![]() ![]() In most scale books: Galamian, Barber, Flesch, the information is not usually presented in a sensible, well labeled way that could possibly lead to an understanding of the logarithmic nature of the fingerboard. There's a solid foundation for listening to 3rds, Perfect 5ths and octaves which benefit the upcoming 3-octave scales. The hand shapes, at least with my finger patterns, are consistent, and do not change over the course of each arpeggio. It seems to be more beneficial to teach these first. Reading pitches might be a difficult, but it's simple enough to create a reading exercise on. Most other students need to be eased into it a bit. ![]() When I began serious study of 3-octave scales and arpeggios, my teacher at the time gave me a worn, grisly photocopy and said: "Practice scales for 2 hours every day and memorize them for the next lesson." It was quite intimidating! For some dedicated students in need of hardening, that approach might work. I'm just not going to address that subject here. Of course, the scales and arpeggios can be a great workshop for fundamental bow technique as well. What's the point of practicing scales and arpeggios, anyway? For most young violinists, 3-octave scales and arpeggios are the first foray into transposition exercises that illuminate the logarithmic nature of the fingerboard.
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