Lesson 16- Grouping techniques

When a person performs faster arpeggios, his/her brain groups the fast motion into one single motion. For example - a "pima" arpeggio at a quick tempo feels like a rolled chord. That in fact is what an arpeggio is - a broken (or rolled) chord- and guess what? The technique for rolled chords and arpeggios are the same!

But as with all techniques there needs to be balance. When repeating a "pima" arpeggio, we need to have even spaces/rhythms between the fingers. If your "pima" arpeggios or tremolo techniques are not even, then I recommend using Grouping techniques.

"Grouping" is more mental than physical- but remember, all playing is mental first and physical second.

Let's take the "pima" arpeggio and repeat it many times with a metronome. Start moderately and then after you are warmed up, try it fast.

Do you notice that the arpeggio is not even as it repeats? If so, concentrate on "a" to "p" as the arpeggio repeats. Try to only think about the rhythm of "a" to "p". If it's not even, relax and release "a" a little later than you were- see if it helps. Next, let's concentrate on "p" to "i". Only those two. Try to get the rhythm even- but don't tense up! Again, relax the fingers and focus on the rhythm if it is rushed. Then concentrate on "i" to "m". Again check the rhythm. Then finally "m" to "a".

Did you learn anything by doing this?

I find my finger weaknesses this way. Usually, the problem has to do with tension. If I find a finger pattern which is hard to repeat, I group it differently to see where the problem lies. Once I find the problem finger combination, I try to relax at those points in the arpeggio. After some time, the hand begins to learn what the evenness feels like and it becomes as memorized as a C Major chord.

After the "duple" exercise, try taking groups of 3. Think of "pim" and then "a". Then "ima" and "p" separate then "map" and "i" separate etc.

This grouping concept works wonders for tremolo and cross-string trills- just take the above concept and apply it to any repeated pattern. It is also excellent for any fast passage which is difficult to get in rhythm. Richard Provost's excellent "The Art and Technique of Practice" discusses this idea very well.