TECHNIQUE
Scaling the heights
Thoughts on effective scale and arpeggio practice
Teaching & Playing
ANDREA GAJIC
Professor of violin, Royal Conservatoire of Scotland (junior and senior divisions); tutor, Benedetti Foundation
BRIAN SWEENEY
• BORN Glasgow, Scotland, UK
• STUDIED WITH Sylvia Rosenberg, Khalida Akhtyamova, Maya Glezarova, Felix Andrievsky
• TEACHES Junior and senior conservatoire students aged 16–27
Good scale and arpeggio practice is a vehicle for developing and refining every aspect of violin playing – building the control necessary to enable freedom of musical expression. A progressive approach is essential and huge improvement can be seen in students who work consistently and effectively. Rhythmic acceleration (with the Galamian turn) provides the ideal practice model because the tempo builds gradually. This is a useful approach that can be applied to studies and the wider repertoire.
It is often evident, when first hearing a student play scales and arpeggios, that they haven’t considered what they are trying to achieve; however, the benefits of scales and arpeggios are multidimensional. The absolute focus required in scale and arpeggio practice builds the mental stamina which is essential in the performance of repertoire. There should be no trace of autopilot.