violin finger action

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Scales - are the foundation of all music.
Practice your scales...hummm...did you hear that?
PRACTICE YOUR SCALES

We practice our scales...thank you

Scale formula: The interval pattern of a scale. An interval is the difference in pitch between two tones, the half step and the whole step. The formula for all major scales is = whole, whole, half, whole, whole, whole, half. This is the major diatonic scale. The word scale comes from the Latin word, scala, meaning ladder. The word diatonic comes from the Greek - dia, through; and tonus, a tone or sound. The word literally means - through the tones of a scale or key.

As soon as the beginning violin student can form the left hand on the strings and draw a bow appropriately, he/she can begin scales. One octave scales help set the hand frame and help in learning half and whole steps. The student then advances to 2 octave scales. These move him/her up into the 2nd, 3rd, 4th, and 5th positions. Then the three octave scales are learned. These will be the greatest practice tools.
BOOKS...yes?...no?...
I personally do not use a scale book to teach my violin students the basic scales. My thought is that I want them to use their ears and learn the feel of the violin. This has some positive and negative points. One of the negative points is that they do not (see) the high notes in print. I did use a scale book when I learned scales. It was the Yost Scale System. I have about 10 different scale books. However, I teach them scales by fingering and pattern one on one; just me and my violin and the student and her/his violin. Each week they are assigned a scale to present to me at the beginning of the next lesson. If I see a youngster is especially talented and creative I sometimes ask them to (even the youngest ones) create their own scale etude and play it for me at the next lesson. This can be done with different note values or bowing patterns.

3 OCTAVE MAJOR SCALES by Sheila

Scale fingering: This is a big variable. I tell my students that I am going to give them fingerings to use and after they leave me and go on to another teacher they may be given different fingerings. This is a good process. They need to learn all they can from each teacher and then when they are their own violinist or teacher they can choose the ones that work best for them. I will put mine on first and and after that add the fingerings as they are donated.

G - 0123/012*1234/1234/12*12344
G: - 10123/0123/012*1234/12*12344=4321*321*210/3210/3210/321021:|

Ab - 1234/1234/12*1234/123*12344

A - 123/01234/12*1234123*12344
A: - 121234/1234/12*1234/12*12*1234=4321*321*3210/3210/3210/32132:|

Bb - 23/0123/0123*1234/123*12344
Bb: - 2123/0123/012*1234/12*12*12344=44321*321*321/43210/3210/3213

B - 23/0123/0123*1234/123*12344

C - 1234/1234/1234/12*123*12344
C: - 21234/1234/12*1234/12*12*12344=44321*321*321/4321/4321/43213

D - 234/1234/123*1234/123*12344
D: - 21234/1234/12*1234/12*12*12344=44321*321*321/4321/4321/43213

Eb - 1234/123*1234/123*123*12344

E - 1234/123*1234/123*123*12344

F - 1234/123*1234/123*123*12344

3 OCTAVE MAJOR SCALES by shared by Mattias Eklund

I always try to make the scales as easy as possible.
For example:
- Always the same fingering for up as down scales.
- The fingering for the 4 octave scale is 3 (octave) + 1 (octave)

This is the basic fingering that I first teach my students. When they master them (1,3 and 4 octave fingerings) I move on and let them try other fingerings. I always let them try to invent their own fingering. Then we have one entire lesson discussing what is positive and negative with their fingering. Then we compare with Gamalian, Yamplonsky, Ruthstr�m and so on and then get a chance to find the fingering that suits them best, but this is always after they know at least one GOOD fingering.
[-] indicates stretch
One octave: 123*1 234-4 =-4321 *321

These scale fingerings for 3 octave scales are based on The Varga system (after Tibor Varga) and Lukas David. All of them are in patterns so you can play the Galamian acceleration studies on them.

Three Octaves:
G
0210 123/0 123/0 12*12 34/12 3*123 4=321 *321/4 321*2 10/32 10/32 1021

Ab (and A)
1321 234/1 234/1 2*123 4/12*1 2*123 4=321 *4321 /4321 *21/43 21/43 2132

Bb (and B,C,C# etc)
2432 34/12 34/12 *1234/ 12*12 *1234 4=432 1*321 *321/4 321/4 321/4 3243

Scale fingerings for 4 octave scales
Four Octaves:
G (first three octaves the same as thee three octave scale exept the last note, last octave same fingering as one octave. Easy to memorize!)
up
0123/ 0123 /012*1 234/1 23*12 3*123 *1234 -4
down starting at F#
=-432 1*321 *321*3 21/43 21*21 0/321 0/321 0

Ab (up to C)
up
1234 /1234 /12*12 34/12 *12*12 3*123 *1234 -4
down starting at G
=-432 1*321 *321*4 321/4 321*2 1/432 1/432 1

Minor Scales by Professor Reed Smith

MELODIC - The problem with the harmonic minor scale is that the distance (whole + half step, called an "augmented 2nd") between the 6th and 7th notes is awkward to sing, and also to play on melodic instruments such as ours. So the melodic minor scale gets around that by also raising the 6th note, making half steps only between 2nd & 3rd, 7th & 8th notes. But that would sound terrible on the way down, so it reverts to the natural minor form on the way down. That means that A minor would have F# and G# on the way up, but all naturals on the way down. raise 6 & 7 going up; lower 6 & 7 coming down
HARMONIC -In order to facilitate harmony we raise the 7th degree of the natural minor scale (known as the "leading tone" because it "leads" or pulls upward) to create the harmonic minor scale. It therefore has 3 half steps: 2nd & 3rd, 5th & 6th, and 7th and 8th steps. The A minor harmonic scale thus has a G#.
NATURAL -The natural minor, which has the same key signature as its relative major, has half steps between the 2nd & 3rd and 5th and 6th notes. (to help you remember, C Major is the major key with all white keys on the piano; A minor is the natural minor key with all white keys.)
String players practice the melodic minor form most often, since our instruments play melodies most often!
minor scale information by Professor Reed Smith Professor of Music
Marshall University * Department of Music

SCALE BOOKS:
Hans Sitt Scale Studies
appendix to H. Schradieck scales
With a view to enable the student to attain the highest grade of equality in the execution of the scales, the author has sought to reduce the scales presented herein into rhythmic forms.
Published by Carl Fischer Scale System by Carl Flesch
Published by Carl Fischer
Scale Exercises in all Major and minor Keys
The system of scales provides exercises equally serviceable for intonation and facility
The key is to be changed every day.
The Yost System by Gaylord Yost
Scale and Arpeggio Studies
Published by Volkwein Bros. Inc.
The chief aim of this volume of scale and arpeggio studies is one of practibility. The Sevcik Scale and Arpeggio Book
A preparation for all examinations
Bosworth & Co. London W.
Sevick Op.8
Exercies for the Chnange of Positions and Preparatory Scale Stiudies
Published by Carl Fischer Schradieck

Do Re Mi Sing-along
When you sing you begin with do-re-mi
The first three notes just happen to be
do-re-mi
do-re-mi-fa-so-la-ti
Oh, let's see if I can make it easier
Doe, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long long way to run
Sew, a needle pulling thread
La, a note to follow sew
Tea, I drink with jam and bread
That will bring us back to do
do re mi fa so la ti do