atching a student play a simple arpeggio is probably the quickest way for me to observe all the strengths and weaknesses of his right-hand technique. I can see almost the entire history of a student's training or lack thereof in the execution of a pimami arpeggio on an open E minor chord. Not only do problems in basic positioning cry out for correction, but more subtle problems of counterproductive tension in the finger joints become very obvious. Hand positioning and other basic problems have been dealt with very thoroughly by other authors (The Christopher Parkening Guitar Method published by Sherry-Brener, Ltd., Chicago has some of the best photographs available of good hand positioning and Charles Duncan's The Art of Classical Guitar Playing published by Summy-Birchard of Princeton, New Jersey has some of the best written explanations). Here I would like to discuss three subtle problems in arpeggio playing which can wreak havoc with an otherwise well-developed technique; 1) excessive tension in the finger tip joints, 2) failure to relax each finger immediately after plucking a string, and 3) excessive relaxation (yes, relaxation can be hazardous to your technique) of the thumb after plucking a string.

The amount of tension and therefore bend in the tip joints of the right-hand fingers will vary with the player, the musical passage, and even between the individual fingers. But what we never want to see is either of the extremes shown in example #1.

Example No. 1

The most common problem is the severe bend in the tip joint resulting from excessive tension shown in A and results in a poor tone quality, lack of strength, and fatigue. Because the finger is curled, the nail contacts the string from underneath, pulling the string upward or outward. This is the surest way possible to produce a thin tone. Excessive bend of the tip joint also denies the full use and efficiency of the middle and upper joints of the finger, decreasing the available power to the stroke. With this decrease in power, the effort required to make up for it ultimately results in fatigue.

The excessive relaxation shown in B is not as common a problem but results in getting hung up on the fingernail, loss of speed due to the time it takes the joint to collapse, and general inefficiency of movement. But oddly enough as we shall see, this method of playing is a very important practice technique to use if you suffer from the preceding problem of excessive tension.

Now let us look at the correct way to use the fingers. Let me say now that the best way to observe your own fingers for the problems we will be discussing is to sit as you normally do except lean your head over so your left cheekbone is resting or almost resting on the edge of the neck around the eighth fret. This will give you a perfect view of the left sides of your fingers. What we want to see is a fairly straight tip joint as shown in example #2.

Example No. 2

It is important that the joint remain straight as the string is plucked and afterward. Many times after telling a student of his problem, he will prepare his hand to play a string and tell me, Look, you're wrong. My finger joint is perfectly straight." But then as he plays and follows-through, he bends or collapses the joint. What happened was the student did not watch his finger as he plucked the string. He assumed that since the finger was positioned perfectly as he prepared to play, everything was o.k. Well, it wasn't. You must watch the finger before, during, and after plucking the string.

This does not mean the joint must be rigid or perfectly straight. As noted before, the amount of tension and therefore bend in the finger tip will vary according to the player, finger, and the musical circumstances. What we want to avoid are the extremes in example #1. The straight tip joint will result in a better tone, peak efficiency and movement, and supply the best capability for speed. The straight tip joint will result in a shallow stroke of the string (not pulling from underneath as happens when the joint is bent too much) enabling the finger to push the string inward or downward into the soundboard as it plucks rather than outward or upward. This results in a very full free stroke tone remarkably similiar to that of the rest stroke.

Problem B in example #1 is very easy to correct. Usually just pointing it out to the stddent results in automatic correction. It is simply a matter of adding a little extra tension to eliminate the give in the joint in order that it not collapse. Sometimes excessive nail length contributes to the problem.

Problem A in example #1 is more difficult to solve. Sometimes, simply taping the tip joint to make it immobile during practice sessions will take care of the excessive bend and tension in the joint in a few weeks. But more often, although the joint will look perfectly straight and relaxed and the tone and mechanics will be fine, all the while the student is unknowingly still tensing the joint and fighting the tape. As soon as the tape is removed, the joint is still bent and tense.

What I recommend is that the student use problem B to correct problem A. Place the index finger on the first string. Without actually plucking the string, firmly push the string in toward the soundboard and relax the tip joint until it gives and collapses, so that it resembles the drawing shown in example #1-B. Do this over and over again with each finger until the tip joints collapse easily. (to be continued)