (thumb planted), looking at the right hand to make sure it stays still.
Show learners the effect of right-hand instability by playing a solo piece with excessive hand movement.
Teach triplet-based arpeggio patterns that move between thumb and ring finger (pim-ami), asking learners to listen carefully for any unevenness.
Show learners how to accompany a simple song by arpeggiating first-position C and G chords on the top three strings (pim). Extend to 4 strings (pima).
This type of arpeggio helps to establish an awareness of the whole hand and is particularly valuable for the early development of the ring finger.
Ask learners to play simple up/down strumming patterns with the index finger on the top three open strings, resting the thumb on the fourth string and keeping a regular pulse.
Show learners how to accompany a simple song in the same way, using first-position C and G chords on the top three strings.
Ask learners to comment on their own and each other’s tone quality and dynamic range, suggesting improvements.
Discuss and demonstrate the effect on tone quality and volume of incorrect right-hand finger movement.
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