thorough and complete technical manuals around today. It should be considered as
a continuation of the traditional "School of the Spanish Guitar" that has its roots in
the Renaissance thanks to the Spanish vihuelists (L. de Milán, L. de Narváez, A.
Mudurra, E. de Valderrábano, M. de Fuenllana, etc.). This work is continued by F.
Sor (1778-1839), F. Tárrega (1852-1909), Regino Sainz de la Maza (1896-1981)
to whom this book is dedicated, and E. Pujol. Iznaola and Domingo Carbajal are
contemporaries who both studied with Regino at The Real Conservatory of Music in
Madrid, Spain.
Important issues are addressed in the book such as time-management of practice
routines, recommended practice plans and the presentation of a "complete training
regimen that can be used as a regular routine for technical maintenance."
There are nine sequential levels of proficiency, from preparatory to advanced with
specific metronome indications for both right and left-hand training.
Exercise 38, Arpeggio Technique (cont.) from Level III found on page 38, will be
under scrutiny in this post. According to Iznaola, in reference to this right hand
exercise, "Indeed, ... this presents a peculiar approach to right-hand training in which
positional framing and shifting and stroke type use, are combined in what may seem
to some as highly unusual ways." This suggests, we as serious musicians, should
endeavor to do exercises in "different" ways in order to improve our general playing
ability and technique.
I've rewritten the last part of exercise 38 and I've included six variations. It can be
divided into either two or four equal parts. This vision or approach has given me
positive results. I also recommend applying this idea to the H. Villa-Lobos Etude No.
1 by dividing the arpeggios into two equal parts and practicing each one separately.
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