Posted on June 3, 2010 by Brittany Gardner in - Other
Scale Masters Program
Developed by Brittany Platt Gardner
Goal: to develop understanding of fingerboard geography, competence in shifting, and an overall facility at moving around the cello.
Step 1: Teach the student all of the scales in two octaves, one scale at a time, using the fingering found in “The Galamian Scale System for Violoncello.”
• As soon as a student has learned all the Twinkle Variations, present scales in pizzicato
• Break them down in the simplest forms for students; sometimes teaching only one octave at a lesson, one position at a time.
• As you present the scale, name the note names as well as the positions in which notes are found.
• When student has finished learning all twelve major scales, they earn a candy bar of their choice, or other prize. They also sign the Scale Masters poster in the studio, thereby joining an elite group of students.
• Generally, students stay on one scale a week, not necessarily reviewing past scales. If the scale is presented clearly and understandably by the teacher, the student will not need to stay on a scale longer than two weeks.
Step 2: Slurring
• Go back through the scales, starting over at the beginning. Student plays the entire scale with one note per bow, then two notes per bow, then three notes per bow, then four notes per bow.
• The goal is for the student to develop the capability of grouping different amounts of notes in a slur. If slurs aren’t perfectly smooth, that’s not a problem. The goal is not the smoothness of bow, but rather the mathematical grouping of notes.
• Go through entire cycle of scales with this slurring pattern.
Step 3: Metronome
• Go back through the scales, starting over at the beginning. Student sets metronome at 60 and plays (with separate bows) one note per click, two notes per click, three notes per click, and four notes per click.
• The goal is for the student to develop velocity.
• Go through the entire cycle of scales with this metronome pattern.
Step 4: Slurring
• Go back through the scales, starting over at the beginning. Student plays the entire scale with one note per bow, then two notes per bow, then three notes per bow, then four notes per bow, then six notes per bow.
• Go through entire cycle of scales with this slurring pattern.
Step 5: Metronome
• Go back through the scales, starting over at the beginning. Student sets metronome at 60 and plays (with separate bows) one note per click, two per click, three per click, four per click, and six per click.
• Go through the entire cycle of scales with this metronome pattern
Step 6: Metronome and Slurring
• Go back through the scales, starting over at the beginning. Student sets metronome at 60 and plays (with slurred bows) one note per click, two per click, three per click, four per click, and six per click.
• Go through the entire cycle of scales with this metronome pattern.
Step 7: Tuning
• Go back through the scales, starting over at the beginning. Student plays scale slowly with tuning device (preferably a tuning CD, though a tuner is adequate). Playing each note twice and slowly to match pitch.
• Go through the entire cycle of scales with this emphasis on tuning.
The teacher may introduce minor scales at his/her discretion.
The Brilliance of the Scale Masters System
• Introducing shifting to young students makes it seem less daunting
• Playing difficult, scalar passages come easier to their fingers
• They build an identity with the other students, their fellow Scale Masters
• The teacher can use the scales to work on techniques specific to the students. E.g., I went through the entire cycle of scales with one of my students with hook bows to develop strength and proper posture of bow hand.
• Knowledge of scales gives teacher a springboard from which to discuss theory (e.g. relative keys, etc).
• My students who start this at the beginning, right after twinkles, have a much easier time when presented with advanced techniques (hook bows, slurs, high shifts, etc). They can learn their pieces more quickly and therefore gain confidence.
• Scales are only as boring as the teacher. The more creative, innovative, and interesting the teacher is, the more the scales are to the student.