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Scale Sheets?
- Thread starter JCINMA
- Start date
I'm not sure what you mean by scale "sheets". There are a ton of books out that cover the topic. I have a bunch of them, but I'm not near my studio right now so I can't give you any titles. I can post them later if you like.
If you want "sheets", you can always write out your own.
If you want "sheets", you can always write out your own.
If you want "sheets", you can always write out your own.
That's very true, but hopefully unnecessary. I was hoping someone had a nice, well-organized PDF file with all the scales on it.
You'll learn the patterns better if you write them out over the full range of your horn, over all 12 keys, in all the patterns you want to learn.
Seriously, you will.
I never give sheets to my students. I give them the patterns, and have them write out over the full range of their horns. Then I have them practice what they've written out in various rhythmic patterns, phrases, intervals, and meters.
This is the best way to not only learn, but to internalize the fingering patterns.
Oh, and I should add...This takes time. Remember this is an endurance race. Not a sprint.
Seriously, you will.
I never give sheets to my students. I give them the patterns, and have them write out over the full range of their horns. Then I have them practice what they've written out in various rhythmic patterns, phrases, intervals, and meters.
This is the best way to not only learn, but to internalize the fingering patterns.
Oh, and I should add...This takes time. Remember this is an endurance race. Not a sprint.
I'm almost with Helen. I'll write down the pattern in one key, and they have to figure it out for the other 12. If you think about the pattern not the notes, it helps immensely. I've never understood why people read scale sheets, and those are usually the ones that can't play their scales without them. If you understand how the scales work as opposed to memorizing them you'll be able to play them much better. Singers never read music when they're doing their warmups, which are all scale patterns, why should we? I sing professionally, and just because we don't have keys doesn't mean it's any easier to sing scale patterns. I make all of my students sing and encourage them to join choir. As a vocalist, you are forced to "feel" the key and hear where you need to go. This is more important on brass, but after a while, you're fingers just know where they need to go. I surprise myself when I'm sightreading every once in a while and won't register what a specific note is but my fingers just go there because that's what I hear in my head as the next interval. This starts your ability to play music by ear.
Ok that's more advanced stuff, but you NEED to be able to understand the scales, not memorize them. Knowing wwhwwwh is one thing, but being able to apply it is another. Write the scales out starting on C. Another thing that I have my students do after they get the scales down somewhat is to pick a scale a day. Run through as many scales as you can, then focus on one. Play different patterns, we do revolving thirds, cdec defd efge etc etc up and down, then go up to D-Dorian, and do the same thing, defd efge fgaf etc etc all the way back to C-Major. Stuff like that.
Another good pattern is
123454321 123454321 12345678987654321
Ok that's more advanced stuff, but you NEED to be able to understand the scales, not memorize them. Knowing wwhwwwh is one thing, but being able to apply it is another. Write the scales out starting on C. Another thing that I have my students do after they get the scales down somewhat is to pick a scale a day. Run through as many scales as you can, then focus on one. Play different patterns, we do revolving thirds, cdec defd efge etc etc up and down, then go up to D-Dorian, and do the same thing, defd efge fgaf etc etc all the way back to C-Major. Stuff like that.
Another good pattern is
123454321 123454321 12345678987654321
I have some stuff here that you may be interested in
http://www.ClarinetPerfection.com/theoryscales.htm
I never really finished it .. but has some good information
use at your own risk
http://www.ClarinetPerfection.com/theoryscales.htm
I never really finished it .. but has some good information
use at your own risk
Whoa, hold on there partners. Wouldn't it be better to find out what level of knowledge of music fundamentals the original poster has before assigning transposition of patterns to all 12 keys. I know I didn't have that knowledge until 3 or 4 years into my playing experience.
The first rule of teaching is to begin where the student is at. Peace. : )
The first rule of teaching is to begin where the student is at. Peace. : )
true, being online it is so easy to jump to some level of conclusion without information. It was such a simple and straightforward question too .....
Even if we're jumping, if you can't get to where you can play the scales by figuring them out as opposed to reading them, you need to be reading off of the "common" scales first
Concert Bb, Eb, F, A
Especially the minors and pentatonics etc. If he can't figure the scales out on his own, he isn't "at" the level where he should be learning those. Start slow, read one or two common scales, then the rest of them, figure them out, don't use sheet music as a crutch, you'll develop a lot more problems later down the road
Concert Bb, Eb, F, A
Especially the minors and pentatonics etc. If he can't figure the scales out on his own, he isn't "at" the level where he should be learning those. Start slow, read one or two common scales, then the rest of them, figure them out, don't use sheet music as a crutch, you'll develop a lot more problems later down the road
Let me put on my teaching hat for a moment look at what is required to "figure out" all of the scales. Learning music fundamentals (beginning theory) is a hierarchy of concepts that one learns in a stepwise fashion much like learning mathematics. A logical learning sequence might be:
-names of the lines and spaces
-names of the ledger line notes above and below the staff
-the concept that the note takes its name (pitch) from the line or space it sits on
-the simple line space line space construction of scales
-the spelling of the C major scale
-The concept of flats and sharps
-The concept of half-step and whole step intervals
-The concept of key signatures
-The WWHWWWH interval sequence (pattern) of the major scale
-The relationship of key signatures to major keys (scales)
-The ability to spell all 12 major scales using key signatures
-The ability to spell all 12 major scales using accidentals
Following an understanding of and the ability to spell all 12 major scales both ways
-The concept of relative minor keys
-The relationship of relative minor keys to major keys
-The spelling of the A natural minor scale
-The WHWWHWW interval sequence (pattern) of the natural minor scale
-The spelling of all twelve natural minor scales using the correct key signatures
-The spelling of all twelve natural minor scales using accidentals
Following an understanding of and the ability to spell all 12 natural minor scales both ways
-The concept of raising the 7th of the natural minor scale to create the harmonic minor
-The concept of the step and a half (minor third) interval
-The WHWWH 11/2 H interval sequence (pattern) of the harmonic minor scale
-The spelling of twelve harmonic minor scales using key signatures and 1 accidental
-The spelling of twelve harmonic minor scales using all accidentals
Following an understanding of & the ability to spell all 12 harmonic minor scales both ways
-The "formula" to create the melodic minor scale ascending from the natural or harmonic
-The understanding that the descending scale is the same as the natural
-The spelling of all the melodic minor scales up and down using key signatures & accidentals
-The spelling of all the melodic minor scales up and down using only accidentals
Of course it is also of the utmost importance for the student to learn to "find" scales starting on any given tone by using their ear, BUT that cannot substitute for knowing and understanding the spelling and notation. The two skills should be taught simultaneously when the student has the appropriate command of the geography of his/her instrument.
-names of the lines and spaces
-names of the ledger line notes above and below the staff
-the concept that the note takes its name (pitch) from the line or space it sits on
-the simple line space line space construction of scales
-the spelling of the C major scale
-The concept of flats and sharps
-The concept of half-step and whole step intervals
-The concept of key signatures
-The WWHWWWH interval sequence (pattern) of the major scale
-The relationship of key signatures to major keys (scales)
-The ability to spell all 12 major scales using key signatures
-The ability to spell all 12 major scales using accidentals
Following an understanding of and the ability to spell all 12 major scales both ways
-The concept of relative minor keys
-The relationship of relative minor keys to major keys
-The spelling of the A natural minor scale
-The WHWWHWW interval sequence (pattern) of the natural minor scale
-The spelling of all twelve natural minor scales using the correct key signatures
-The spelling of all twelve natural minor scales using accidentals
Following an understanding of and the ability to spell all 12 natural minor scales both ways
-The concept of raising the 7th of the natural minor scale to create the harmonic minor
-The concept of the step and a half (minor third) interval
-The WHWWH 11/2 H interval sequence (pattern) of the harmonic minor scale
-The spelling of twelve harmonic minor scales using key signatures and 1 accidental
-The spelling of twelve harmonic minor scales using all accidentals
Following an understanding of & the ability to spell all 12 harmonic minor scales both ways
-The "formula" to create the melodic minor scale ascending from the natural or harmonic
-The understanding that the descending scale is the same as the natural
-The spelling of all the melodic minor scales up and down using key signatures & accidentals
-The spelling of all the melodic minor scales up and down using only accidentals
Of course it is also of the utmost importance for the student to learn to "find" scales starting on any given tone by using their ear, BUT that cannot substitute for knowing and understanding the spelling and notation. The two skills should be taught simultaneously when the student has the appropriate command of the geography of his/her instrument.
So do you teach all of the major minor and pentatonic scales simultaneously? With my students, they have no business learning the other scale patterns until they can understand their major scales. He asked for major minor pentatonic etc... assuming he knows some of these already, should he not go back to the basics and learn those things you listed first then go and learn the rest of the scales?
The previous information was labeled a "logical learning SEQUENCE". That means those concepts are taught and linked together in that specific order, not taught all at the same time.
In my experience a good teacher needs the ability to break down each skill or topic into its parts and then help the student master those parts as steps in a logical progression. Some advanced players are so far beyond the beginning steps of learning to play an instrument, that they have a hard time conceptualizing where the student is starting from.
"Assuming he knows" is a precarious starting position when giving advice to anyone asking questions about music.
In my experience a good teacher needs the ability to break down each skill or topic into its parts and then help the student master those parts as steps in a logical progression. Some advanced players are so far beyond the beginning steps of learning to play an instrument, that they have a hard time conceptualizing where the student is starting from.
"Assuming he knows" is a precarious starting position when giving advice to anyone asking questions about music.
I hear ya, so what I was suggesting was to learn the major scales by concept first. THEN go into the minors, then pentatonic, blues etc etc. Lumped it together earlier, but learn the basics first and follow his progression. It's similar to what I was taught and what I teach, but like he said, you can't be afraid to be a beginner.
OK, let's get this back on track to help out our OP a bit. I purposely didn't provide any details earlier because honestly, I believe this is the kind of stuff that should be part of the lessons a student takes. However, since there's been a lot of information provided already, but I'm just not sure how helpful it would be to someone looking for "how to" info, I thought I should now jump in with what I use with my students. While it is always better to work through this material with a good teacher, this book is straight forward enough that you can use the material presented in it and make sense of it on your own.
The resource I use with my students is a book that's been around for a long time. The title is Scales for Jazz Improvisation by Dan Haerle. To find out more about the book and what it contains, check out the preview of it in Google Books. The book is still in print, and can be ordered from Amazon.com.
BTW, the point of my second post:
...was that this is how I work with my students. Implied in this of course is that I know where they're at, since they're already my students. However in this type of medium, we have no idea who we are talking to, what their level of knowledge is, or for that matter what their level of reading comprehension is.
Your point jbtsax that "The first rule of teaching is to begin where the student is at." is bang on. It is a fundamental rule of teaching anything.
The resource I use with my students is a book that's been around for a long time. The title is Scales for Jazz Improvisation by Dan Haerle. To find out more about the book and what it contains, check out the preview of it in Google Books. The book is still in print, and can be ordered from Amazon.com.
BTW, the point of my second post:
...was that this is how I work with my students. Implied in this of course is that I know where they're at, since they're already my students. However in this type of medium, we have no idea who we are talking to, what their level of knowledge is, or for that matter what their level of reading comprehension is.
Your point jbtsax that "The first rule of teaching is to begin where the student is at." is bang on. It is a fundamental rule of teaching anything.
Wow, what seemed to me to be a simple request has turned into an interesting debate. Let me clear up some things about me. Using jbtsax's list:
-names of the lines and spaces- Check
-names of the ledger line notes above and below the staff- Check
-the concept that the note takes its name (pitch) from the line or space it sits on- Check
-the simple line space line space construction of scales- Check
-the spelling of the C major scale- Check
-The concept of flats and sharps- Check
-The concept of half-step and whole step intervals- Check
-The concept of key signatures- Check
-The WWHWWWH interval sequence (pattern) of the major scale- Check
-The relationship of key signatures to major keys (scales)- Check
-The ability to spell all 12 major scales using key signatures- Most of them
-The ability to spell all 12 major scales using accidentals- Most of them
After that, I know very little.
I can fluently play the C, G, F, D, A, and E major scales.
My intention in this post was to find a good resource to learn and memorize the major, minor, and pentatonic scales (and more of them, even), to help internalize the sounds of each key, and make me a better sight-reader, improvisationalist, and a better player all around.
If the best thing for me to do is to write out each scale, or figure each out as I am playing (WWHWWWH), then that's what I'll do. I intended scale sheets to be a stepping stone, not a crutch.
Thank you all for the wonderful suggestions. I hope to see even more during my time at the Woodwind Forums.
-names of the lines and spaces- Check
-names of the ledger line notes above and below the staff- Check
-the concept that the note takes its name (pitch) from the line or space it sits on- Check
-the simple line space line space construction of scales- Check
-the spelling of the C major scale- Check
-The concept of flats and sharps- Check
-The concept of half-step and whole step intervals- Check
-The concept of key signatures- Check
-The WWHWWWH interval sequence (pattern) of the major scale- Check
-The relationship of key signatures to major keys (scales)- Check
-The ability to spell all 12 major scales using key signatures- Most of them
-The ability to spell all 12 major scales using accidentals- Most of them
After that, I know very little.
I can fluently play the C, G, F, D, A, and E major scales.
My intention in this post was to find a good resource to learn and memorize the major, minor, and pentatonic scales (and more of them, even), to help internalize the sounds of each key, and make me a better sight-reader, improvisationalist, and a better player all around.
If the best thing for me to do is to write out each scale, or figure each out as I am playing (WWHWWWH), then that's what I'll do. I intended scale sheets to be a stepping stone, not a crutch.
Thank you all for the wonderful suggestions. I hope to see even more during my time at the Woodwind Forums.
ok, so from there, get the rest of the majors covered. Order of sharps and flats
FCGDAEB
BEADGCF
and all the key signatures etc etc. Once you get those cold, then move into the minors, then move into the rest of them. In order to truly internalize all of the scales it does take a few years. For a lot of us this was a while ago. I'm still young in comparison, but for me it's still looking almost a decade back since the blues scales were first learned. I still pick a scale a day when I can practice and work on them that way to not get lazy
FCGDAEB
BEADGCF
and all the key signatures etc etc. Once you get those cold, then move into the minors, then move into the rest of them. In order to truly internalize all of the scales it does take a few years. For a lot of us this was a while ago. I'm still young in comparison, but for me it's still looking almost a decade back since the blues scales were first learned. I still pick a scale a day when I can practice and work on them that way to not get lazy