• Store
  • Sign-up
  • Sign-in
Menu
Practising the Piano
  • Home
  • Resources
    • Multimedia eBook Series
    • Online Academy
    • Video Lessons
    • Annotated Study Editions
    • Repertoire Resources
    • Piano Technique Resources
    • Amateur Piano Groups & Clubs
  • Events
    • Calendar
    • Online Events
    • London Piano Courses
    • Practice Clinics
    • Online Performance Workshops
  • Blog
      • Practising
      • Learning Pieces
      • Technique
      • Performing
      • Teaching
      • Archive
  • About Us
    • Help & Support
    • Contact us
HomePractisingA Beautiful Process for Scales

A Beautiful Process for Scales

By Graham Fitch, 2013-09-27 Posted in: Practising

I was back at Steinway Hall in London recently, recording a new series of video demonstrations for Pianist Magazine. The first is on scales and arpeggios, and now that it has come out I am able add it at the end of this post. In this video, I demonstrate how the wrist, thumb and forearm accommodate the shifts in position in a scale or an arpeggio, using examples from the repertoire. So often I see players drop the arm down onto the thumb, forgetting that the arm needs to glide behind the hand smoothly. Apart from lumps and bumps, this will often cause a derailment.

I wish there had been time to demonstrate a beautiful process my friend and colleague, the late and much missed Nehama Patkin used to do with scales for her intermediate students. Fortunately, I can give it to you here. This is useful hands separately as well as together, and it is actually very good to do it with the metronome.

This is my take on what Nehama did (she suggested playing the scale as fast as possible as the final part, even if it comes out scrappily):

  • Play the scale one octave ascending and descending, very slowly and firmly with a full, rich tone – let’s say we play each note as a crotchet, MM = 60 (or wherever suits you). Raise each finger slightly before grasping each key firmly, making sure to switch off effort at the bottom of each key. This will be at a level of forte.
  • Next, without stopping, play two octaves in quavers. Keep the same pulse from the one-octave scale (the scale will now be twice as fast). Physically, instead of planting each finger into the key we now play lighter. Concentrate on the arm, feeling it glide serenely across the keyboard like a swan on the water. Perhaps mezzo piano.
  • Again without stopping, now play three octaves as triplets, more lightly. Activate the fingers again, this time using a leggiero touch (a very light finger staccato).
  • Finally, play four octaves as semiquavers. Bring together active fingers with the gliding arm.
  • If you wish, play the scale now as fast as possible. Don’t worry if it doesn’t quite work – you are starting to build the reflexes for eventual success somewhere down the line, and magic can happen here.
  • Remember to enjoy it!

Here is my video for Pianist Magazine:

***   ***   ***   ***   ***

Part 2 of my ebook series is almost ready to hand over to the publisher! If you haven’t already got your copy of Practising the Piano Part 1, here are details of how to get it:

Special offer bundle – Part 1 of Practising The Piano eBook Series (All three volumes)

Buy Part 1 of Practising The Piano (three volumes) for over 30% off the full individual prices.

[prod_btns code=”part1bundle” title=” “]

 

Tags: arpeggiosmetronomeNehama Patkinpianist magazinescalesscales generatorSteinway Hall

Related Posts

Making Scales Sound and Feel Good

Making Scales Sound and Feel Good

By Graham Fitch, 2014-04-11
Posted in: Practising

Some years ago I was invited to give a class on scales and arpeggios for a piano teachers’ association. There was one advancing student who was really struggling with them - everything was faulty and she could barely manage to get through. I only had a brief time with her,…

Read More

Tags: arpeggiosbeethovenChopinconcertoexaminationsexpressionimaginationjs bachMendelssohnperformancescalesstyle
Making Scales Sound and Feel Good
Fundamentals of Scale and Arpeggio Playing

Fundamentals of Scale and Arpeggio Playing

By Graham Fitch, 2020-03-12
Posted in: Technique

Scales and arpeggios are part of the requirements of all examination boards, and every pianist will encounter them. The importance of knowing scales and arpeggios in every key cannot be exaggerated, but many players struggle with them because of poor technique. How do we learn to play any scale at…

Read More

Tags: arpeggiospiano techniquescalesscales and arpeggiostechniquethumb
Fundamentals of Scale and Arpeggio Playing
A Scale Plan

A Scale Plan

By Graham Fitch, 2014-04-04
Posted in: Practising

So you know you have to practise your scales but you're not really that keen, and you find your mind is constantly wandering. You need some sort of plan, and you need a definite way of doing things - or you'll just aimlessly doodle up and down the scale a…

Read More

Tags: arpeggiosexercisespractice toolspulseRussian scalescalesscales generatortempo
A Scale Plan
How to Begin a New Piece: Part 2

How to Begin a New Piece: Part 2

By Graham Fitch, 2015-09-19
Posted in: Learning Pieces, Practising

In the first post of this short series on learning a new piece, I discussed the need to construct firm and very thorough foundations before beginning work at the piano. I appreciate the overwhelming itch to get to the piano for our first physical contact with the new piece, but aim…

Read More

Tags: Grigory Koganstanford marshmallow experiment
How to Begin a New Piece: Part 2
Albeniz, Tchaikovsky, Beethoven & Schubert

Albeniz, Tchaikovsky, Beethoven & Schubert

By Informance, 2023-07-13
Posted in: Learning Pieces, Practising

In this month’s practice clinic, Graham Fitch answers questions on fingering, pedalling, achieving legato, interpretation and imagination in works by Albeniz, Tchaikovsky, Beethoven, Scarlatti and Schubert.

Read More

Tags: albinezbeethoveninterpretationlegatopedallingpractice clinicScarlattiSchubertSchubert Impromptu in B flat
Albeniz, Tchaikovsky, Beethoven & Schubert
No Stopping!

No Stopping!

By Graham Fitch, 2016-06-23
Posted in: Practising

I recently gave a consultation lesson to a diploma candidate, who told me at the end it was the most illuminating lesson he had ever had. I couldn't think why, so I asked him. He said he had never played his pieces through from beginning to end without stopping. Apparently, his…

Read More

Tags: Nina SvetlanovaSviatoslav Richer
No Stopping!

Previous Post

Practising Chopin’s “Ocean” Etude

Next Post

The Dance of the Dampers

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

*

*

Sign-up To Our Mailing List!

Sign-up to our email newsletter for free resources, news updates and special offers!

TOPICS

  • Practising
  • Learning Pieces
  • Technique
  • Performing
  • Teaching

LINKS

  • Online Academy
  • Informance
  • Help & Support
  • Contact Us

© 2025 Practising the Piano All Rights Reserved

  • Twitter
  • Facebook
  • YouTube
  • LinkedIn
  • Privacy Policy
  • T&Cs
We use cookies to ensure that we give you the best experience on our website.OkMore Information