TEACHING SCALES - Paul Harris & Richard Crozier

Scales and Technique

Scales are a fundamental part of technique - that area of musicianship embracing the control of all physical movement involved in playing an instrument or singing. Technique also controls tone, tone colour, intonation, dynamic level and rhythm. In performance, at any level, musicality will always be eclipsed if there is even a struggle with the technical content. However musically well-intentioned the performer is, without technical control that subtle dynamic shading or rhythmic manipulation will simply not be possible.

Teaching Strategies

The student needs to be convinced that scales are beneficial.

Methodical teaching is important - the 'just get on and learn them' approach works for very few pupils. It is essential that we never label scales as the least attractive part of an exam syllabus. Once said, it will be very difficult to change that perception - scales will forever be difficult both to teach and learn.

BY EAR OR NOT BY EAR

In exams scales have to be played from memory. This often encourages learning scales 'by ear' as the principal (and sometimes only) method. Ideally, all pupils should learn and play scales both from the music and by ear. Recognizing notated patterns is very helpful when learning pieces, and essential in building up a fluent sight-reading technique.Scales should never be learnt by simply feeling your way through; this will almost always result in mistakes and unrhythmic playing. Those players who get scales right the second or third time do not know them! Ultimately, a memorized scales is the result of many careful and thoughtful repetitions. 

SCALES LEARNING WITHOUT SCALES!

Here is a strategy for approaching the learning of a new scale. It is a series of steps that will gradually build up confidence and lead to fluent and reliable scale playing. 

First of all pupils should write down the notes names of the scale. (This is more important than you might think - to get the maximum benefit from scale practice, the mind must make a connection between the note name, the notational symbol and the physical action required to produce the note. You may find it a less than pleasant surprise to discover pupils do not actually know which notes they are playing.)

Once the note names are known they should be said out loud both ascending and descending.

Try some simple improvisation. Encourage pupils to improvise short tunes or pieces in the key of the scale being learnt. Keep reminding them to think in the key. These improvisations should include scale and arpeggio patterns as often as possible. 

(Many pupils don't think in keys. They tend simply to think in C major, adding the appropriate sharps of flats (if you're lucky!) It is important to encourage pupils to think in the key by continually reminding them to do just that. Each time they play a piece in a particular key, talk about that key, ask them to play the scale and arpeggio and remind them to have the key in mind during the course of performing the piece. This needs to be reinforced regularly until pupils begin to think  in keys as a matter of course.)

Another useful 'game' to play that further develops key-sense involves choosing a famous tune and playing it by ear, in the key being learnt. It does not matter if it takes a few attempts to get it right; this is good aural training because the pupil is really listening and making appropriate corrections if necessary.

MAKING FRIENDS WITH SCALES

Encourage pupils to familiarize themselves with their scales, as they would get to know characteristics of friends or relations. Ask them to make a list of three or four features of each scale. Here are two examples taken from actual lists made by young players:

Piano: F major hands together (Grade 2)

• Right-hand 4th finger on the B flat.
• Right-hand ends on 4.
• Thumbs together on F in the middle.

Clarinet: E major (Grade 5)

• It has four sharps - must remember the D sharp.
• Begins on right-hand E.
• The first three notes are all bell-note keys.
• Bell-note fingerings are the same in each register.
• It's my favourite scale (!)

Before asking a pupil to play a particular scale, always invite them to talk about it first; each scale will eventually acquire an identity of its own - pupils will really begin to know their scales.

Practice Strategies

• Practise using different rhythmic, dynamic and articulation patterns to develop technical fluency and rhythmic evenness. Scales need hardly ever be practised the same way more than once!
• Varying the tempo: slow practice for improving tone and intonation; fast practice for developing finger movement and fluency.
• Varying the accentuation (by playing in groups of 2, 3, 4, 6 or 8) will also develop evenness and control.
• Begin scales on any note, such as B major beginning and ending on E. This is a very positive way to help develop key-sense and will sort out those who really know their scales from those who 'feel' their way through them.
• Play them legato ascending and staccato descending, then the other way round.
• Pianists can play one hand legato, the other staccato,. Each hand can play a different dynamic level or shape.

With some imaginative and relevant teaching strategies, students may even begin to enjoy their scale practice! :-)))))

https://www.youtube.com/watch?v=khvaIwonxUk