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As a kid, I hated those blasted scales...for the past twenty years plus, I finally wised up...a major and its relative minor with all the associated arpeggios, octaves, thirds, tenths...right from Alard's book...a two hour workout before the real practice begins
although not classical per se, the configuration of the instruments lean that way...wait until the fiddle guru (Hugh Marsh) takes off like a Redsone Rocket.
Odd you should mention scales at this time. Fiddlerman, on other occasions, has stated that music is largely a collection of scales, or parts thereof, in whatever key is called for.
I began to take stock and realized I am basically a musician in the keys of G,D,Eb and Bb. I tried to convince myself that these are keys common to folk music but that's not the real story. So, here I am with a lot of homework past due but I plead ignorance. I just had not recognized the truth !
When you come to a fork in the road, take it.
There are many books dealing with scales…Hrimaly, Galamian, Flesch and the one I swear by which is long out of print (1916) Delphin Alard. I briefly studied with a very sincere lovely man who played an Amati once owned by Mussolini. He turned me on to them. Picture a nice old home with a fire in the fireplace and a giant German Shepherd walking about for a setting. I borrowed his tattered book and copied it…back then the height of copiers was the "thermafax". but as time passed, the paper turned brown and the notes faded into the brown surroundings. A very rigorous quest turned up a "mint" leather bound version of Alard's Complete Conservatory Method for the Violin…and at the very end; voila the scales, thirds, arpeggios, all that blissful spaghetti of black notes. It cost some serious bucks, but I bought it, went to Staples and had the scale section duplicated on thick paper stock and spiral bound. The 1916 leather bound version sleeps very comfortably in my music cabinet.
Every day is one major scale, it's relative minor and all the associated "pasta"…a two hour ritual and worth every minute. I'm certainly no Oistrakh but I can honestly say name a key any key and be quite successful…second and fourth positions are quite helpful in orchestral work, and I can jump in with whatever fret any guitar player chooses to strap his capo to.
YES, IT IS ALL ABOUT SCALES
my gift to y'all this digitized online offering does have some errors and omissions
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