Following are some thoughts (in no particular order) that I have put together from a number of years’ experience of teaching.
Thoughts on scales
Learning
· There are some scales, which seem quite similar in pattern to another scale. One example is DB major and B major as both have the same amount of black notes but play different white notes. Another example are the arpeggios for FV major and EB minor with all of the notes being black but requiring different fingering in the LH.
· The use of the arm, shoulder and elbow are crucial in the playing of scales. The arm should always be ‘ahead’ of where the hand is going and there should always be sufficient space between the elbow and the torso ensuring that the hand has enough room to manoeuvre. At the top of a scale or arpeggio the elbow is of vital importance in allowing the hand to change direction without any undue accents or loss of momentum.
· The placement of the feet is important too so that torso, arm, elbow and hand are given enough room to navigate around the keyboard.
· Wherever possible, relate the fingering of one scale to other scales and/or arpeggios that belong to the same finger group.
· The technical playing of the scale and arpeggio must be of a high standard from the start.
· If in the same grade there are two scales or arpeggios that begin on the same tonic the player must ensure these are known very well in regards to how they differ note-wise and fingering-wise.
· Explain the differences in fingering, for example why does F major scale have a no 4 in the RH on BB where other scales would use a 3?
· Before starting to play a scale or arpeggio, can the player ‘see’ the scale or arpeggio in their mind rather like a bird’s-eye view.
· When the fingers go over the thumb or the thumb tucks, the fingers and thumb must immediately move into a good position with all of them lining up on the keys ready to play the following notes.
· Preparation is essential in an arpeggio. The fingers and thumbs should be ready before commencing to play the arpeggio, so they should be covering the notes they are going to play. So often an arpeggio is spoilt because of lack of preparation.
· Ideally, all players should know the scales they are learning as similar motion as well as in contrary motion.
· Players need to check that their little fingers are not poking up when playing scales because in many cases the no. 5 finger is little used.
Playing/Performance
· In a HT scale the player should listen to the LH because if any hand is lagging behind it generally is the LH.
· The player must be able to change speed from one type of scale to another with ease. These speeds must be well known so that the first scale of a different group is played at the correct speed. (The ABRSM has simplified the scale speeds and there is little difference in the speed between the scales and arpeggios in the earlier grades).
· The ‘flow’ of the scale and arpeggio is important.
· The ‘turnaround’ must be practised individually.
· Apply any variations so that the playing of the scale is more interesting and in addition to this, by adding in another aspect that will require concentration some players may find there are a few scales that they do not know very well.
· The scales and arpeggios need to be played with attention to dynamics so a crescendo when ascending and a diminuendo when descending are important. Discuss with the player how to effectively play a crescendo and diminuendo within a scale and arpeggio. Some players may find the playing of a diminuendo harder than playing a crescendo because often the level of dynamics is dropped too soon.
· Discuss with the player where the best starting positions are fro the scales and arpeggios. Generally speaking, start lower rather than higher so that the LH and arm have more room to move. It is best to ensure that neither elbow crosses the mid-way part of the body.
· The player must be constantly listening to ensure there are no ‘bumps’ in the scale or arpeggio.
· Before commencing a scale or arpeggio the player must bring up both hands simultaneously. In between each scale and arpeggio the player should place their hands back in their lap.
· Ironically, some of the ‘easier’ scales and arpeggios become harder as time goes on. C major is one example.
· Some of the scales and arpeggios, due to their difficulty, should be played every day.
· Unless a scale or arpeggio cannot be recovered, the player should continue to play them because in most cases they can be recovered.