• 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
HomePractisingMaking 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, and I decided not to spend too long trying to correct the technical faults because they were just too numerous. Besides, I knew her teacher had already shown her what needed to be done. I asked her if she knew Beethoven’s 3rd Piano Concerto, and she said she did. I then invited her to imagine the piano entry in the first movement and, when she was ready, to play a scale of C minor in that style. To everyone’s surprise (including her own), she played the scale flawlessly. Instead of trying to remember what her elbows and her thumbs ought to be doing, she had an artistic goal in mind before she played – a definite mood and character. This is what enabled her to forget about the “how” and instead focus her mind on achieving her musical intention. This is how it is when we play real music; we can’t be thinking about the means in performance. Scales are not music of course, but we can still imbue them with character and imagination.

Beethoven

 

Styles

When playing a scale, rather than simply thinking of the note patterns of that particular scale, have a style or character in mind. Here are some examples useful at a more advanced level (there are loads more you can come up with). Take a moment or two before you play to get in character:

  • E major in the style of a Mendelssohn Scherzo
  • G major in the style of a Bach Gigue
  • G minor in the style of the coda of Chopin’s Ballade No. 1 (Go on! See how it sounds if you add a splash of pedal, about the same amount as a dash of Tabasco on your dinner – DON’T do this in an exam, though!)
  • B flat minor, lento e mesto
  • A major, allegro giocoso

For younger players who won’t have much knowledge of the repertoire, we can use descriptive terms such as:

  • Bright and sunny
  • Slow and mysterious
  • Strong and spiky
  • In a marching style
  • Gently flowing

Scales can be practised at a variety of speeds, and remember a slow scale does not have to sound dull and mechanical. In an exam situation, I would not suggest doing any of this too obviously, it’s more for the practice room. So what is the best way to play a scale when they are being tested? Because all technical exercises need to be presented with shape and quality of sound, we can think of a gentle crescendo on the way up and a diminuendo on the way down. Group them in 4’s or 8’s but without any discernible accents.

Random Scale Generator

In my new ebook on scales and arpeggios, I decided to include several resources to help teacher and student structure the technical work. Apart from the practice charts, one resource I am particularly proud of is the random scale generator. I have designed one for each ABRSM grade. Here’s how it works:

  1. Select a grade from the drop down listing
  2. Click “Generate”
  3. Play the scale that is generated along with the specified instructions
  4. Rate yourself between 1 and 5 (“5” being perfect) depending on how you think you did
  5. Click “Next” for another scale or “Finish” to review your results of the session

scalesgenerator

This will certainly help motivate and challenge students in their practice room, as it gives them a chance to test themselves and to rate their achievements. In addition to a random scale or arpeggio requirement generated for that grade, we have programmed in other challenges that might or might not appear:

  • Touch (legato, staccato, etc.)
  • Shape (crescendo to the top, smooth and even, etc.)
  • Speed (full, half and quarter speeds – with metronome marks as recommended by the ABRSM for the grade)
  • Rhythm (the generator randomly allocates one of several different rhythms or just leaves this part blank)

***   ***   ***

If you enjoyed this blog post, then you may be interested in the following resources:

Practising the Piano eBook Series (New Revised Editions!)

There are surprisingly few books that deal with the art of practising. This multimedia eBook series contains hundreds of videos, audio clips, music examples and downloadable worksheets to show you exactly what need to do in order to get the most out of your practice time. Click here for more information.

To celebrate the launch of revised editions of the series, we’re offering a further 20% off all products in our catalogue. To take advantage of this offer, please visit our catalogue and enter the following voucher code upon check-out: 2PXGQX6XX3A9.

Alternatively, you can click here to be taken directly to the checkout page for the complete series bundle with the voucher automatically applied.

Practising the Piano Online Academy

Building on my blog posts and eBook series, the Online Academy takes my work to the next level with a comprehensive library of lessons, masterclasses and resources combined with insights from other leading experts. Aimed at piano teachers and pianists, it will transform the way you approach playing or teaching the piano!

A number of articles are available without registration and you can also register for free to view an additional five articles (no credit card required). Click here to find out more about the Online Academy or click here to visit the site, view free content and to subscribe.

Tags: arpeggiosbeethovenChopinconcertoexaminationsexpressionimaginationjs bachMendelssohnperformancescalesstyle

Related Posts

Handel, Mendelssohn, Mozart and Rachmaninoff!

Handel, Mendelssohn, Mozart and Rachmaninoff!

By Informance, 2021-06-24
Posted in: Practising

In this month’s practice clinic, Graham Fitch answered questions on trills, fingering, legato octaves and gave practising tips for tackling a difficult passage in works by Handel, Mozart, Mendelssohn and Rachmaninoff.

Read More

Tags: HandelMendelssohnMozartMozart Sonata in A major K331practice clinicRachmaninovRachmaninov Etudes Tableaux op. 33
Handel, Mendelssohn, Mozart and Rachmaninoff!
Beethoven, Alberti Bass & Chopin’s Berceuse

Beethoven, Alberti Bass & Chopin’s Berceuse

By Informance, 2023-02-23
Posted in: Learning Pieces, Practising

In this month’s practice clinic, Graham Fitch answers questions on playing fast and evenly, Alberti basses and practice methods for a Sonata and Bagatelle by Beethoven, Chopin’s Berceuse and a Mazurka

Read More

Tags: alberti bassbeethovenChopinchopin berceusepractice clinic
4 Comments
Beethoven, Alberti Bass & Chopin’s Berceuse
Pause for Thought

Pause for Thought

By Graham Fitch, 2017-10-26
Posted in: Inspiration

Have you ever stressed about what to do during a long rest that appears in a piece you are playing? In my experience of listening to pianists, rests often get shortened - sometimes really drastically. Because you're at the instrument in the middle of a piece, you should be playing…

Read More

Tags: beethovenJustus FrantzLeon FleisherPathetique Sonata
Pause for Thought
How to Begin a New Piece: Guest Post

How to Begin a New Piece: Guest Post

By Graham Fitch, 2015-09-24
Posted in: Practising

It is a great privilege to be one of the principal tutors on The Piano Teachers' Course UK. One of our recent graduates, Julie Garnham, handed in an excellent essay as part of her course work and I felt it belonged in this short series How to Begin a New…

Read More

Tags: adele marcusChopin Nocturne in C sharp minorGina BachauerJan Henrick HansenMalinowskiPiano Teachers Course (EPTA) UK
How to Begin a New Piece: Guest Post
An Interview with Nicola Cantan

An Interview with Nicola Cantan

By Graham Fitch, 2018-04-05
Posted in: Practising

A few weeks ago I had a visit from Nicola Cantan of Colourful Keys to record an interview with me for her blog. We spent a very pleasant half hour or so chatting about teaching, practising and performing and I thought I would share the video with you here. You'll…

Read More

Tags: Colourful KeysNicola Cantan
An Interview with Nicola Cantan
Paderewski, Schumann and Schubert

Paderewski, Schumann and Schubert

By Informance, 2022-06-15
Posted in: Practising

In this month’s Practice Clinic, Graham Fitch answers questions on trills, fingering and fast staccato playing in works by Schumann, Binge and Paderewski.

Read More

Tags: bingepaderewskipractice clinicSchubertSchumann
Paderewski, Schumann and Schubert

Previous Post

A Scale Plan

Next Post

Our Inner Conductor

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