In this article I would like to introduce a study for developing the technique of playing block chords at speed. The chords are all to be attacked with the front of the fingertips, not rasgueado style with the nails on the back. Practise of the study will develop independence between the fingers and thumb of the right hand and increase strength and speed. It will also improve co-ordination in both the right and left hands.

I would suggest looking at Study No. 4 of Villa-Lobos in conjunction with this study as both deal with the same technical problem. The composition is a theme of 16 bars with variations involving the repeated attacking of chords. We begin by working on the theme A and 4 variations, B, C, D, E & F Coda.

The thematic idea (at A) and chords make the basis for the Right Hand study, which really begins at B. The reason for presenting it in this way is to get to know the chord sequence patterns before becoming involved with the precise study material.

Therefore play A freely, with an improvised feel, out of strict time, until you are familiar with the melody line, chord changes and fingerings. It is often very useful to "walk through" a piece that is new to you before playing it in strict time. By doing this you give yourself time to feel the shape of the music and appreciate the chord structures and changes without the pressure of having to get your fingers down quickly. Once you are familiar with A then move onto B. Be aware in Bar 2 of the enharmonic change - Ab to G#- Bb7b5 to E7b5.

The chord sequence of the first 3 bars occurs often in Brazilian music and it is a good idea to experiment with the sequence in different keys. Play section A lyrically, as though you were telling a story. Listen to the bass line and feel the rhythm of the chord changes as this will be your guide when you start to play in tempo at B.

The tempo marking of  crotchet = c. 96 is a speed to work up to, so be prepared to begin at a much slower speed. Use the bass notes as markers and mentally phrase from one to the next. When your hand gets tired, stop, relax for a second and then start again. With this kind of study you are really building muscle and reflex, and it does take time. A good way to practice is to play the first bar at somewhere near your speed limit and then add on the next bar; stop, go back to the beginning, adding on the third bar. Repeat this process bar by bar until you have built up enough energy to play through to the end. With sufficient practice you will feel your fingers "slot into" the rhythm and seemingly pulse the semi-quavers s with very little effort from you.

Aim for a very even attack without heavy accenting by the fingers. Let the bass, played with the thumb, and the melody line and chord changes play their own rhythms.

At C we start to develop the independence of the thumb by complicating the pattern that it has to play. Follow the same steps with C that we made at A, being careful to stress the thumb on the quaver and not on the semiquaver.

The left hand plays the same chord sequence but with the chords inverted or modified a little in places to simplify the patterns.

With both B and C the aim is to set a tempo and be able to sustain it. In your mind, try to feel the fingers of the right hand separately from the thumb, rather like a piano player would feel his right hand separate from his left. This is quite difficult at first but, with persistence, it will come.

More variations on this theme next time.