Piano Forum

Poll

Best ways to practice scales?

Practicing Scales
0 (0%)
How to Practice Scales
1 (100%)

Total Members Voted: 1



Enfant Terrible or Childishly Innocent? – Prokofiev’s Complete Piano Works Now on Piano Street
In our ongoing quest to provide you with a complete library of classical piano sheet music, the works of Sergey Prokofiev have been our most recent focus. As one of the most distinctive and original musical voices from the first half of the 20th century, Prokofiev has an obvious spot on the list of top piano composers. Welcome to the intense, humorous, and lyrical universe of his complete Sonatas, Concertos, character pieces, and transcriptions! Read more >>

Topic: Scales  (Read 3721 times)

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Scales
on: May 03, 2017, 08:32:37 PM
Hello, for the people who can play scales up to 140 - 160bpm + in 16th notes. How long did it take you to reach that skill and what practice methods got you there? I really want to improve my scales and be able to play them at this speed one day but it gets very discouraging going to the piano and seeing very small improvement if any at all even though weeks have passed. Thanks

Offline anamnesis

  • PS Gold Member
  • Sr. Member
  • *****
  • Posts: 274
Re: Scales
Reply #1 on: May 03, 2017, 09:11:46 PM
Hello, for the people who can play scales up to 140 - 160bpm + in 16th notes. How long did it take you to reach that skill and what practice methods got you there? I really want to improve my scales and be able to play them at this speed one day but it gets very discouraging going to the piano and seeing very small improvement if any at all even though weeks have passed. Thanks

During practice have you ever systematically thought about how the different lengths of your fingers affect what you need to do make things smooth? 

How about the height of where the fingers sit on the arch? 

How about how the placement and order of your fingers in your hand and going from one to the affects how you balance and manipulate direction? 

Open up your piano and get an intuitive feel about how the mechanism work paying attention to both the activation and release of the key.  It's essentially a see-saw canon. Using the imagery of the see-saw and the idea of balance and momentum, I think you might be able to visualize and intuit how one might use that to your advantage as well as the implications in terms of timing. 

Having looked at the piano, and really taking a looking at the asymmetrical features of the hand, I think you might realize that you can't just "wing" it in terms of direction, timing, and balance. You may consider that the directions you've given to your body right now are too vague.  How can you improve if the body and mind don't know what factors you are adjusting? 

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #2 on: May 03, 2017, 09:19:55 PM
Very good point and yes actually I have taken all of this into account and have found and been taught different positions and motions but scales are still a problem because my weaker fingers just do not respond as I want them to in higher speeds, it is as if even using the correct positions and motions is not enough unless you have 'finger strength' or whatever you want to call it. I am taking my fingers to their notes but at my max tempos my weaker fingers either stop or call for tension in order for them to move. :/

Offline anamnesis

  • PS Gold Member
  • Sr. Member
  • *****
  • Posts: 274
Re: Scales
Reply #3 on: May 03, 2017, 09:31:49 PM
Very good point and yes actually I have taken all of this into account and have found and been taught different positions and motions but scales are still a problem because my weaker fingers just do not respond as I want them to in higher speeds, it is as if even using the correct positions and motions is not enough unless you have 'finger strength' or whatever you want to call it. I am taking my fingers to their notes but at my max tempos my weaker fingers either stop or call for tension in order for them to move. :/

Going from finger 3 to 4 ascending for two white notes, what do think and watch out for? 

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #4 on: May 03, 2017, 09:59:57 PM
I make a rotation and tilt from the wrist so that my hand is now diagonal, facing the top left and make that movement especially with 3 and 4 with a raised wrist for the 5th finger. I still believe my finger strength is the problem but what baffles me is I use the first part of Chopin's chromatic etude as an exercise and have definitely strengthened my weaker fingers but yet have problems playing scales past 110bpm in 16th notes because of the weaker fingers

Offline outin

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 8211
Re: Scales
Reply #5 on: May 04, 2017, 04:49:04 AM
Do you have a teacher? How responsive or heavy is you piano action? Do you try to play in a same way in higher speeds and  maintain legato touch even if you really don't need to anymore? After some point you just cannot make it faster anymore by just practicing the same way over and over again. And different hands may need different solutions.

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #6 on: May 04, 2017, 05:32:32 AM
Do you have a teacher? How responsive or heavy is you piano action? Do you try to play in a same way in higher speeds and  maintain legato touch even if you really don't need to anymore? After some point you just cannot make it faster anymore by just practicing the same way over and over again. And different hands may need different solutions.

Not everyone is in a position to have a teacher unfortunately lol and that goes for the pianists that have great scales who never had a teacher too. I'm unable to have a teacher right now and my piano action is heavy

Offline outin

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 8211
Re: Scales
Reply #7 on: May 04, 2017, 06:15:13 AM
Not everyone is in a position to have a teacher unfortunately lol and that goes for the pianists that have great scales who never had a teacher too. I'm unable to have a teacher right now and my piano action is heavy

Well, you may have partly answered your question there.
Heavy action and not naturally strong fingers is not an easy combination.

 I am not judging you for not having a teacher, it just means you may not be given some of the information on how to get over the speed threshold.

Not all hands are equal to playing the piano. With ideal hands one may get to fast scales more easily even without a teacher. For others there's more problem solving involved and another (more experienced) set of brains just can be useful :)

Offline timothy42b

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 3414
Re: Scales
Reply #8 on: May 04, 2017, 12:02:40 PM
There's an excellent post by Bernhard that explains the principles behind fast scales.  Try to find that one.  It talks about the four necessary mechanics and some tips for improving them.

Also, you have to get used to speed, and that means not doing some things that inherently limit it.  Hands together is slower than hands separate.  Four octaves is slower than 3, than 2, than 1, than 5 notes, than a simultaneous drop (there's a term for that but I forget.)
Tim

Offline indianajo

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 1105
Re: Scales
Reply #9 on: May 04, 2017, 02:53:42 PM
I suggest also, balancing strength of the fingers is a grade zero exercise that most people won't do because it is so boring and mechanical.  But as you see, even strength is key.
I was run through the Schmitt exercises for my first year. These are available for download on pianostreet.
Be sure wrist is flat, forearms droop naturally from the elbows, fingers curl down naturally.  Some people need bench adjustment to achieve this, like sitting on a phonebook, or putting the bench or  piano on bricks the other way.  Sight line level to the book. 
Note competitors at contests often don't look like this. I don't imagine their teacher planned for them to play more than twenty years.  I use the straight up posture, and I'm playing at sixty-six. 
To keep myself in shape for piano, I practice three Scott Joplin rags four or more times a week. These put great loads on fingers 4,5 of both hands, and definitely make the muscles in the forearm sore if I have neglected this maintenance for a week or more.   

Offline timothy42b

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 3414
Re: Scales
Reply #10 on: May 04, 2017, 05:25:01 PM
Tim

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #11 on: May 04, 2017, 05:46:22 PM
Thanks everyone, keep it coming!

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #12 on: May 04, 2017, 05:53:49 PM
Well, you may have partly answered your question there.
Heavy action and not naturally strong fingers is not an easy combination.

 I am not judging you for not having a teacher, it just means you may not be given some of the information on how to get over the speed threshold.

Not all hands are equal to playing the piano. With ideal hands one may get to fast scales more easily even without a teacher. For others there's more problem solving involved and another (more experienced) set of brains just can be useful :)

I don't want this to sound arrogant but if I can play the right hand's first section of chopin's chromatic etude at 110bpm in 16th notes with and without the 1st and 2nd finger intervals on a heavy action piano then I am pretty certain that I should be able to play scales fast. Yet I seem to have a problem playing scales at about the same tempo of the etude of about 110bpm for 16th notes when it comes to the weaker fingers. I wonder if the only thing stopping me from playing scales better is my motions

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #13 on: May 04, 2017, 05:57:46 PM
There's an excellent post by Bernhard that explains the principles behind fast scales.  Try to find that one.  It talks about the four necessary mechanics and some tips for improving them.

Also, you have to get used to speed, and that means not doing some things that inherently limit it.  Hands together is slower than hands separate.  Four octaves is slower than 3, than 2, than 1, than 5 notes, than a simultaneous drop (there's a term for that but I forget.)

Thank you I will read it but I think when it comes down to it I really need to see it for myself at least on a video. Is anyone willing to take a small private video for me demonstrating the exact motions etc? I would be truly grateful if so.

On another note I found someone on here who couldn't play scales well and fast and now they can play them well and fast and he said that it turns out his mentality was not the problem, he just lacked the finger strength but he is doing the exact same thing he used to do and now he can do them just because of the finger strength

Offline outin

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 8211
Re: Scales
Reply #14 on: May 04, 2017, 06:06:19 PM
I wonder if the only thing stopping me from playing scales better is my motions

Obviously :)

Isn't the issue here how to learn and be able to excute those better motions? What works for one may not work for another.

Finger strength can mean different things. Some people lack stability in certain fingers due to structural issues and hypermobility. For that the answer is how to compensate. Sometimes there's lack of control that can be practiced in many ways such as finger exercises.

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #15 on: May 04, 2017, 06:21:34 PM
Obviously :)

Isn't the issue here how to learn and be able to excute those better motions? What works for one may not work for another.

Finger strength can mean different things. Some people lack stability in certain fingers due to structural issues and hypermobility. For that the answer is how to compensate. Sometimes there's lack of control that can be practiced in many ways such as finger exercises.

Thank you outin, feeling a little more encouraged now. The thing is, I have practiced exercises that I believe without good finger strength and independence, it is not possible. For example holding 5 scale degree notes down just say the first 5 notes of the C Major scale, and lifting individual fingers to play their notes without any disturbance or movement from the other fingers, even Paul Barton who is a fantastic virtuoso of the piano said this exercise might look easy, but it's not. And I can do it with ease now pretty much lol. I also went further and made very difficult exercises out of this. Exercises that actually give the sensation to the fingers of when you hit your funny bone, it is very uncomfortable and I used to not be able to do this, but now I can. And as far as I'm concerned I made that exercise up for myself and have never seen anybody else doing it although I'm sure someone out there has also landed on it.

Another thing is I have seen people who cannot play the chromatic etude at all without their fingers fumbling yet they can play a nice and fast scale, so I don't really know I guess it is all about the motions and tensions. The funny part about all of this is I can play the chopin chromatic etude line more comfortably then I can play scales ;D

Offline outin

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 8211
Re: Scales
Reply #16 on: May 04, 2017, 07:44:16 PM
Thank you outin, feeling a little more encouraged now. The thing is, I have practiced exercises that I believe without good finger strength and independence, it is not possible. For example holding 5 scale degree notes down just say the first 5 notes of the C Major scale, and lifting individual fingers to play their notes without any disturbance or movement from the other fingers, even Paul Barton who is a fantastic virtuoso of the piano said this exercise might look easy, but it's not. And I can do it with ease now pretty much lol. I also went further and made very difficult exercises out of this. Exercises that actually give the sensation to the fingers of when you hit your funny bone, it is very uncomfortable and I used to not be able to do this, but now I can. And as far as I'm concerned I made that exercise up for myself and have never seen anybody else doing it although I'm sure someone out there has also landed on it.

What you are describing is nerve irritation which imo is unhealthy and should have no place in piano training. That can happen with finger indepence exercises such as you describe. I doubt those will help with scales. With finger exercises I was referring to something quite different, something to help built agility and control without strain. It really doesn't matter if it's hanon, trill exercises or something self invented. What matters is how you execute. Not as forced finger lifting exercises.

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #17 on: May 04, 2017, 08:07:51 PM
What you are describing is nerve irritation which imo is unhealthy and should have no place in piano training. That can happen with finger indepence exercises such as you describe. I doubt those will help with scales. With finger exercises I was referring to something quite different, something to help built agility and control without strain. It really doesn't matter if it's hanon, trill exercises or something self invented. What matters is how you execute. Not as forced finger lifting exercises.

I know it sounds dangerous and if done incorrectly it would be but I am aware of that and have no damage, what I'm saying is that for me, my playing has improved greatly and weaker fingers are much stronger, even in terms of playing thirds with the weaker fingers, I don't think that in all of piano technique there will never be some sort of uncomfortable feat to pass only with effort and practice. I have no damage and my technique is the best it has ever been. Paul Barton also mentioned the temporary ache of wrists when learning chopins 25/1 or 28/24 but that he can assure you it will pass over with time and he is a virtuoso! :D

Do you have any agility exercises in mind? What are your scales like?

Offline timothy42b

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 3414
Re: Scales
Reply #18 on: May 04, 2017, 08:22:32 PM
Another thing to consider is the approach.

There are people who swear by the incremental speedup method.  Set a metronome to a comfortable easy speed, add one beat per minute every week.  In 50 years you'll do all 12 scales in 1 second.

Then there are people who believe this can be dangerous, in that you can build a speed wall so consistent you can never get past it.  You must practice in shorter stretches, at or above tempo.

My sympathies lie with the second approach, but both have their proponents. 
Tim

Offline outin

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 8211
Re: Scales
Reply #19 on: May 04, 2017, 08:28:06 PM
I know it sounds dangerous and if done incorrectly it would be but I am aware of that and have no damage, I'm saying is that for me I'll have to say that my playing has improved greatly and weaker fingers are much stronger, even in terms of playing thirds with the weaker fingers, I don't think that in all of piano technique there will never be some sort of uncomfortable feat to pass only with effort and practice. I have no damage and my technique is the best it has ever been. Paul Barton also mentioned the temporary ache of wrists when learning chopins 25/1 or 28/24 but that he can assure you it will pass over with time and he is a virtuoso! D

Do you have any agility exercises in mind? What are your scales like?

Well, if a virtuoso says so it must be true!  ::)
Just a friendly warning: Some aches are harmless and passing but some may be a sign of beginning permanent damage.

The rare times I do finger exercises it's either from Hanon or something I just make up myself.
I don't care much for practicing scales unless needed for pieces. I find them too boring.

Offline anamnesis

  • PS Gold Member
  • Sr. Member
  • *****
  • Posts: 274
Re: Scales
Reply #20 on: May 04, 2017, 08:45:53 PM
I know it sounds dangerous and if done incorrectly it would be but I am aware of that and have no damage, I'm saying is that for me I'll have to say that my playing has improved greatly and weaker fingers are much stronger, even in terms of playing thirds with the weaker fingers, I don't think that in all of piano technique there will never be some sort of uncomfortable feat to pass only with effort and practice. I have no damage and my technique is the best it has ever been. Paul Barton also mentioned the temporary ache of wrists when learning chopins 25/1 or 28/24 but that he can assure you it will pass over with time and he is a virtuoso! D

Do you have any agility exercises in mind? What are your scales like?

The issue with this idea of "weaker" fingers in otherwise non-pathological hands, is that it's almost always because one hasn't experienced what it means to balance on the piano 100% of the the time.

Every sensation of supposed weakness is actually because they have a broken "fulcrum" somewhere and aren't aligned.  

Let's take a look at the issue of "collapsed knuckles" for instance.  

There's a net forward balance that has to be maintained when at the piano that is felt from the forearm.  Those knuckles as well as the wrist are the fulcrums from which this is sensed.

[Note the implications of different lengths required by this forward balance: In terms of say moving from finger 3 to 4 (a "weaker" finger)  that means you have to feel the sensation of moving "in" and forward from the forearm relative to where you were from the 3. ]

It's not a piano video, and exaggerated for effect (and also because she is standing) but it makes this easier to see:

&t=73


It's also a matter of coming from top, knowing that the level of the hand/wrist is at the correct "height" so that there is enough room to allow your fingers to flex from the knuckles.

Having to "regenerate" it, if you land too low is incorrect and leads to collapsed knuckles. It's already too late.  Trying to fix collapsed knuckles due to supposed missing strength in the fingers doesn't solve the underlying cause of mistiming your actions.

Another thing to note from the video is that fingers and hands are being opened up indirectly through  active movement of the forearm (and the intrinsic structural features of the hand), and not through the direct control through the muscles that control the fingers.  In other words, there's a whole world of exploration of how the fingers can be used unrelated to finger independence that gives the illusion of independence.  

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #21 on: May 04, 2017, 10:29:40 PM
Well, if a virtuoso says so it must be true!  ::)
Just a friendly warning: Some aches are harmless and passing but some may be a sign of beginning permanent damage.

The rare times I do finger exercises it's either from Hanon or something I just make up myself.
I don't care much for practicing scales unless needed for pieces. I find them too boring.


Yes might sound skeptical for you but Paul Barton is not only a virtuoso, but a very friendly teacher and all about encouragement, maybe even too much!

Offline zoey94

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 18
Re: Scales
Reply #22 on: May 04, 2017, 10:41:38 PM
The issue with this idea of "weaker" fingers in otherwise non-pathological hands, is that it's almost always because one hasn't experienced what it means to balance on the piano 100% of the the time.

Every sensation of supposed weakness is actually because they have a broken "fulcrum" somewhere and aren't aligned.  

Let's take a look at the issue of "collapsed knuckles" for instance.  

There's a net forward balance that has to be maintained when at the piano that is felt from the forearm.  Those knuckles as well as the wrist are the fulcrums from which this is sensed.

[Note the implications of different lengths required by this forward balance: In terms of say moving from finger 3 to 4 (a "weaker" finger)  that means you have to feel the sensation of moving "in" and forward from the forearm relative to where you were from the 3. ]

It's not a piano video, and exaggerated for effect (and also because she is standing) but it makes this easier to see:

&t=73


It's also a matter of coming from top, knowing that the level of the hand/wrist is at the correct "height" so that there is enough room to allow your fingers to flex from the knuckles.

Having to "regenerate" it, if you land too low is incorrect and leads to collapsed knuckles. It's already too late.  Trying to fix collapsed knuckles due to supposed missing strength in the fingers doesn't solve the underlying cause of mistiming your actions.

Another thing to note from the video is that fingers and hands are being opened up indirectly through  active movement of the forearm (and the intrinsic structural features of the hand), and not through the direct control through the muscles that control the fingers.  In other words, there's a whole world of exploration of how the fingers can be used unrelated to finger independence that gives the illusion of independence.  

Thank you, so when trying this with the C Major scale, it seems fairly straight forward but when applying this to scales like C minor or D Major, the motion no longer works anymore, for example the 3rd on a white key of B then the 4th in C# which is of course is a black key and higher up key which would compensate certain distance of finger and then the 5th on D, what sort of motion is needed here? Because it seems that there is a large raise from the B to the C# black note with 3 and 4 and then suddenly a huge drop for the C# black key to the 5th finger on the white key of D

Offline feddera

  • PS Silver Member
  • Full Member
  • ***
  • Posts: 141
Re: Scales
Reply #23 on: May 05, 2017, 12:04:16 AM
I've written some posts on this before. It took me about 2 years to get to 120bpm scales from scratch. Then I had absolutely zero progress on my scale speed for 6 years... What finally helped me progress was doing flexibility exercises for the fingers away from the piano. Suddently I could play scales at 160+ with no tension without even practicing scales. I think my best advice would be to try every approach you can find, and see what works for you.

Offline anamnesis

  • PS Gold Member
  • Sr. Member
  • *****
  • Posts: 274
Re: Scales
Reply #24 on: May 05, 2017, 12:24:47 AM
Thank you, so when trying this with the C Major scale, it seems fairly straight forward but when applying this to scales like C minor or D Major, the motion no longer works anymore, for example the 3rd on a white key of B then the 4th in C# which is of course is a black key and higher up key which would compensate certain distance of finger and then the 5th on D, what sort of motion is needed here? Because it seems that there is a large raise from the B to the C# black note with 3 and 4 and then suddenly a huge drop for the C# black key to the 5th finger on the white key of D

The example on white notes from 3-4 is the easiest to see, and obvious you see it doesn't work the same way when black notes are involved.  The observations you made are very crucial because I think you are beginning to see what the problems in piano technique truly involve.  No supposed strengthening exercise will replace the information your brain got from comparing the situation you did.  

-----

In order to improve, you are going to have physically feel and mentally comprehend 10000 times more situations, coming up with solutions, and improving the model of what you have to do in your head over time.  

I think you might now see the implications of what it means to practice, and it's a pretty big one that a lot of pianists are resistant to.  The peculiarities of the shape and contour of the hand and keyboard require us to do certain things in order to optimize it.  

Luckily, there's an approach that's been developed that cuts time into this process.  You've probably heard of the Taubman method, but most people don't understand what it truly means to use the approach until they actually systematically solve problems using extremely precise cues in terms of direction, magnitude, and timing.  

Imagine trying to navigate a map and completely refusing to use notions of left and right or north/west/south/east. With piano playing the cues of "use finger 1 on C4" only give you maybe 5% of the information needed to optimize it.

-----

The dimension we are discussing in the Taubman approach is the in-and-out dimension of the keyboard. Refinement of this dimension in practice requires you to track "exactly" where you need to be on the keyboard from the edge of the keys to the fallboard so that you feel the net forward balance that makes you feel like you have strength no matter what finger.

The factors we have to consider are the length of the fingers, white versus black keys, and where you came from/where you are going in terms of the in-and out.  

These movements, in order to be optimized, have be gradual with no sudden jerks, but changes in direction are also done such that you use its momentum to elegantly flow into the next.  (Go back to the  imagery of the see-saw canon for the hammer mechanism of the piano , and imagine the keys themselves as a see-saw with how you balance on them within the in-and out dimension.)  

Looking at the situation you describe, what you need to do is look at a step before first.

 1 2  3  4  5
 G A B C# D

2 is shorter than 3 (in most people).  
From 2 to 3 we have to come out.  

3 to 4 (longer finger on white to shorter with black)
Having to go to a black key, we don't need to go in like we would from white to white.
What needed to happen is that from the prior step coming out in 3, we need to track the exact amounts such that 4 is "already there" and all we need is a forward stress rather than an a full in-motion.  Forward stresses unlike a true "in", don't require a change in key spot, so much as more of a forward tilt at the same key spot.  

4 to 5

Minimizing how much you needed to move from the previous step should help you out, but you still need to move in.


Note:

There's another element that's related called shaping that integrates height with the horizontal dimension (in particular, how we smoothly manipulate direction within the context of height) that's also needed to solve the finger length problem.

See this dissertation for more information on the approach and more detail on the in-and-out with some scale analysis:
https://www120.secure.griffith.edu.au/rch/items/ee07feda-cb4d-6c45-b9fa-c7180d3bb35e/1/


Another good site on how to intuit aspects of the approach and start to conceptualize rotation:
https://www.pointofsound.com/taubtable.html

------

See these videos on rotation which are necessary to understand how to time the previous information I wrote about and integrate it with the horizontal dimension:

https://www.golandskyinstitute.org/blog/teaching-rotation-with-robert-durso
https://www.golandskyinstitute.org/blog/teaching-the-double-rotation


  





Offline worov

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 270
Re: Scales
Reply #25 on: May 07, 2017, 08:23:24 AM
There's an excellent post by Bernhard that explains the principles behind fast scales.  Try to find that one.  It talks about the four necessary mechanics and some tips for improving them.

The Bernhard fingering are excellent. It made a real difference when I began to use them. I wrote them in these sheets :

https://img4.hostingpics.net/pics/136668Majorscales1.png

https://img4.hostingpics.net/pics/656365Majorscales2.png

https://img4.hostingpics.net/pics/764252Harmonicminorscales1.png

https://img4.hostingpics.net/pics/527450Harmonicminorscales2.png
For more information about this topic, click search below!
 

Logo light pianostreet.com - the website for classical pianists, piano teachers, students and piano music enthusiasts.

Subscribe for unlimited access

Sign up

Follow us

Piano Street Digicert