Kitharologus, published in 2009 by R. Iznaola, is in my opinion one of the most thorough and complete te chnical 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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