Elaborated Scale Studies, for viola, by Paul Seitz
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26 scale-based shifting studies and variations in all keys, user adaptable to many different rhythms and bowings.
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These exercises are based on diatonic scales – each uses the same pattern of whole and half steps found on the white keys of the piano, transposed to all key signatures up to six sharps and six flats. There are two sets of studies - one set using melodic/fingering patterns on one string, while the other features patterns that cross two strings. Each begins with a melodic elaboration of a scale step, then shifts up the string retaining the frame of the left hand, i.e., same fingering, for each new scale degree. As the fingering is repeated with each shift, the distribution of whole and half steps constantly changes, providing practice in every possible fingering/interval pattern that can occur in any diatonic scale, major, minor, or modal.
Playing each exercise exactly as shown is a great way to begin, but these studies are meant to encourage constant variation in the way you practice each exercise. Each study is followed by several examples of possible variations – in rhythm, meter, bowing, etc. – as well as several blank staves to use as you create new variations that relate to other music and technique you are working on.
Bowing
Each exercise is first notated to be played with separate bows. On the facing page, several specific alternate bowing schemes are suggested. Even these, however, do not indicate whether to begin with an up or down bow – that choice is left up to you. (Try both!) I hope you will also create new variations exploring additional ways to bow each study.
Rhythm and Meter
As you consider various bowing options, the groupings of notes within a single bow will suggest alternative rhythms and meters that you can explore. Quite a few of these are provided among the variations offered for each study, including divisions of the beat into two, three, four and five note groupings. Many options exist for alternative meters, as well, some of which are provided among the variations.
Fingering
Although the basic plan for each study involves a series of stepwise shifts that retain the same fingering for the elaboration of each step in the scale, many fingering variations are possible. You may choose, for example, to avoid any open strings (first position) and continue to shift to higher positions before changing strings. Because the 4th finger really defines the frame of the left hand, most studies employ fingers 1, 2, 3 and 4. For those few studies using only fingers 1, 2 and 3 in the repeating pattern, you may also try delaying the first shift, playing the next scale degree pattern with fingers 2, 3 and 4, and then continue to use those fingers as you continue shifting.
Fingerboard Fluency
An important benefit of this overall approach is that, whenever you try a new variation, you will need to apply all its new features (rhythm, bowing, etc.) to each elaborated scale step, developing an awareness of the relationship between the pitches, the intervals, the fingering and the shifts (within each key signature). Some variations will require a new fingering as you change strings. Because those pitches, intervals and fingerings, in combination with various rhythms, meters and bowings, will also occur in much of the other music you play, your memory of these patterns will begin to “infiltrate” all your playing, creating a new freedom based on a more fluent experience of the fingerboard.
-- Paul Seitz
Playing each exercise exactly as shown is a great way to begin, but these studies are meant to encourage constant variation in the way you practice each exercise. Each study is followed by several examples of possible variations – in rhythm, meter, bowing, etc. – as well as several blank staves to use as you create new variations that relate to other music and technique you are working on.
Bowing
Each exercise is first notated to be played with separate bows. On the facing page, several specific alternate bowing schemes are suggested. Even these, however, do not indicate whether to begin with an up or down bow – that choice is left up to you. (Try both!) I hope you will also create new variations exploring additional ways to bow each study.
Rhythm and Meter
As you consider various bowing options, the groupings of notes within a single bow will suggest alternative rhythms and meters that you can explore. Quite a few of these are provided among the variations offered for each study, including divisions of the beat into two, three, four and five note groupings. Many options exist for alternative meters, as well, some of which are provided among the variations.
Fingering
Although the basic plan for each study involves a series of stepwise shifts that retain the same fingering for the elaboration of each step in the scale, many fingering variations are possible. You may choose, for example, to avoid any open strings (first position) and continue to shift to higher positions before changing strings. Because the 4th finger really defines the frame of the left hand, most studies employ fingers 1, 2, 3 and 4. For those few studies using only fingers 1, 2 and 3 in the repeating pattern, you may also try delaying the first shift, playing the next scale degree pattern with fingers 2, 3 and 4, and then continue to use those fingers as you continue shifting.
Fingerboard Fluency
An important benefit of this overall approach is that, whenever you try a new variation, you will need to apply all its new features (rhythm, bowing, etc.) to each elaborated scale step, developing an awareness of the relationship between the pitches, the intervals, the fingering and the shifts (within each key signature). Some variations will require a new fingering as you change strings. Because those pitches, intervals and fingerings, in combination with various rhythms, meters and bowings, will also occur in much of the other music you play, your memory of these patterns will begin to “infiltrate” all your playing, creating a new freedom based on a more fluent experience of the fingerboard.
-- Paul Seitz