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18 Feb 2012

Scales & Arpeggios

A short article extolling the virtues of technical exercises.

Scales, arpeggios, studies and technical exercises are not always considered the coolest or most desirable area many students wish to focus upon for too long, but a good command of scales and arpeggios are the bricks and mortar of our musical technique, so any neglect in this area will be reflected in faulty technique. (Not to mention sight-reading and analytical skills). They must be memorized (I rarely encourage the use of scale books) and performed to some extent at the start of practice and lesson periods. Fingering must be secure. This is also a good area to teach articulation skills.

I was personally not too keen on practicing scales, but nor was I too bothered about scrubbing my neck, teeth and shoes etc.. I now realize the benefits accrued by proficiency in these areas and therefore agree with Master teachers like Czerny who said, “In every piece written today or one hundred years ago, they (scales and arpeggios) are the principle means by which each passage and every melody is formed.” This certainly applies to much of the repertory of Haydn, Mozart, Beethoven, Clementi, to name a few, also much of the music from the ‘Romantic’ era. Jazz improvisation is heavily dependent on chord knowledge and a complete mastery of Tonal and Modal scales and their relation to chord progression. One interesting method devised to help students produce good even scales and develop legato technique, is as follows.

TipHold down a white key (say middle ‘C’) and while the note keeps sounding, pile up a stack of £1 coins – enough to weight it down enough to keep the note sustaining. Now weigh the pile of coins using old type kitchen scales (probably approx.£5-£9) After removing the coins press gently on the tray of the scales with finger tip until the pressure equals the weight of the coins (displacement weight) Carefully move from finger to finger as if playing a scale (no pun intended) while watching the indicator needle to ensure that it stays steady. Reproducing this sensation experienced on the scales should produce legato and better quality tone on the piano.

Scales and Arpeggios are beneficial in the following areas

  1. Knowledge of KEYS and their signatures.
  2. Understanding CHORDS – Formation of Triads and Inversions.
  3. Technical ability, – evenness, control, finger equality, (strengthening weaker fingers) passage of thumb etc.
  4. Legato: Staccato: Dynamics: Rhythm: Flexible wrist and hand/arm positions.

As to when to introduce pupils to scales depends on

  1. The teachers own personal pedagogical point of view.
  2. The teaching method:
  3. The pupils own physical and mental degree of readiness.

I personally like to introduce and encourage scale study as soon as possible i.e. when five finger playing is reasonably secure I may introduce C major (one octave) either hand and soon after in contrary motion. I would also explain the tone/semitone pattern of the major scale and perhaps a simple explanation of the major triad (1st. 3rd. 5th, degrees of scale etc.)

Thereafter I usually follow the syllabus of grade examinations, allowing a fair degree of flexibility for different pupils needs. Most pupils though, (apart from very young starters) will manage fine without the use of preliminary scale exercises.

Tip TIP!!! The old piano teacher’s trick of placing a penny on the back of the student’s hand and asking them to perform the scale up and down without the coin falling off is still a useful way to impress the importance of the level and controlled wrist.

Mel Stallwood author of One-2-Five Theory (E-Tutor)


 

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