Find the fun in scales! Join me for a whole month’s worth of 31 different ways to approach scales. New posts go up every day in January 2023. Start from Day 1 here.
Today’s scales are similar to yesterday’s (One-String Scales): one octave up and down on one string, then repeat on another string, etc. The big difference is using just one finger through the whole scale or arpeggio (or one pair of fingers for the double-stops). Which means a shift into every note except the starting note. For that reason, a slow tempo is definitely in order!
There are lots of different ways you could implement this version. Here are a few explanations about decisions I made, and alternatives that you might choose:
Shifting
These scales are all about shifts, so there’s a lot you can focus on!
Releasing the finger: I used them mainly to focus on releasing just before and during each shift. (In fact, I almost called these “Finger Release Scales,” but decided that was too awkward as a title for the page.) You’ll see an example of this release notated for the first scale. At each x-note, release your finger until it’s just barely in contact with the string, then make the shift. Resume normal finger pressure only once you’re arrived at the new note. Continue this way throughout all of the following scales and arpeggios, if you choose. For more explanation and discussion about this, see this older post.
Shift distance: This is also a good opportunity to pay close attention to the shift distance. It’s easy here, because the melodic distance is the same as the shifting distance.
Other shift factors:
thumb position
bringing the entire hand along
supporting the finger with the hand and arm
balancing the hand around the finger in use
hearing the next note before playing it
or anything else related to your shifts!
Key
I did a different key on each string so that I could start each one in first position on a different finger. With that approach, it would be good to spend four or more days on this one, to cycle through all of the finger-string combinations. Another option would be to do the same key on each string, and make a plan for which finger to use on which string (thinking about how high or low on the fingerboard each one will be).
One Octave or Two?
I felt like one octave up and down each string was enough to get a taste of this one. But it would definitely be worthwhile to do two octaves on each string, if you’re up for it. If I were spending more than one day with this, I would definitely do that.
If you’ve tried this version out, I’d love to know what your experience was like! Just leave a comment below.
The word for today is “SLOW.” Go for accuracy and good sound over speed.
tomorrow:
If you’ve tried today’s scale variation out, I’d love to know what your experience was like! Just leave a comment below.
I’m a violinist and private teacher in the Chicago area, and in a previous musical life I was in a professional string quartet. Teaching violin and chamber music are dear to my heart. Send me a note or leave a comment on a post — I’d love to hear from you.