Approach to scales

[kevin_soda]

There are seemingly innumerable ways to approach scales. What is your favorite and how do you get the most out of your time practicing them?
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Kevin

[Turkle]

I use Jerry Coker's "Patterns for Jazz." All my scale and arpeggio studies are based on that book. Strongly recommended. I've been working out of that book for like 10 years and I've not come close to exhausting its riches.

Basically, my go-to strategy is:

1) Choose a mode of major, harmonic minor, or melodic minor
2) Run the scale through cycle of 4ths or chromatically, 1st ascending, 2nd descending, etc. single-tonguing and eventually double-tonguing every note
3) Run the scale 1st descending, 2nd ascending, etc. tonguing every other note (jazz-tonguing)
4) Repeat steps #2 and #3 with the corresponding arpeggios

At every step, work it from 80 to 120 eighth notes then 60 to 120 sixteenth notes, ascending 2 metronome marks at a time.

The whole thing takes about 20-30 minutes and is great for the chops and articulation!

I do other stuff too, but the above is 80% of my scale work.
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Yamaha 8310Z trumpet
Yamaha 8310Z flugel
Curry 3.

[kevin_soda]

I love that book! I owned it at one point but I haven’t seen it in a while...
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Kevin

[falado]

Hi, I had a trumpet teacher who gave me this exercise and I was able to memorize my major and natural minor scales in 1 week doing this.

First, on a sheet of manuscript paper I wrote out the key signatures for each major scale going around the strong side (flats) of the circle. Next he had me put just a note head of the major scale and then the note head of the relative minor. So, in order you are going:
C/a, F/d, Bb/g, Eb/C, Ab/f, Db/bb (C#/a#), Gb/eb (F#/d#), Cb/ab (B/g#), E/c#, A/f#, D/b, G/e, back to C/a.

Play the scale using the key signature.
Major up and down (1 or 2 octaves),say c up to c and down to c then play diatonic down to a and play the a natural minor scale.
Do the same with F/d, etc. around the circle and only one scale for the enharmonics.

In a week I was able to go through all major and natural minor scales by memory with our stopping. This also works with arpeggios and modes, also envision chord changes. However, before I looked at memorizing all my scales I had also been through all the scales in the Arban book.
This worked for me, hope this helps. I found it to be a good focus exercise.
Dave
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FA LA DO (Ab: V/ii) MUCS, USN (Ret.)
Stomvi VR (Reeves) with VR II Bell
Bach 239 25A C, Blueprinted
Bach 37, Early Elkhart, Blueprinted
Kanstul Flugel
Getzen 4 valve Pic.
Yamaha D/Eb
Besson Cornet

[twestervelt]

A scale is, essentially, a tune. Yes, students must know scales for auditions, and I have a specific technique that I use. However, I start beginning students (as well as experienced) completely by ear, using methods and techniques gleaned from Gordon's Music Learning Theory. Part of what students do when starting to learn to play is learn to play many (up to 300 or more) tunes by ear (see Gordon, Grunow and Azzarra, 'Jump Right In' from GIA publications). I give students a fingering chart that doesn't have notes, but has pictures of fingerings with solfege on it (La-based minor, moveable do). Students learn different songs in different keys, and the same songs in many keys (and even tonalities - try playing 'Twinkle Twinkle' in Dorian of harmonic minor).

Students get the patterns for each key under their fingers while actually playing music. Enough said about that.

When students are ready to audition for all-county, regional, etc., I teach student to play scales musically, like they would play a tune. I have students play up to one note above the tonic - blowing up and through the scale while descending). Start this technique with a slur.

[TrumpetMD]

[kevin_soda]

I like to approach them in terms of tonalities within my range. I do the circle of fourths but I start on low G in the key of C and play up to C above the staff and back down. Next is F but still starting on low G going up to C and back down. I proceed through the circle, adjusting to low F#/Gb and C#/Db above the staff as necessary. This will twist your mind at first but will allow you to comprehend each tonality within trumpet range. You can do this with any tonality.
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Kevin

[x9ret]

If playing a piece on the weekend that is in Eb major, then practice Eb major scales the week before and variants of them. For example the Arban. Get comfortable in the key.
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[kevin_soda]

[/quote] I pick one key each day, which means I rotate through may routine about every 12 days. On a given day, I run through all my scales and basic patterns in that particular key. This takes about 15 minutes.[/quote]

I love this idea. I heard Bill Evans recommended something similar where he suggested going deep into a key until it was a part of you rather than learning one idea in twelve keys at once. Practical reasons for both perspectives. Thanks, I think I’ll give this a try.
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Kevin

[x9ret]

First thing I play out of the box is a 2 octave C scale and a fourth above it to F up and down with a "hoh" start, no tongue. Then a D major scale likewise. Not forcing anything just thinking of an airstream through the instrument resting on the tongue, which is the main controller of the airstream.
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