Which run is easier to play?
I've always been wondering what would be more comfortable to play for string players.
Please let me know your thoughts,
B has the exact same notes as A except that it has two more in the beginning, so what is your own guess :-)
I would say the lower (longer) one (B) is easier because it is a complete 2-octave E-flat major scale and thus would feel more natural to play. It is something you should have already studied and should thereafter recognize instantly at sight.
Awesome, that was actually my guess. Thank you Andrew Victor!
On the flip side of Andrew's comment, which has a great deal of validity, I would say that rhythmically, starting on G would perhaps be easier. A group of 6 notes feels better than a group of 7 to me.
For the left hand there is not much difference. Either way you can play it in third position and extend your fourth finger for the last e flat (easiest fingering I believe in both cases).
Andrew's appeal to ingrained familiarity is a good answer. Problem is, there are two conflicting kinds - familiarity with the full 2-octave scale and familiarity with the 6/8 rhythm.
I think fingering would depend on what preceded the scale passage in the music and where the hand was at the start, the player's prior approach to practicing this scale and whether this was sight reading or a familiar passage.
I take a pragmatic approach to these issues. When executing a rapid heptuplet run (or similar) in orchestra I aim for getting the next note after the run exactly on the beat, and let the fingers look after themselves during the run. At speed no-one will be aware of possible slight inconsistencies, although details probably wouldn't stand up to forensic examination in an audio lab.
There are users on v.com who work out and are fairly pumped. It doesn't keep them from playing the violin or the viola.
I think you meant to put that in the other thread, Paul, unless you meant it as a joke.
In "music theory" you can find names for scales of virtually any "one-directional" combination and number of notes and if you include the entire range of "world music" you would not be limited to "12 tones per octave" at all. But octaves, fifths and (in fact) any two notes where the frequency of one is an integer multiple of the other is a natural phenomenon (and actually the basis of Niels Bohr's initial concept of Quantum Mechanics related to atomic structure). Not all "musical notes" follow these relationships as our ears often tell us - and our 4-legged friends as well. (I once played weekly string quartets at the home of a cellist whose very large boxer (dog) growled at first violinists who played double stops out of tune, so the cellist informed me when I first sat down to play there. He was quickly proved correct and I just didn't even try after that for the several more years we played together.)
Agree with Andrew; they are both modal scales, how we label them is not very important. Both are not difficult. I would not try to accurately time the groups of 7. I would take my daughter's advice: