Music Education Why Do I Need to Practice Scales? The Value of Tonal Literacy Posted on March 14, 2010 at 9:18 PM Circle of 4ths/5ths and Grand Master Scale - Edward Lisk In my formative days as a clarinetist in high school, not a word was ever said to my band about practicing scales (or praticing much of anything, for that matter). We warmed up on a Bb Major scale and went straight to the business of learning our concert music by simply repeating it over and over with no rehearsal techniques whatsoever. I learned how to play major scales up to three flats and three sharps as well as a three-octave chromatic scale in order to try out for the P.M.E.A. District Band. I did so on my own without help from my band director or my doddering private clarinet teacher. As an undergrad music education student at Penn State, my clarinet professor required us to occasionally perform a few predetermined major and minor scales as part of our juries, but since I was not a performance major, even there the expectations for mastering scales was not as it could be. It wasnt until I took a graduate level course with band director emeritus Edward Lisk on his Creative Director series of books that my eyes were opened to what becoming a master of a musical instrument was really about. Mr. Lisks method revolves around using the circle of fourths/fifths as a tool to teach scales, chords, and just about any other concept you can imagine. Scale Study as a Technique Builder The most obvious value of studying major scales and tonic arpeggios is that they provide the performer with a basic vocabulary of fine motor skills that are used in approximately 80% of all modern Western music. As I tell my students, how can you speak a language if you dont learn vocabulary words in that language? Scales and arpeggios are the beginning of that vocabulary. In learning all twelve major scales, instrumentalists are experiencing first-hand the following physical demands of the instrument: String players are introduced to performing scales past the normal on the tapes positions of the fingers, as well as being forced by necessity to use the pinky to play in keys in the middle of the circle. They are also introduced to the concept of fingering shapes (such as 1st and 2nd finger at a half-step) and how that pattern is found in common between several scales in a row in the circle. Woodwind players learn the necessary alternate fingerings for the most common notes, especially clarinetists, who must learn the appropriate situations to use a left-pinky C natural or right-pinky B natural. Saxophonists find out what the rollers on their bridge key are for, and how the bis key can save them a lot of grief. Brass players learn all seven possible combinations of the valves/slide and experience some of their more awkward combinations such as 1st and 3rd valve changing to 2nd valve. All instrumentalists learn the capabilities of their instrument in terms of the number of octaves they can comfortably produce. Beginning with one octave and moving quickly to two is very achievable for most students. Also, playing the scales chained together in succession as they occur on the circle of fourths/fifths reaps great benefits. Ed Lisk calls this technique performing the Grand Master Scale. As any jazz musician will tell you, Western melodic lines are chains of scalar passages that connect from one key area to another based on the harmonic progression. By practicing the scales in circle order, students are beginning to think in keys. Students will find fairly quickly that studying scales and arpeggios makes sight-reading and learning their concert repertoire a less cumbersome and daunting experience. Take your talent to the next level with music lessons and private guitar lessons if you opt for a personal tutorial. Scale Study as a Vehicle for Teaching Music Theory One of the things that many performing ensembles struggle to do is find ways of teaching students basic music theory without sacrificing preparation time for concert performances. By investing just a few minutes on a regular basis on scale study, students are learning about key signatures, whole and half steps, enharmonics, major triads, minor triads, seventh chords, parallel and relative minor, forms of the minor scale, modes, and in the case of the band, even transposition. After a brief description of each of these concepts, students can experience all of these theory concepts as part of their scale and arpeggio study, making the information more meaningful than just studying the theory without direct application. Scale Study as a Gateway to Teaching Improvisation Once a basic working knowledge of three major scales has been established, concepts for improvisation (jazz or otherwise) can be introduced. Once students speak the language they can begin extemporaneously crafting their own lines. Basic concepts of repetition, harmonic outlining, and melodic shaping can easily be introduced when the students are proficient at playing a few scales. Scale Study as a Tool for Teaching Ensemble Playing Skills Once students know a single major scale, it is possible to begin teaching ensemble playing skills by playing the scale in the round. Dividing the ensemble into three groups and playing the scale in thirds allows students to experience major, minor, and diminished chords and listen for ensemble concepts such as section intonation, section balance, ensemble balance, ensemble blend, and so on. Dynamics can be added to work on ensemble and individual control of the instrument at multiple dynamic ranges. Once the students know five major scales in circle of fifths order, they can also play in three keys simultaneously and create major, minor, and diminished chords all the way up and down the scale. Scale Study in support of Expressive Development While scales are the technical nuts and bolts of performing on an instrument, they do not have to be performed in a monotonous fashion. Dynamic shaping can and should be a part of scale performance. Expressive lines can also be developed by performing the scales in patterns of tetrachords. tetrachord scale exercise Performing patterns such as these requires fluency in whatever key the students are playing. Just the Tip of the Iceberg The study of all twelve diatonic scales and their tonic arpeggios is just a starting point for developing tonal literacy. By senior year of high school, the average band/orchestra student should be able to play not only major scales and arpeggios, but can easily transfer that knowledge to performing the natural minor scales. After being exposed to Mr. Lisks methods for teaching major scales and taking additional graduate courses on teaching jazz improvisation, it becomes apparent that the performer who wants to completely master their instrument must make a point of studying every tonal pattern that is commonly used in Western music composition. Here is a list of tonal patterns that a serious student would need to master in order to have done it all in my perceived order of study: Major scales and tonic triad arpeggios Natural minor scales and tonic triad arpeggios Chromatic scale Pentatonic scale Dominant seventh arpeggios Harmonic and melodic minor scales Remaining modes Major seventh arpeggios Major ninth arpeggios Whole tone scales (both of them) Octatonic scales (both of them) This All Sounds Great, But When Will I Have Time to Teach Scales? Like most things in any kind of education, a teacher has to make decisions about how to invest their time. There is no question that studying scales as a part of individual and ensemble study takes time. I begin teaching major scales to students as soon as they have enough control over their instrument to be able to produce a full octave of sound. For string players, that often occurs the first day. My first year students generally learn between four and six major scales. Students begin to see the value of learning scales quickly if you explain why their study will benefit them. Generally, I spend the largest chunk of time on scale study at the beginning of the school year, laying the knowledge base that will carry them through the year. After introducing the scales in a systematic way, it becomes a simple matter of drilling them as part of a warm-up routine. Students begin to take on scale performance as a matter of pride: I can play six scales in two octaves! I have even had students that, when introduced to the concept of natural minor, took it upon themselves to figure out how to play them all without us going over them in class. Scale study takes time, but the benefit to the performing ensemble as a whole is significant. More importantly, the benefit to the individual student is immense. It takes instrumental music performance from the realm of something I do for fun to something I am really good at for many students who otherwise would learn just their part to the concert repertoire. And after all, isnt the goal of music education to teach students how to become well-rounded musicians? If all they can play is the 3rd clarinet part to the Holst 1st Suite in Eb, are they really learning how to be an independent, proficient musician. By Thomas J. West. Post a Comment Reply Russell 3:17 PM on April 21, 2010 I have started using the Lisk method with my Orchestra Students and find it very valuable. What order do you teach your string students their scales? Reply ★ Owner 1:42 AM on April 22, 2010 Lisk goes in circle of fourths order because it takes band students through the flat keys first, which lay on most transposing instruments better. For my strings, I use the circle of fifths and begin with D Major, G Major, and A Major in one octave (2/3 finger shape). I quickly add C Major and F Major to that list (1/2 finger shape) and by the end of first year have them playing from Bb Major to E Major in two octaves when available without shifting. It sounds like a lot, and one has to go carefully enough to teach them tonally so its in tune, but my first year 5th and 6th grade students have little difficulty with it. Younger than 5th grade, I would probably do F, C, G, D, and A, all only one octave. I also use Lisks method to teach ensemble tuning, balance, and blend and tone control (air or bow) to all my students. Reply Russell 1:34 PM on April 22, 2010 That is incredible your students can perform 6 scales in the first year. I use the sound and silence exercises and Im starting to get my high school students to play through all of the scales, in just one octave right now. How often do you meet with your 5th graders? I only meet mine twice a week for 30 minutes. What method book do you use with your classes? I am looking at the new one from Alfred Publishing since there is a ton of customization. Another supplemental method that I have implemented is Mastery for Strings, which uses escalators and elevators to teach the note names on the fingerboard and does not relate to the piano keyboard. Reply ★ Owner 5:54 PM on April 22, 2010 I use Essential Elements 2000 for Strings mostly because it is Smart Music compatible. I skip around in them a lot and use ensemble lit. to teach a lot of concepts. Almost all my scale study is done by rote and with letter names before they ever see it in print. Im also starting to incorporate Suzuki book 2 for solo work. I see my 5-8th graders twice a week for an hour each time. Its a unique school with a unique program. palcs.org/pfa Reply Russell 8:15 PM on April 22, 2010 If the reason you use EE 2000 is Smartmusic you will want to check this out. alfred/soundinnovations The first 100 exercises are free on Smartmusic. I really want to try out Smartmusic and the mp3 cd will come with a tempo changing software so students are able to practice slowly and speed it up. Reply ★ Owner 11:58 PM on April 23, 2010 Yes, they just shopped that new Alfred book here today at the PMEA state convention. I have my complimentary preview copy. Just when you think that theres no new way to sell a method book, Alfred does it again! Go online to their method book buffet, create your own book, and they print it for you. Fully customizable. Im planning on writing a review. The tempo changing software in Smart Music is phenominal. It has an algorithm that takes the articulation sounds out, changes the tempo, readjusts the pitch, and then adds the articulation back in - instantly. Im Beta testing Smart Music 2011. Ill have lots to say about it soon. Categories Music Education (368) Practice Tips (40) Great Performances (104) 21st Century Artistry (23) Recommendations (98) Teacher Tips (139) Music Composition (45) Music Technology (100) Band (79) Orchestra (40) Vocal (62) Guitar (15) Private Teaching (31) Tips for Music Parents (17) Blog Carnivals (7) Website Marketing (101) Guest Authors (19) Quotes (33) Blended Learning (17) Editorial (70) Experiment In Excellence (5) Annoucements (58) Miscellaneous (71)
Posted on: Thu, 16 Oct 2014 02:55:20 +0000
Trending Topics
Recently Viewed Topics
© 2015