Heitor Villa-Lobos merged Brazilian folklore with classical European music. His Etude #1 is a permanent right-hand pattern that serves as a rigid technical workout.
P-I-M-A Fingering
The shortcuts for the right hand are derived from Spanish:
- p: thumb (pulgar)
- i: index finger (indice)
- m: middle finger (medio)
- a: ring finger (anular)
Practice Method
If the full chord progression is too difficult, practice the pattern using only the first bar. To focus purely on the right hand, use bars 21-42, where a single diminished chord shape is simply lowered one fret every two bars, allowing you to focus 100% on the plucking stability.
Arpeggio Independence
Before moving to Bossa Nova, you must master independence between the thumb and fingers. We look at foundational etudes from Fernando Sor and Francisco Tarrega.
Key Exercises
- Sor Etude Op. 35 No. 22: Focuses on a steady “pi-m-i” pattern, useful for developing a melodic top voice over a steady bass.
- Tarrega’s “Estudio en Mi Menor”: A classic exercise for moving the “a” finger independently, preparing you for the more complex 4-part chords of Bossa Nova.
- Rest Stroke vs. Free Stroke: Practice playing the melody notes with rest strokes (apoyando) while the accompaniment remains free strokes (tirando).
The “Whisper” Technique
João Gilberto revolutionized the right hand by simplifying the Samba rhythm into a “batida” (beat) played exclusively with the fingers and thumb, without a pick.
Rhythmic Breakdown
- The Thumb (p): Mimics the Surdo drum, providing a steady pulse on beats 1 and 2 (in 2/4 time).
- The Fingers (i-m-a): Pluck the three or four upper notes of the chord simultaneously. Unlike classical arpeggios, these notes are hit as a block.
- Syncopation: The fingers anticipate the beat, plucking on the “and” of 1 and the “and” of 2. This creates the forward motion characteristic of Bossa Nova.
Tone Production
Gilberto played with very short nails or no nails at all to achieve a warm, “fleshy” sound that blends perfectly with a whispered vocal style.