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Joined: Aug 2010
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OP
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Hey peopple.
Can you give me some tips to pratice arpeggios and broken chords? I don't know the right fingering to do it. I also need the fingering to play broken chords when i keep changing the inversions.
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Yikes! 10000 Post Club Member
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Pretty much whatever is comfortable. Just be consistent so you're not changing the fingering each time you play it. Any particular passages in music you're working on?
Last edited by Morodiene; 10/13/10 11:08 PM.
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Joined: Dec 2009
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hi pm
I assume you're talking about classical arpeggios and not jazz. There is a section in the Hanon book which shows you the correct fingering.
But ultimaely it's up to you to figure out the optimal fingering. As Morodiene says, keep your fingering consistent from key to key.
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Joined: Mar 2010
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the Hanon is a great suggestion. If you can read notes I suggest also that you check:
Czerny school of velocity
it deals a lot with arpeggios and fingering and unlike the Hanon these are actual compositions so you have less chances to get bored (:
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Joined: Nov 2009
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Jazz arpeggios have the same fingering as classical ones, because the jazz piano and the classical piano have the same keys.  (Or is the point only that classical piano students don't practice arpeggios over enough different types of chords?)
(I'm a piano teacher.)
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Joined: Dec 2009
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2000 Post Club Member
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2000 Post Club Member
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Yeah, I had never thought about it that explicitly !
As you say, the same notes but jazz covers a greater variety of chords.
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Joined: Aug 2010
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Full Member
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OP
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Joined: Aug 2010
Posts: 98 |
the Hanon is a great suggestion. If you can read notes I suggest also that you check:
Czerny school of velocity
it deals a lot with arpeggios and fingering and unlike the Hanon these are actual compositions so you have less chances to get bored (:
Yeah! I may check this now. Thanks. And what about the broken chords inversions?
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Joined: Nov 2009
Posts: 2,913
2000 Post Club Member
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2000 Post Club Member
Joined: Nov 2009
Posts: 2,913 |
Yeah, I had never thought about it that explicitly !
As you say, the same notes but jazz covers a greater variety of chords. Could you give a non-jazz-educated person like me examples of what some of the jazz players are practicing?
(I'm a piano teacher.)
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Joined: Nov 2009
Posts: 2,913
2000 Post Club Member
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2000 Post Club Member
Joined: Nov 2009
Posts: 2,913 |
the Hanon is a great suggestion. If you can read notes I suggest also that you check:
Czerny school of velocity
it deals a lot with arpeggios and fingering and unlike the Hanon these are actual compositions so you have less chances to get bored (:
Yeah! I may check this now. Thanks. And what about the broken chords inversions? To give a really really basic answer: For 4-note chords built from triads, it will be either 1 2 4 5 or 1 2 3 5 (all reversed for LH). You can tell whether to use 3 or 4 by checking the third note's distance between the second note and fourth note. If the third note is closer to the fourth note, or if the distances are about equal, use 4. If the third note is definitely closer to the second note, use 3. (Again you will see how to reverse this for the left hand, I don't have to explain that.)
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Joined: Aug 2010
Posts: 98
Full Member
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OP
Full Member
Joined: Aug 2010
Posts: 98 |
the Hanon is a great suggestion. If you can read notes I suggest also that you check:
Czerny school of velocity
it deals a lot with arpeggios and fingering and unlike the Hanon these are actual compositions so you have less chances to get bored (:
Yeah! I may check this now. Thanks. And what about the broken chords inversions? To give a really really basic answer: For 4-note chords built from triads, it will be either 1 2 4 5 or 1 2 3 5 (all reversed for LH). You can tell whether to use 3 or 4 by checking the third note's distance between the second note and fourth note. If the third note is closer to the fourth note, or if the distances are about equal, use 4. If the third note is definitely closer to the second note, use 3. (Again you will see how to reverse this for the left hand, I don't have to explain that.) I see. But i need a fingering for playing the inversions simultaneously, like on C major, i would play this: C E G - E G C - G C E - C E G Without stoping...
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Joined: Nov 2009
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But i need a fingering for playing the inversions simultaneously, like on C major, i would play this: C E G - E G C - G C E - C E G
Without stoping...
OK, no problem, same sort of idea. Every group of three notes is always either 1 3 5 or 1 2 5. Look at the middle note. If it's in the exact middle or on the 5 side, then use 3. If it's closer to the thumb side, use 2.
(I'm a piano teacher.)
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Joined: Dec 2009
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2000 Post Club Member
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2000 Post Club Member
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Hi David
Apologies for the delay in answering your great question on jazz arpeggios.
For beginners in jazz they should know these 4 arpeggios.
Major 7
Minor 7
Dominant 7
Diminished 7th
For a chord family there are numerous arpeggios one can practice based on altering/ extending notes. For the chord family of 7ths, there are at least 16 variations, one example is raising the 4th by one half note, this raised 4th is a typical jazz sound.
This is a complex topic and kinda hard to explain !
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Joined: Aug 2010
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OP
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But i need a fingering for playing the inversions simultaneously, like on C major, i would play this: C E G - E G C - G C E - C E G
Without stoping...
OK, no problem, same sort of idea. Every group of three notes is always either 1 3 5 or 1 2 5. Look at the middle note. If it's in the exact middle or on the 5 side, then use 3. If it's closer to the thumb side, use 2. Thanks! I will try that. I also found that Beringer book has some exercises for chords and arpeggios
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