STAGE ONE SCALES

Table of Contents: The Three Octave Scale

• Martelé
• Slurs
• Rhythms
• Separate Bows (Detaché)
• Arpeggios
• Listen for and be aware of

Introduction

Studying scales from the very beginning guarantees that they will become an integral part of technical development. Not only do scales promote the continuing development of technique, they also help to place the student in the state of mind most conducive to practicing productively. There is documentation that a metronome setting of 60 is the most efficient learning tempo because it corresponds to our natural biorhythms. Proportions of 60 (90, 120 etc) are also ideal practice tempos. As shown below, scales are practiced with martelé, detaché and legato strokes, with various bowings, and with a multitude of rhythms. Challenging bowings or rhythm patterns in the repertoire can be mastered by incorporating them into scale practice.

Follow the Scale Link to find the sequence of scales from the Twinkle era through four octave scales. For now, the three octave G major scale will be studied using the Carl Flesch Scale System (for fingereings) and Galamian’s 24 note 3 octave scale and acceleration pattern.

Regardless of left hand action, the student should strive to maintain a constant bow speed and a rich, focused tone. During the review of technique, a loose vibrato is encouraged to help produce a beautiful tone, but if intonation is a problem, some practicing should be done without vibrato. 

The Three Octave Scale

Practice the scale in the following ways:

• With a martelé bow stroke, play 2, 3, 4, 6, 8, 12 notes per bow

	Clip Title:	The Journey Through the Three Octave G Major Scale: Martelé
	Description:	Playing a G Major Three Octave Scale with 2, 3, 4, 6, 8, 12 Martelés per bow
	Channel:	228
	Duration:	3'59"

• With a slurred bow stroke:
  • Place metronome at 60 and play two clicks (beats) per bow
  • Play 2, 3, 4, 6, 8, 12 slurred notes per bow, using the same bow divisions as with the martelé

	Clip Title:	The Journey Through the Three Octave G Major Scale: Slurs
	Description:	Playing a G Major Three Octave Scale with 2, 3, 4, 6, 8, 12 notes slurred per bow
	Channel:	229
	Duration:	2'47"

• Using separate bows with the Morse Code of Musical Rhythms, listen for the ring on the short notes which are caught (articulated) with the bow:

  Two Note Patterns

  __ . __ .

  . __ . __

  Four Note Patterns

  __ . . .

  . __ . .

  . . __ .

  . . . __

  Using patterns rather than specific rhythms teaches the general relationship of the notes without being caught up in the precise rhythm. When a precise rhythm is needed, it is specified. This approach expands our traditional set of rhythms [dotted eighth sixteenth in real notes] to all the variations of dotting and double dotting rhythms.

	Clip Title:	The Journey Through the Three Octave G Major Scale: Rhythms
	Description:	Practicing rhythmic patterns with the G Major Three Octave Scale
	Channel:	230
	Duration:	1'20"

• Using a detaché bow stroke, play the scale in the upper half of the bow. Set the metronome on 60 and play detachés with 2,3,4,5,6,8,12 notes per click (beat).

	Clip Title:	The Journey Through the Three Octave G Major Scale: Detaché
	Description:	Using a Detaché stroke and with the metronome set to 60, playing 2, 3, 4, 6, and 8 notes per click in the upper half of the bow
	Channel:	231
	Duration:	1'47"

• Add the first two arpeggios: G Minor and G Major. Emphasis is on smooth, even shifting, using anticipated shifts. Remember to shift on the old finger to the new position. Fingers should be relaxed enough to allow the string's harmonics to sound when the finger glides on top of the string. Shifts should be heard for practice purposes. Bow weight and speed remain constant throughout the shift.
  • Practice with 1, 3 and 9 notes per bow (martelé and then legato).

  Listen for and be aware of:

  • Even bow distribution
  • Relaxed bow position
  • Proper use of forearm and upper arm
  • Relaxation of each finger after it has played
  • Rotation of left elbow from lower to higher strings
  • Slow, well-timed shifts
  • Intonation: String players play in many different situations requiring different tunings and temperaments. Playing with a piano, playing in a string quartet, orchestral playing, solo playing, and unaccompanied solo playing require a heightened awareness of the subtleties of pitch, harmony, and tonality. Be sure to introduce students to these subtleties in the course of their development, indeed as soon as possible. Remember that all intonation begins with the ears, not only with the fingers or eyes.

	Clip Title:	Three Octave G Major Arpeggios
	Description:	Practicing arpeggios with an awareness of bow division, shifting, intonation, and relaxed physical motions
	Channel:	232
	Duration:	4'02"

Previous Page | Next Page