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Is it worth it to practice scales in every key?
For a while I rotated practicing a new scale every day in every key, but is it really necessary / good use of time to practice EVERY key (like F# major, Ab major, etc.)? Or is it more worth the time to stick to the more essential / standard keys that come up frequently, i.e. D, A, E, C, etc.Thoughts?
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Replies (24)
If you cycle through every scale, do them 1, 2 and 3 octaves in every position? Also total fluency in 3rd position - something to be desired - may best be achieved if you work out on paper which smallest set of scales gets you to play every note in 3rd and perfect its intonation. My teacher and I aren't doing anything that methodical, though. We've done 3 octaves in G, A, C, D and F and that's about it.
My scale practice is always dead slow and whole-bow. Initially 1 note per bow, then 2, 4, 8, 12, etc. At the moment nothing but D melodic minor, 3 octaves. We did it mid-bow thumb and middle finger only, to hear the bow's weight in the string and slow the bow down for good tone, now we're doing it full bow, reproducing that sound with pinky to counterbalance and index to press. I also do it bending over facing the ground to eliminate gravity on the bow, but that's only over 2 octaves. That's just basic right-hand technique, but scales are the ideal tool for it.
So, for example, starting in low G: Up the G scale, down the A scale, up the B scale, down the Db scale, etc. ending in the B scale. Then going backdown the same way: Up B, down A, up G, down F, etc.
Then repeat starting with Ab scale: up Ab, down Bb, up C, down D etc. ending on Bb
Then I do the same with chromatic intervals: up G, down Ab, up A, down Bb, up B, etc.
I will also practice single octave scales in first position moving through the circle of 4ths, which is more challenging.
All of these warm-ups cycle through every key. I practice chord arpeggios the same way.
The ideas for practicing these came from Jason Anick’s book “Violin Fingerboard Mastery,” which is a wonderful book for those interested in improvisation. Even though one may never play a piece in Gb, the chords in that key are diatonic in other keys so it is useful to have those scales and arpeggios under your fingers.
I think all the time I spent as a teenager practising 3 and 4 octaves scales in everything from Ab to G# was, to put it simply, a waste of time.
A progress note….i have managed to get rid of most of the dreaded bow bounce! It makes a lousy vibrato……
As a stubby-fingered violist, I must often invent supplementary hand-shapes, semi-shifts and sneaky but planned twists & turns.
This really depends on what your needs and repertoire is going to be, and how far you plan to go with your violin journey, imho. Do you intend to get a music degree in violin performance? Or play concertos, etc?
If you have a violin teacher, you may discuss this with them.
In my case, my violin teacher had me go through the Flesch scales cover to cover, again and again, and again until I can actually hear the scales in my head when I play a certain piece.. lol. We did this routine for 3 years. But although this worked for me, it may not work for you or anyone else. It may not even be necessary for you ... so.....
The biggest problem with scales is that very teachers know how to assign them so that the student actually gets something out of them. I'd wager that 99% of all teachers out there just say, "practice this scale" without giving very explicit instructions on HOW to practice them. Students really need a complete methodology on what to do.
My own methadology consisted of:
1. single-octave scales (the first ones in Galamian)
2. single-position scales (including the very highest positions.)
3. Three- and four-octave scales. These are useful, but frankly, do NOT subsitute for the #s 1 and 2 above, especially since all of the shifting is saved for the A and E strings.
Simply playing through the 3 scale types above isn't enough--it's HOW you play them that leads to better technique. To that end, my method consisted of a complete set of groupings and rhythms to be used (and, ideally, memorized).
What's the point?
1. Smoothing out the "bumps" that the violin naturally presents: shifts and string crossings.
2. Generaly evenness and fluidity, especially going up and down single strings.
3. The learning of consistent fingering patterns that can be applied to the repertoire (or what's the point?)
4. The learning of a method of practice that will apply to ALL other playing and types of repertoire. Practicing in groups and rhythms is the basic technique by which all instrumentalists, whether violinist, oboist, pianist, etc, improve.
Some general things to focus on when practicing scales:
1. Start the shift early--not just at the last microsecond (even when playing very slowly). That way, you'll coordinate both hands at higher tempi.
2. Be aware of exactly where the contact point is. This is essential for advanced playing, and practicing one-position scales in very high positions is what gives you that control.
When I read "I think all the time I spent as a teenager practising 3 and 4 octaves scales in everything from Ab to G# was, to put it simply, a waste of time..." what I infer is that the poster was never taught exactly how to practice those scales.
A couple of years ago I had the lucky idea for attending an ensemble jazz course in my local conservatory, and the illuminate teacher had a routine for the players of all instruments for warming up at the beginning of lessons, with infinite variations of scales and broken arpeggi and such all along the neck, not necessarily in high positions in the violin.
One of the most useful things on the violin I have ever experimented.
The process is very long, but I acquired an inner knowledge of places and figures much better than before.
One examples of these types of scales:
C on the G string, first position, going up and down, gradually expanding the major C scale:
C D C D E D C D E F E D C D E F G F E D
C D E F G A G F E D C D E F G A B A G F E D
C D E F G A B C B A G F E D C
Ok, second step: you can go up by half tones (starting Db, then D, etc).
Or in a 5th circle: C, F, Bb, Eb, etc.
The notes can be played with a single bow, than in 4, then 8 in a row, then single spiccato, etc: every key within a single style.
Next step: starting from Cmajor:
C E D F E G........ etc.
Then only the major pentatonics....
Then the minor jazz scale: C D Eb F G A B C B A G F Eb D C
and all the iterations.
Then the arpeggios, with sevenths within:
C E G B C B G E C........
Etc etc etc etc. Infinite variations. First in 1st position, then all in second position, etc.......
If the goal of playing scales if for consolidating the technical time and pitch accuracy, Flesch or similar is optimum, for me.
But if someone, other than me, has the need for imprinting the map of the violin neck into the brain, you can consider the method above :)
I think a student should practise mostly scales relevant to what they are playing. If that's diminished runs, perfect, but otherwise there's not much point. What I don't regret practising was scales in tenths, thirds, octaves, and harmonics, because those eventually did become useful.
I recently began a routine where I play two octave scale in one position in the keys of Ab-A-Bb-B-C-Db all using the same fingering pattern commencing first finger. Then the second finger pattern Bb-B-C- etc. Then third finger C-Db-D- etc. Including any note patterns eg; thirds.
Even though I mainly play jazz, I don’t go through all the major and minor scales every single day. For me, the time–benefit ratio of that kind of practice feels relatively low.
I’m more used to working within a specific tune, practicing the available scales for each chord as it comes up. That approach has been extremely effective for me — it’s engaging, highly practical, and never feels dull. Over time, I’ve developed the ability to react quickly to most harmonic situations because of it.
I imagine there might be a similar kind of training method in classical music as well.
I don’t think the work needs to be -in- the key of g flat. The Franck Violin sonata wanders into this territory at times. Also, Dumky Trio, very common in Faure chamber works. For orchestra there is the Firebird,LaMer, Ein Heldenleben, Mahler 5 , Prelude to Das Rheingold and the 2nd movement of Tchaikovsky 2 is actually in the key of g flat.
Cheers,
Buri
@Paul Deck:
exactly. In fact the teacher I mentioned had also the moment, in the routine, for the half-diminished scales.
@Elroy Chane:
i strongly agree with you.
