Basic Arpeggios and Simple Accompaniment Patterns

What an Arpeggio Is (and Why Guitarists Use It)

An arpeggio is a chord played one note at a time instead of all at once. On classical guitar, arpeggios are usually played with the right-hand fingers (p, i, m, a) plucking different strings in a repeating order while the left hand holds a chord shape. This creates a flowing texture that can sound like “many notes” even though your hand is doing a small, consistent motion.

In simple accompaniment, arpeggios replace (or combine with) strumming. They are useful because they: (1) keep the rhythm moving without loud strums, (2) make chord progressions sound richer, and (3) train your right hand to be steady and independent.

Two building blocks: bass + upper strings

Most accompaniment arpeggios have a bass note (often played by p on strings 6, 5, or 4) and then a pattern on the upper strings (often played by i, m, a on strings 3, 2, 1). Thinking “bass then treble” helps you stay oriented even when patterns change.

Right-Hand Arpeggio Patterns You’ll Use Constantly

The patterns below are written as right-hand finger sequences. Choose strings based on the chord you’re holding and the bass string you want. In the beginning, keep the bass on string 5 (A string) or 6 (E string) and keep i–m–a on strings 3–2–1 unless noted.

Pattern 1: p–i–m–a (the “ladder up”)

This is one of the most common beginner arpeggios. It moves from bass to the highest string in a smooth climb.

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• Typical string set: p on 5, i on 3, m on 2, a on 1
• Count it as four even notes: 1–2–3–4
• Goal: equal volume and consistent spacing

Pattern 2: p–m–i–m (simple and stable)

This pattern keeps returning to m, which can feel very secure. It also helps you learn to alternate i and m without tension.

• Typical string set: p on 5, m on 2, i on 3, m on 2
• Count: 1–2–3–4
• Sound: bass note + two-string “rocking” figure

Pattern 3: p–i–m–i (alternation focus)

This is excellent for building a steady pulse and clean alternation. It’s also a common accompaniment texture in simple pieces.

• Typical string set: p on 5, i on 3, m on 2, i on 3
• Count: 1–2–3–4
• Goal: i and m should sound equally strong

Pattern 4: p–a–m–i (top-down after bass)

This pattern starts with bass, then moves from the top string downward. It creates a “bell-like” top note and can make melodies stand out if the top note is emphasized.

• Typical string set: p on 5, a on 1, m on 2, i on 3
• Count: 1–2–3–4
• Tip: keep a relaxed; avoid reaching with the whole hand

Step-by-Step: Learning an Arpeggio Pattern Without Getting Lost

Step 1: Fix the string assignment before you repeat

Many arpeggio problems come from changing strings accidentally. Decide your “home” assignment and keep it consistent for several minutes. For example:

• p = string 5
• i = string 3
• m = string 2
• a = string 1

Even if the chord changes, keep the right-hand string plan the same at first. This isolates the skill you are training.

Step 2: Practice the pattern as a silent choreography

Before you play, place the fingers lightly on their strings (p on 5, i on 3, m on 2, a on 1). Then “tap” the sequence with minimal motion, one finger at a time, without worrying about sound. This reduces panic and helps you memorize the order.

Step 3: Play in small loops (one measure only)

Choose one chord and repeat one measure of the pattern. For example, with Pattern 1 (p–i–m–a), play four notes and stop. Reset your fingers on the strings. Repeat. This prevents the common beginner issue of speeding up as the pattern continues.

Step 4: Add counting out loud

Count “1 2 3 4” for four-note patterns. If you can’t count and play together, slow down until you can. The goal is not speed; it is control.

Step 5: Add chord changes only after the pattern feels automatic

When the right-hand pattern can run without hesitation, then add a simple chord progression. Keep the rhythm steady and accept that the first attempts will sound messy. Your job is to keep the pattern going even if one note buzzes or a chord change is late.

How to Make Arpeggios Sound Musical (Not Like an Exercise)

Balance: bass vs. treble

In accompaniment, the bass note often provides the foundation. If it is too loud, it can overpower the upper notes; if it is too soft, the pattern loses shape. A practical target is: bass slightly present, treble clear and even.

Try this drill: play Pattern 1 for one minute with the bass (p) slightly louder than the others. Then play one minute with the bass slightly softer. Notice how the “character” changes.

Evenness: identical spacing between notes

Arpeggios sound professional when the time between notes is consistent. Beginners often play the bass late or rush the top note. Use a metronome if you have one, but you can also self-check by recording 20 seconds and listening for “lumps” in the rhythm.

Tone consistency across strings

Different strings naturally have different brightness. Aim for a similar tone color from i, m, and a so the upper notes sound like one connected voice. If one finger sounds much sharper or weaker, slow down and reduce finger travel distance.

Simple Accompaniment Patterns (Beyond Straight Arpeggios)

Accompaniment patterns are repeating rhythmic designs that support a melody or singing. On classical guitar, you can create accompaniment without strumming by combining bass notes, arpeggios, and occasional two-note plucks.

Pattern A: Bass + two-note pinch

This is a very practical pattern for songs and simple pieces. You play a bass note, then pluck two treble strings together (a “pinch”).

• Example feel in 4/4: bass on beat 1, pinch on beat 2, bass on beat 3, pinch on beat 4
• Right hand: p for bass; i+m or m+a for the pinch (choose two adjacent treble strings)

Step-by-step: (1) choose a chord, (2) choose bass string, (3) choose pinch strings (for example strings 2 and 1), (4) practice slowly: p (beat 1), pinch (beat 2), p (beat 3), pinch (beat 4).

Pattern B: Bass + arpeggio fill

This pattern feels like “bass note followed by a small arpeggio.” It is common when you want the bass to mark the beat clearly.

• Example in 4/4: beat 1 = bass (p), beats 2–3–4 = i–m–a
• Finger order: p – i – m – a

To keep it steady, imagine the bass is not “extra time.” It is simply the first note in a four-note group.

Pattern C: Waltz feel (3/4) bass–treble–treble

In 3/4, a very common accompaniment is bass on beat 1 and two treble notes on beats 2 and 3. You can play single treble notes or a pinch.

• Count: 1–2–3
• Right hand option 1: p – i – m (single notes)
• Right hand option 2: p – (i+m) – (i+m) (pinches)

Step-by-step: start with single notes (p–i–m). When that is comfortable, switch beats 2 and 3 to pinches for a fuller sound.

Putting Patterns on Real Chords: A Practice Framework

To make arpeggios useful, you need to connect them to chord progressions. Choose a small progression you already know and apply one pattern for several minutes without changing the pattern. The goal is to train “pattern stability” while the left hand changes chords.

Framework 1: One pattern, two chords, slow tempo

• Pick two chords you can change between reliably.
• Choose Pattern 1 (p–i–m–a) and repeat one measure per chord.
• Stay on chord 1 for two measures, then chord 2 for two measures.

This reduces the stress of changing every measure and gives your hands time to settle.

Framework 2: One pattern, four-chord loop

When two chords are comfortable, expand to four. Keep the same right-hand pattern for the entire loop. If the rhythm breaks during a chord change, do not stop; keep the right hand moving and “land” the left hand as soon as possible.

Framework 3: Change only the bass string (same chord)

Accompaniment often uses different bass notes under the same chord to create motion. You can practice this without learning new chords by holding one chord and alternating bass strings with p.

• Example idea: hold a chord and alternate p between string 5 and string 6 while i–m–a stay on 3–2–1.
• Listen for smoothness: the bass should connect, not jump harshly.

Common Problems and Direct Fixes

Problem: the pattern “collapses” when you change chords

Fix: separate the tasks. First, run the right-hand pattern on open strings only (no left hand) until it is automatic. Then add the left hand but slow down and change chords only every two measures. If needed, practice “ghost changes”: lift and place the left-hand chord shape silently while the right hand continues on open strings.

Problem: one finger is much louder (often a or i)

Fix: play “spotlight” practice. For 30 seconds, intentionally play the quiet finger slightly louder and the loud finger slightly softer. Then return to normal and see if the balance improved. Also reduce the loud finger’s travel distance; big motions usually create big volume.

Problem: the bass note is late or too heavy

Fix: practice bass alone with counting. Then add only the next note (p–i) and loop those two notes. Gradually add the rest of the pattern. Keep p close to the string and avoid pulling upward; think of a controlled release.

Problem: you hit the wrong string with i, m, or a

Fix: use “planting.” Before you play, place i, m, a on their target strings. Play the pattern while keeping the unused fingers lightly in contact with their strings as long as possible. This gives you a physical map and reduces random misses.

Progressive Exercises (Use These as Mini-Studies)

Exercise 1: Open-string Pattern 1 endurance

Purpose: build automatic right-hand motion without chord pressure.

• Strings: p on 5, i on 3, m on 2, a on 1
• Pattern: p–i–m–a
• Task: play 8 measures at a slow, steady tempo; rest; repeat

Focus points: evenness, relaxed hand, identical tone on i–m–a.

Exercise 2: Pattern 2 with controlled alternation

Purpose: stabilize i and m while keeping a consistent bass.

• Strings: p on 5, i on 3, m on 2
• Pattern: p–m–i–m
• Task: loop for 2 minutes, counting 1–2–3–4

Focus points: m should not “slam” the string; keep it as calm as i.

Exercise 3: Waltz accompaniment (3/4)

Purpose: learn a common 3/4 accompaniment feel.

• Count: 1–2–3
• Option A: p–i–m on strings 5–2–1
• Option B: p then pinch (i+m) on beats 2 and 3

Focus points: beat 1 slightly grounded, beats 2 and 3 lighter.

Exercise 4: Bass + pinch in 4/4 with chord changes

Purpose: coordinate bass movement and treble pinches while changing chords.

• Pattern: beat 1 bass (p), beat 2 pinch, beat 3 bass (p), beat 4 pinch
• Pinch choice: strings 2 and 1 with m+a (or i+m if that feels easier)
• Task: play two measures per chord before changing

Focus points: pinches should be simultaneous; avoid rolling them unless you intend to.

Reading and Writing Patterns for Yourself (A Simple Notation Shortcut)

You can describe accompaniment patterns without full notation by writing the finger sequence and the string set. For example:

Pattern: p i m a (4/4 eighth-notes or quarter-notes depending on tempo) Strings: p=5, i=3, m=2, a=1

Or for bass + pinch:

4/4: 1=bass(p), 2=pinch(m+a), 3=bass(p), 4=pinch(m+a) Bass string: 5 Pinch strings: 2+1

This “recipe” approach helps you practice consistently and makes it easy to vary one element at a time (change only bass string, or change only pinch strings) without feeling like you are learning an entirely new technique.

Making the Top Note Sing (Simple Melody Within an Arpeggio)

Even in basic accompaniment, you can create a sense of melody by slightly emphasizing the highest note of the pattern (often played by a on string 1). This is not about playing loudly; it is about giving the listener a clear line to follow.

Step-by-step: add a gentle accent to a

• Choose Pattern 1 (p–i–m–a) on strings 5–3–2–1.
• Play four notes evenly, but let the a note be slightly more present.
• Keep the hand relaxed; the accent comes from intention and tiny control, not force.

Then try Pattern 4 (p–a–m–i). Because a happens early, it naturally stands out; your job is to keep the remaining notes from dropping in quality or rushing.

Practice Plan: Rotate Patterns Without Overloading

To progress steadily, rotate a small set of patterns rather than learning many at once. A practical weekly rotation is:

• Day 1–2: Pattern 1 (p–i–m–a) + one chord loop
• Day 3: Pattern 2 (p–m–i–m) on open strings + then on chords
• Day 4: Waltz pattern (3/4) with single notes, then pinches
• Day 5: Bass + pinch in 4/4 with slow chord changes

Keep each pattern slow enough that you can count and maintain even tone. If you notice tension, reduce tempo and shorten the session into smaller loops (one measure repeated many times) rather than pushing through mistakes.