Paula Verdicchio Ailshie

When you look at a scale, in most scale books, it doesn’t look like much. In fact, even if you are a beginner, you can play the scale and arpeggio you are working on fairly quickly. So what is it that you should practice? As you know, just playing the scale isn’t practicing. If you’re an advanced student you might be thinking, “The Flesch Scale Book is much more in depth, and takes a lot of time to practice.” Yes, Flesch is a great tool, and to do all the sets and reps does take time. My point is, are you playing through your scale method, or are you practicing?

The difference is setting a goal. Advanced players can be just as guilty as beginners of the “playing syndrome.” You know, getting through material, but not necessarily intently improving as many areas as possible. Practicing shouldn’t be “vain repetitions” either. Playing a scale, excerpt or solo ten times doesn’t mean you’ve practiced.

Below I’ve listed some examples of goals you can go through during your weekly practice. I am using the scale as a model, but these goals are applicable to excerpts, etudes and repertoire as well. You have an entire week, seven practice sessions before your next lesson, and that is a lot of time to reach a lot of specific goals! And, if it takes longer than a week, you still have a tangible measure of success to feel proud of!

This is by no mans comprehensive. Stay tuned to the blog, I am sure I will be expanding this sometime in the future. Happy Practicing!

Practice this scale to solidify reading the notes. (Advanced players should read in various positions)
Say the notes aloud as you play to reinforce reading.
Focus on the pattern of whole and half steps; memorize them.
Focus on the finger patterns and positions, and memorize them.
Sing the scale using Do-Re-Mi-Fa-Sol-La-Ti-Do
Sing the scale using note names.
Sing the scale in intervals. Do-Re, Do-Mi, Do-Fa, etc.
Practice this scale to achieve dexterity in the left hand.
Use proper form, don’t let the wrist or hand tense up.
Practice in a mirror and watch the left hand for minimal motion and efficiency.
Practice in a mirror, making sure the bow stays perpendicular to the strings.
Get a clean attack, round full tone and smooth bow change every time.
Keep a proper bow hold: relaxed and pliable with a relaxed wrist.
Keep the bow placement in the sounding point.
Play using full bows from frog to tip with an even bow speed.
Play legato at all tempos. Play staccato at all tempos.
Play collè, martelè and spiccato.
Use a variety of rhythmic patterns with effective bow distribution.
Use a variety of slur combination in groups of 2, 3, 4, 5, 6, 7, 8 and more.
Combine rhythms and slurs after you have practiced each separately.
Play in ascending intervals. (Up, Up)
Play in descending intervals. (Down, down)
Combine interval directions. (Up down; Down, up)
Memorize all the above.

Use Ears, Eyes, Mind, Body and Voice in every practice session.
Employ aural learning and ear-training. Use visualization. Use intellectual clues and knowledge base to play smarter and to be thorough. Focus on kinesthetic awareness and tactile details. Sing everything!