Arpeggios are not a technique unique to the classical guitar- any instrument that can play pitch can make an arpeggio! However, the way guitarists use and think of arpeggios is unlike any other instrument… In the simplest definition, an arpeggio is a chord/harmony played one note at a time. If you can make a simple C, A Minor, or E Minor chord, try strumming from the lowest string to the highest so the notes pop out one-at-a-time. Voila! You just made an arpeggio! Though, a rather tame one. To a classical guitarist, an arpeggio is like a magic trick; the audience’s attention is drawn to the specticle and not the ease through which it is made. With eyes closed, a performance of Heitor Villa-Lobos’s Étude No. 1 is a onslaught of notes, but if you watch the artist’s left hand, you’ll see movement only every couple of seconds. This modesty is what makes arpeggios unique to the classical guitar. The left and right hand perfectly divide the work- the one hand makes a static shape, the other makes a pattern of finger plucks. A perfect example of this are the 120 Right Hand Studies by Giuliani, Mauro Giuseppe Sergio Pantaleo (1781-1829). Every one of these unique patterns is played over the same chord progression: C-G7-C-G7-C. This collection proves the vast possibilities of the right hand finger patterns, and provides a lifetime of study for any lover of the guitar. We’re going to take an abbreviated look at the collection, and cover the essential patterns for a beginner ready to add to their arsenal.