#Melodic minor scales viola 2 octave movie
#Melodic minor scales viola 2 octave full
#Melodic minor scales viola 2 octave free

Students play one-octave scales easily with the talk-and-play system. Two-octave scales (except G) start on one, to help teach positions.

For three octaves I allow the student to look for the first month or so, and then I take it away.

#Melodic minor scales viola 2 octave free

Students must talk their way through each scale by naming key signatures, shiftsвЂ™ relative relationships, and parallel relationships.ДЇor the last couple of years I have taught all scales free of any scale book. There is no need to create a religion over a particular scale fingering or ideal.Д¤. If the fingering system makes sense to the student, then the scales come easier. However, a clear and easy pedagogical concept frees the mind to conceive the correct notes one is playing. A pedagogical theory I frequently hear is that all scales should not have one fingering. Any concept is fine as long as it is clear to the student. In this way the fingering system ultimately does not matter. Demand immediate mastery and memory of fingerings in one-octave, two-octave, and three-octave scales.ДЇunctional understanding of scales is ancillary to pedagogical loyalty.

Limit students to all sharp major scales, then switch to all sharp flat scales, and finally teach minor scales.ДЈ. Effective sequencing defines effective curriculum and causes complete understanding. This allows students to think through each note before they play. Use the popular Mississippi Stop-Stop rhythm (four sixteenth notes and two eighth notes) after calling out each note of a scale. If thorough mastery of the вЂњfingerboard matrixвЂќ is the goal, develop chromatic understanding early. Teach more than one scale at a time no matter the level of the student. However, music modulates and thus so should our scale routines.Дў. Yes, D major, A major, A minor, G major, G minor, D minor, and maybe E major define the home keys of most solo repertoire for the violin. The following have guided me throughout my career: It all comes down to establishing pedagogical goals to help students connect scale practice and theory to repertoire and musicality. Is it odd that the second theme in the first movement of the Sibelius Violin Concerto is in D-flat major? I guess that means we need to practice D-flat major this week. For example, ask a student to identify the key areas in the development section of the first movement of LaloвЂ™s Symphonie Espagnole and play the corresponding arpeggios the following week.

#Melodic minor scales viola 2 octave full

This does not require a full Roman-numeral analysis, but the occasional discussion of key areas, lead-sheet style. This means teachers must always discuss theory and function. Independence is the final goal of all pedagogy. This teaching style also stimulates deep learning, different from surface learning. This connection leads easily into a lesson about Pythagorean IntonationвЂ™s properties of wide whole steps and narrow half steps.

LetвЂ™s make the half steps really close and the augmented second really wide to see if it sounds a little sassier.

#Melodic minor scales viola 2 octave movie

VoilГ .ДЄnother example: This augmented second is in the harmonic minor scales we just played it is equal to three half steps it is an enharmonic equivalent of a minor third it is all over the movie Aladdin and the beginning melody of Carmen Fantasy by Sarasate. For example, the fifth that outlines a certain passage is the same fifth that tunes your violin, and the same fifth that starts the main theme of Star Wars. Simple connections between technical skills, repertoire, and вЂњmodern cultureвЂќ can serve as guideposts in an experientially based retention. Often, I hear students and colleagues complain equally about the struggle of applying their scale practice and theory class to their repertoire. Ultimately, repertoire builds technique, but no one objects to making the technique come easier and repertoire more beautiful.

I began noticing that my students preferred these вЂњpunishmentвЂќ lessons. I discovered this phenomenon early on when using scales and violin theory lessons as punishments for students not practicing. The craziest thing is that students love learning about the theory behind scales and technique, when using their violin to see musical language and its syntax in their mindвЂ™s eye. The solution is even simpler-I explain function using the violin. IвЂ™ve found the solution lies not in my best pre-game football speech or experiential story about how scales changed my life. It is akin to asking our children to swallow a big vitamin-we know itвЂ™s healthy, but it still seems a little like torture. We all desire to ingrain the habit of consistent scale practice beyond lesson time, but to impart a love for practicing scales feels impossible at times. S tring teachers know the value of scale practice in longitudinal development, but often struggle to instill this value in our students.