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MajorScalesandArpeggiosDr.MarkWatkins,BYU–Idaho
Thefollowingscalesareincludedforreferenceonly.Theyarenotintendedaspartoftheexerciseroutine.Thesameappliestothearpeggios.Workbeginswiththe“Five‐notePatterns.”ScalesCMajor FMajor GMajor
B‐flatMajor DMajor E‐flatMajor
AMajor A‐flatMajor Emajor
D‐flatMajor BMajor G‐flatMajor
F‐sharpMajor C‐flatMajor C‐sharpMajor
TriadsCMajor FMajor GMajor B‐flatMajor DMajor
E‐flatMajor AMajor A‐flatMajor EMajor D‐flatMajor
BMajor G‐flatMajor F‐sharpMajor C‐flatMajor C‐sharpMajor
PracticeSequenceDothefollowinginaselectedkeythenmovetoanotherkey.DONOTpractice5‐notePatternsin12keys,then9‐notein12keys,etc.CompleteallfivestepsinasinglekeyTHENmovetothenextkey.Selectionofkeysismostsequential(easiest)inthisorder:C,G,F,D,B‐flat,A,E‐flat,E,A‐flat,B,D‐flat/C‐sharp,G‐flat/F‐sharp;however,anyprogressisallowableincludingrandom.Reviewbyplayingthefull‐rangescaleswithvariousarticulations.
1. 5‐notepattern2. 9‐notepattern3. Fullrangescale4. Additivetriadexercisebottomup5. Additivetriadexercisetopdown
5‐NotePatternThisexerciseallowsonetofocusonalocalizedareaandaidsinutilizationofscalefragments,startingandreversingdirectionelsewherethantheroot(polarfreedom).Startonthelowestnoteavailableonthesaxophonethatiswithinthekeysignature:Cmajorkeysignature=lowestnote“B”.Playthe5‐notepatternrepeatedlythenmoveuptothenextscaledegreeinthesamekey.Donotthinkoftheseasmodes;theyareexercisingakeysignature.Playingtherootonapianocanhelpkeepthetonalcenterinmindandear.Eachscaledegreestayswithinthesamekeysignaturebutslightlyaltersthetechnicalconcern.Onemayuseaslightlyslowerorfasterpulse,butplayallkeysatthesametempo.Thisallowsthefingerstodevelopaneventechnique,increaseflexibilityforharderfingerings,andpreventrushingovereasiersegments.Repeatthepatternuntilitisreasonablycomfortable.Alwayspracticethisandsubsequentexerciseswithametronome.
MM.q=c.80isagoodtempo;slowerorfasterisdependentuponstudentskill.
Example:CMajor.Eachkeyisnotincludedherein.Studentsshouldinternalizetheconceptandplayallscaledegreepatternsandkeysfrommemory.
Ifitistoodifficulttostartonthelowestnote,beginfivenotesupandplaydown.
Ifthisisstilltoodifficult,changetherhythmto8thnotes.Tip1:Allrepetitivepatternsaretonestudies.Tip2:Watchone’shandpositioninamirror,whichismucheasierwithamemorizedpattern.FAMILIARTOUNFAMILIAR:EXTENDINGTHERANGEStudentsdon’talwaysgetopportunitiestodevelopthelowestnotesorthepalmkeyfingeringsbeforeenteringtheuniversity.Therecanbeproblemscrossingthebreakwithevenfingeringanduniformtimbre.Consequently,theabove5‐notepatternscanbeachallenge.ThefollowingexamplesareinBMajor.LowNotesReviewlownotetoneproductionprinciples,handposition,andfingeringconcepts.Pair1:Addanunfamiliarstep‐wisenotetoafamiliarnotewithinthescale.
Pair2:Playthenextlowestnotewiththenewnotefromthefirstpair.
Reviewpair1.3‐noteGroup1:Playfromthefamiliarnote(D‐sharpinthisexample)throughthetwodevelopingnotes.Pair3
ReviewPair2.3‐noteGroup2
5‐notePattern:Playfromthetopnotedownratherthanstartingonthelowestnote.
CrossingtheBreak.Reviewcrossingthebreaktoneproductionprinciples,handposition,andfingeringconcepts.2‐notePair:Usethestandardfingeringinthisexerciseinpreparationforcontinuedscaleprogression.3‐noteGroup1
3‐noteGroup2
5‐notePattern1:Practicewithstandardfingeringuntilproficient.Additionally,oneshouldpracticethisgroupwiththeC‐sharptoD‐sharppivotfingeringfromabove.Ifthepivotfingeringisunfamiliar,isolatethenotesandpracticeC‐sharptoD‐sharpasa2‐notepair.
5‐notePattern2
PalmKeysReviewpalmkeytoneproductionprinciples,handposition,andfingeringconcepts.Pair1
Pair2
ReviewPair1.3‐noteGroup1
Pair3
ReviewPair23‐noteGroup2
5‐notePattern1
5‐notePattern2
5‐notePattern3
AdditivePatternsThefollowingpatternsallowrepetitionwithinanunfamiliarrange,sequentialadditionoffingerings,andrepetitionofnewfingerings.Thisrepetitionwillstrengthenthelowandhighregisters.Remember,“Repetitionisthemotherofmemory.”Oneshouldnotpracticetheseattemposbeyondonescapabilitybutshouldalsopushthatcapability.“Perfectpracticemakesperfect,”butplayingwhatonecanalreadydoisonlyreview.Startthepatternonthehighestnotewithinthekeysignatureathand.Addonnewnotedescendingandreturn.Withoutstoppingdescendtothenextnewnoteandreturn.Continueuntilthepatternreachesanoctavebelowthestartingnote.Example1:E‐flatMajor
Followingthesameprocessbeginningonthelowestnoteofthekey.Example2:E‐flatMajor
9‐NotePatternFollowthesameconsiderationsasoutlinedabove.Nine‐notescalepatternswillextendonesconcentrationandphysicaldemandsintermediarytofull‐rangescales.Asabove,eachscaledegreerequiresaslightlydifferentfingeringconsideration.
Example:CMajor
Full‐rangeScalesUseadifferentarticulationeachtimeascaleispracticed.Eventually,throughworkonnumerouskeys,allthepatternsbelowshouldbemastered.
Unlikethe5and9‐NotePatterns,fullrangescalesareincludedinallkeystoinstilltheconceptoffullrangeandtoensuremusicalresolutions.CMajor
FMajor
B‐flatMajor
E‐flatMajor
A‐flatMajor
D‐flatMajor
C‐sharpMajor
G‐flatMajor(withhighG‐flatkey)
G‐flatMajor(withouthighG‐flatkey)
F‐sharpMajor(withhighF‐sharpkey)
F‐sharpMajor(withouthighF‐sharpkey)
C‐flatMajor(withhighG‐flatkey)
C‐flatMajor(withouthighG‐flatkey)
BMajor(withhighF‐sharpkey)
BMajor(withouthighF‐sharpkey)
EMajor(withhighF‐sharpkey)
EMajor(withouthighF‐sharpkey)
AMajor(withhighF‐sharpkey)
AMajor(withouthighF‐sharpkey)
DMajor(withhighF‐sharpkey)
DMajor(withouthighF‐sharpkey)
GMajor(withhighF‐sharpkey)
GMajor(withouthighF‐sharpkey)
AdditiveTriadExerciseStudentmustinternalize(memorize)scales,arpeggios,andotherpatterns.Onlyanexampleofthe“AdditiveTriadExercise”isgivenbelow.Itisexpectedthattheconceptbeappliedtotwelvekeys.Startonthelowesttriadnotepossible.Addonenoteperrepetitionasbelow.
Convertto8thnotesifnecessary.Useametronome.Example:E‐flatMajor
Startonthehighesttriadnotepossiblewithinthenormalrangeofthesaxophone.Thisexercise
canbeappliedtodevelopingthealtissimoregister.Addonenoteperrepetitionasbelow.
Thisexercisecanalsobedonewithtriplets.