Major and minor arpeggios in every key
Here are all twelve major and twelve minor root-position triads, each spanning four octaves up and down, with the hands one octave apart. Every pattern uses sixteenth notes beamed in groups of four in 3/4, two lines of grand staff, and a final dotted half note. Play the top note once. Prominent titles make it easy to find a key and begin.
Follow the full fingering across the internal octaves. An endpoint finger is not necessarily the finger used to continue: the RH’s final 5 in a white-key arpeggio replaces the 1 used at earlier tonics. The black-key patterns likewise distinguish the opening finger from the recurring group.
Practice in groups of four
Count four even sixteenth notes to each beat: 1-e-and-a, 2-e-and-a, 3-e-and-a. A triad repeats every three pitches, so four-note groups begin on different chord tones. This helps prevent an automatic accent on every third note when a three-note grouping becomes habitual.
At first, play four notes, release, and pause before the next group. Then join the groups into a continuous line, keeping the pulse steady and the sound even. The groups organize your attention; they do not require a strong accent every four notes either. Carry this evenness through each crossing and the turn at the top.
Choose a comfortable route, then keep it consistent
These are conventional root-position fingerings checked against the Eastern Illinois University-hosted fingering charts, with the optional initial RH 2 for several black-key roots also documented in Joy Morin’s chart. Some teachers choose LH 3 rather than 4 in selected white-key minor arpeggios; the earlier teaching examples illustrate that alternative. Test a comfortable choice through both directions instead of changing it accidentally mid-run.
A thumb on a black key is appropriate in the all-black F♯-major and E♭-minor triads. For black–white–black triads, the recurring thumb falls on the white middle chord tone. Read the actual notes and fingers rather than applying a blanket rule about black keys.
Clefs and octave lines keep the register readable; the hands stay one octave apart in sound. An 8 above the staff means one octave above the written notes. Choose a dynamic and touch before beginning, and let the return have the same clarity as the ascent.
The website’s chord-tone definitions provide the pitch catalog. Fingerings have been checked separately for this edition. Inversions, dominant-seventh and diminished-seventh reference runs remain the next expansion; their introductory material stays in Chapter 23.