Chord and arpeggio playing occupy a predominant place in the guitar repertoire, as evidenced by the Twelve Etudes by Heitor Villa-Lobos (1887–1959), which are largely devoted to their study.
There are countless variations of chord progressions expressed through arpeggio patterns. Mauro Giuliani (1781–1829) had already offered, in his Opus 1, one hundred and twenty attractive formulas representative of the style of his time.
In this present work, fifty-five arpeggio sequences are highlighted, each paired with a contextual progression of chords. The proposed technical program can thus be approached more easily, as it unfolds within an ever-renewed musical landscape.
These sequences are grouped into nine characteristic series, ranging from the guitar’s emblematic patterns to various tremolos; trills on two strings; glissando formulations; and more complex arpeggios—mobile across six strings or built on rhythmic tensions.
Each number is divided into two sections: a part A, which presents a musical sequence composed mainly of chords, and a part B, where the same chords are developed into specific arpeggios, either as they are or slightly modified according to their resolution.
The indicated tempos are provided only as guidelines and should not be restrictive, allowing the performer freedom of interpretation, expression, and progression.
Mauro Giuliani’s L’Armonia, Op. 148, No. 5, by the virtuoso guitarist and composer, has been included as an appendix to this collection to illustrate this concept. This piece reveals the composer’s great skill in “melodizing” extended arpeggio passages, from which emerge all the charm and elegance of the Italian style.
