@Greg, the principle of hand movement makes sense, but can you explain how you arp basic chords by means of shifting? It's common to progress between these two shapes, but the one on the right can't be arpeggiated unless you re-finger it. Doesn't that mean you'll be using fingers 4-2-1, or 3-1-2 or something similar, so you can articulate the notes of the chord by moving fingers? Wouldn't you choose the fingering that was most comfortable to play the arpeggio?

Here's the pic I'm thinking of, from pg 4-1 of the Stick Book:



Glad for your thoughts on this. (I have these chords in a piece I'm working on.)

Whenever you have a 4th interval a chord you obviously have to alter the fingering for playing arpeggios where you had a double-stop before. You could finger the one on the right this way:



or



It would depend on the context of what came before and what came next. Most likley you'd want to use the first option because it's the same fingering as the major tried on the left, but there are not real "rules" here. You do what it takes to make it as musical as possible. The hand-shifting part in arpeggios involving 4th intervals comes into play when you play the two notes at the same fret with different fingers. You want to play these notes right behind the fret, so you use what I call a "traverse" move, which basically involves shifting the hand by one fret.

Thanks Greg, that makes sense. I’ll experiment with the shifting by rolling the hand.

Rather than "rolling", try to keep the hand's attitude constant in it's relationship with the plane of the board. That makes every "next possible" note easier to get to. If the thumb isn't moving, even a little, then the hand is not shifting.