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Dear Friends,
At first glance, it might take a bit of practice to get it down cold, right? Not if you know your scales and arpeggios! If you've practiced your S & A (scales and arpeggios), you'll say to yourself, "No problemo! Measure 1 is a Bb Major arpeggio; measure 2 is a Bb Major scale; and measure 3 is half Bb Major arpeggio and half Dominant 7th arpeggio." Now take a look at Mahler's song, Ging heut' Morgen ubers Feld (he also uses this tune in his First Symphony). 
Not much to learn technically if you know the D Major scale, right? In fact, each of the 27 notes moves by step in the D Major scale with only 4 exceptions. The whole tune is "just" a scale (transformed, of course, into a beautiful melody, by Mahler's genius). The scale basis of this song works at even a deeper level. Take a look at the first notes of 3rd, 5th, and 7th measures: A, G, and F#. What do they form? You bet! Part of a descending D Major scale! It's everywhere! It's the same story with this one, maybe the best-known tune in all of classical music: it's pure, 100% scale! 
Here, the first 8 measures of the Ode to Joy theme of Beethoven's Ninth Symphony are "simply" a manipulation of, once again, the D Major scale (manipulated, that is, by one of the Universe's most eloquent spokespersons - Beethoven). Are you getting the idea? If you take some time to master arpeggios, then these familiar 4 measures - written by another of the Universe's most eloquent spokespersons - will pose no problems. 
The first 2 measures of the opening of Mozart's Eine Kleine Nachtmusik? Pure G Major arpeggio. The second 2? Pure Dominant 7th arpeggio. The arpeggios in Puccini's aria, O mio babbino caro, are only a little less obvious, but having the Ab Major arpeggio in your voice will make learning the aria so much easier: 
The Ab, C and Eb of the Ab Major arpeggio are the basis of measures 1 and 2; only scale elements G at the end of measure 1, and F at the beginning of measure 2, are non-arpeggio notes. Measures 3 and 4 are pure Ab Major arpeggio; the only exception is the Bb that separates Club Arpeggio Members Ab and C in measure 3. Measures 5 to 8 are simple variations on what? Take a look. Right…the Ab Major scale. Here's another example of how knowing your scales and arpeggios will help you nail almost any piece of music. It's the solo violin part at the beginning of the 3rd movement of Beethoven's Violin Concerto: 
I know you got it right away - nothing but D Major arpeggios in the first two measures (ok, ok, there's a non Club Arpeggio member (G) at the end of measure 2). But that G introduces the scale sequences in measures 3 and 4. Scale sequences? Yes, and there are two of them in the last two measures of our example. First, look at the G in measure 2, and the F# and E in measure 3. Whatcha got? Exactly - part of the descending D Major scale. Now, look at the E and D in measure 3, and all the notes in measure 4. Whatcha got? A cute little scale tune: E, D, C#, C#, D, E! Really neat is if you practice those little scales separately: G-F#-E over and over again (Repetition is the mother of all learning); then E-D-C#-C#-D-E over and over again. Now play or sing the music as written. Ya gotta love what you get!
If you're not yet convinced that S & A are the basis of music, take a look at the music you're working on now. Pick out the scales and arpeggios (you may have to hunt a bit since they're not always as obvious as they are in the examples I've chosen). But you'll find that, with few exceptions…it's true. So practice your S & A and, in doing so, you'll be practicing most of the music that you'll ever play.
With All Best Wishes, 
David Barg, Learning Center Director The Classical Archives, LLC email: david@prs.net |
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