Tonebase Piano Scales and Arpeggios

SCALES & ARPEGGIOS
TIPS FROM RACHMANINOFF,

LISZT, CHOPIN & BRAHMS
LEARN MORE AT TONEBASE.CO/PIANO

SCALES & ARPEGGIOS
TIPS FROM RACHMANINOFF, LISZT, CHOPIN & BRAHMS
As we grow as pianists, we must continuously strive to hone

our technique; not for the sake of impressing others with
scales performed at breakneck speed but rather for the sake
of our expressivity and musicality.
Russian pianist and pedagogue Josef Lhévinne believed that a

pianist with poor technique was no better than an actor who
could not speak simple phrases correctly.
In this PDF, we explore scales and arpeggios as the backbone

of a pianist’s technical training and, more importantly, as a
vehicle for developing our own musical fluency and eloquence.
Table Of Contents
5 Finger Exercises
What To Listen For?
Keep Things Interesting
Arpeggios
Keeping Your Eyes On The Prize

5-FINGER EXERCISES
According to Liszt, before we practice scales, we
should first master five-finger exercises.
Liszt assigned these exercises to his students before teaching

them scales, because they allow us to strengthen our fingers
equally without worrying about the passing-under of the thumb.
Since five-finger exercises rarely

require changes in hand position,
they allow us to focus on
developing skills like finger
independence.
Liszt, for instance, would have his students strike each note of a
five-finger exercise six-to-twelve times while they held down the
notes not involved, paying special attention paid to the weak
fingers (e.g. the ring finger and pinky).
FIVE-FINGER EXERCISES ALLOW US TO FOCUS ON

DEVELOPING SKILLS LIKE FINGER INDEPENDENCE.

WHAT TO LISTEN FOR?
When we graduate from five-finger exercises & begin
our study of scales, what should we listen for?
Our primary focus should be on

the evenness of our sound; i.e.
no single note should stick out
as louder than the rest.
When we shift hand positions,

there should be no noticeable
hiccup in our dynamic level or
rhythm.
Chopin believed that evenness of

sound depended on the equal
strengthening of all fingers and the
flexibility (souplesse) of the thumb
and entire arm (wrist, elbow, etc.).

KEEP THINGS INTERESTING
While developing an even sound, we should challenge
ourselves to make our scale practice as enjoyable and
rewarding as possible.
1. PRACTICE DIFFERENT KEY ORDERS

We must learn to play scales in every key. Which keys, though,
should we practice first? It’s really up to us – or our teachers!
Liszt had his students begin with C major followed by its relative
minor. They would then move on to other keys in chromatic scale
order (i.e. Db major and Bb minor, D major and B minor, etc.).
Many of us practice scales in the key order of the Circle of Fifths.
Chopin had yet another approach: since he believed that the

hand’s natural contour fit the B major scale more than any other,
he had his students began with this key before moving on to E, F#,
G#, and A# major C major was learned last.

KEEP THINGS INTERESTING!
So, change things up! While it’s certainly helpful to enter the
practice room with a plan, it’s also important to keep things fresh
for ourselves – repertoire often asks us to change keys
unexpectedly, so we should train ourselves to stay on our toes!
2. PRACTICE WITH DIFFERENT ARTICULATIONS

Since scales are built on stepwise motion, they provide us with a
wonderful opportunity to practice our legato.
Rachmaninoff warns us against playing scales with an insensitive,

mechanical touch: “…imagine that you are actually playing upon
the wires, ringing them with soft felt covered hammers and not
with hard metal bars…”
Rather than striking the keys with a typewriter-like, downward

motion, we should imagine ourselves “grasping” or stroking them
at a more oblique angle. Imagine playing into or through the key-
bed, as if it were made of play-dough or jelly instead of wood.

While scales lend themselves to legato playing, we can also
practice them with other articulations: Liszt, for instance,
encouraged his students to practice scales in staccato octaves,
“lifting up the hand quickly on each octave so as to acquire a free
and flexible strength…”
3. PRACTICE IN CONTRARY MOTION
When we learn to play scales with both hands, we often start with
parallel motion – it’s easier to keep track of our hands when
they’re moving in the same direction! Eventually, however, we can
challenge ourselves to play scales in contrary motion. This not
only keeps things interesting but also trains our peripheral vision.
Paradoxically, scales that use “C-major fingering” C, G, D, E

major; A, E minor) are actually easier to coordinate in contrary
motion. The reason is that these scales take advantage of the
“mirror image” relation of the two hands, so that the same finger

numbers in the ascending hand are use simultaneously in the
descending hand. For scales that require other fingerings,
however, contrary motion proves much more challenging!
4. PRACTICE YOUR INTERVALS

When we learn to play scales with both hands in parallel motion,
we often start with octaves. Later, however, we can challenge
ourselves to play our scales in thirds, sixths, tenths, and even
double thirds, as taught in the Russian school of piano playing.
This not only develops another level of mental and physical
coordination, it also develops the ear’s sensitivity to polyphony.

5. RACE YOURSELF!
When we practice scales slowly, we have the time to devote our
attention to everything that we should be listening for in our
playing: evenness, musicality, etc.
The faster we play, the harder it is to focus on these qualities.

Nevertheless, we must reserve practice time for training our
hands to play comfortably at quick tempos. Here, the metronome
is our friend, and patience is the key!
Even Chopin, whose works require virtuosic dexterity, had his

students practice scales very slowly at first. Eventually, however,
we can challenge ourselves to perform scales in groups of eight
32nd-notes to the beat at 120 BPM!
In Rachmaninoff’s time, Russian pianists were tested at this

awesome tempo in their fifth-year conservatory exams.

ARPEGGIOS
We should try to make our arpeggio practice routine as
engaging and varied as our scale playing.
Brahms encouraged his students to strengthen their fingers

individually by accenting different notes of their arpeggios.
One of Clara Schumann’s daughters, Eugenie Schumann, recalled

that Brahms would instruct her to play arpeggios in groups of four
sixteenth notes and groups of triplets and sextuplets, accenting
the first note of each group.
He would also have her accent each note of an arpeggio

individually, beginning with the first, then the second, and so on.

KEEP YOUR EYE ON THE PRIZE
Schumann dismissed the idea of practicing scales and arpeggios
for the sole purpose of developing technical prowess: “That is as
reasonable as trying to recite the alphabet faster and faster every
day. Find a better use for your time.”
We must remember that

practicing scales and
arpeggios is a means to an end
rather than an end in itself. We
train our fingers so that in
performance we can focus on
our musicality and expressivity
rather than worry about
whether or not our hands will
fail us.
When we sit down at the piano to practice our scales and

arpeggios, let’s remember, then, to keep our eye on the prize!
"PRACTICING MECHANICAL EXERCISES FOR MANY HOURS A DAY

IS AS REASONABLE AS TRYING TO RECITE THE ALPHABET
FASTER & FASTER EVERY DAY." - ROBERT SCHUMANN

ADDITIONAL RESOURCES
We hope you found these tips on scales and arpeggios helpful! If
you’re interested in learning more about piano technique, a
perfect follow-up to this PDF would be Garrick Ohlsson’s lesson
“On Touch” where he teaches the crucial art of touch, or in other
words, applying pressure to the keys. As he describes, the piano
is “a box of decrescendos” and ultimately a note’s dynamic level
cannot be controlled once a key is depressed. Therefore, one
must fool the ear into thinking one note is connected to another
when playing crescendos or cantabile style.
To access Garrick Ohlsson’s full lesson, head over to

tonebase.co/piano or simply click the image below!

LEARN FROM THE WORLD'S BEST
CLASSICAL PIANISTS
Join Grammy winning artists, Carnegie hall soloists,
international competition winners, and acclaimed
pedagogues as we build the largest classical piano
community in the world.
In-depth masterclasses on repertoire

from Bach to Ligeti
Skill-building lessons on technique

and musicianship
Foundational courses for beginners
Interviews and special features

Tonebase Piano Scales and Arpeggios

Uploaded by

Copyright:

Available Formats

Tonebase Piano Scales and Arpeggios

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Tonebase Piano Scales and Arpeggios

Uploaded by

Copyright:

Available Formats

What are some tips for practicing scales and arpeggios according to famous composers?

What are some tips for practicing scales and arpeggios according to famous composers?

What are some ways to keep scale and arpeggio practice interesting?

What are some ways to keep scale and arpeggio practice interesting?

SCALES & ARPEGGIOS

TIPS FROM RACHMANINOFF,

LEARN MORE AT TONEBASE.CO/PIANO

As we grow as pianists, we must continuously strive to hone

Russian pianist and pedagogue Josef Lhévinne believed that a

In this PDF, we explore scales and arpeggios as the backbone

What To Listen For?

Keep Things Interesting

Keeping Your Eyes On The Prize

LEARN MORE AT TONEBASE.CO/PIANO

Liszt assigned these exercises to his students before teaching

Since five-finger exercises rarely

FIVE-FINGER EXERCISES ALLOW US TO FOCUS ON

LEARN MORE AT TONEBASE.CO/PIANO

Our primary focus should be on

When we shift hand positions,

Chopin believed that evenness of

LEARN MORE AT TONEBASE.CO/PIANO

1. PRACTICE DIFFERENT KEY ORDERS

Chopin had yet another approach: since he believed that the

LEARN MORE AT TONEBASE.CO/PIANO

2. PRACTICE WITH DIFFERENT ARTICULATIONS

Rachmaninoff warns us against playing scales with an insensitive,

Rather than striking the keys with a typewriter-like, downward

LEARN MORE AT TONEBASE.CO/PIANO

3. PRACTICE IN CONTRARY MOTION

Paradoxically, scales that use “C-major fingering” C, G, D, E

LEARN MORE AT TONEBASE.CO/PIANO

4. PRACTICE YOUR INTERVALS

LEARN MORE AT TONEBASE.CO/PIANO

The faster we play, the harder it is to focus on these qualities.

Even Chopin, whose works require virtuosic dexterity, had his

In Rachmaninoff’s time, Russian pianists were tested at this

LEARN MORE AT TONEBASE.CO/PIANO

Brahms encouraged his students to strengthen their fingers

One of Clara Schumann’s daughters, Eugenie Schumann, recalled

He would also have her accent each note of an arpeggio

LEARN MORE AT TONEBASE.CO/PIANO

We must remember that

When we sit down at the piano to practice our scales and

"PRACTICING MECHANICAL EXERCISES FOR MANY HOURS A DAY

LEARN MORE AT TONEBASE.CO/PIANO

To access Garrick Ohlsson’s full lesson, head over to

LEARN MORE AT TONEBASE.CO/PIANO

In-depth masterclasses on repertoire

Skill-building lessons on technique

Foundational courses for beginners

Interviews and special features

LEARN MORE AT TONEBASE.CO/PIANO

You might also like