There are two characteristics of the arpeggios in this book:

• The thumb (p) does not only play the role of the bass from which all the arpeggios begin, but is used in various positions like all the other fingers of the right hand.
• These arpeggios do not practice the hand only on adjacent strings but on all combinations that exist among the six strings.

The formulas I chose are 48 for each chord progression. They could certainly be infinite, but I selected only those that I believe practice the hand better. Therefore, they are sufficient for anyone who wants to do systematic practice in arpeggios and generally in the technique of "Tirando." I aimed for the left hand, on the one hand, to be in motion so that it does not get tired remaining inactive, and on the other hand, to be easy enough not to distract us from the right hand. Thus, the chords I use contain two open strings.

It is good to emphasize the first note.