Progressive Seal¢s f o r

Violin

Sealgs and Arpesgios in Ong, Two and Threg Octaves

a m y and Christopher Matherly

2"4 E d i t i o n
 Progressive Seales f o r
Violin

Scalzs and A r p e s g i o s in Ong, Two and Threg Octaves

2 " Edition

fimy and Christopher Matherly

aa e
C A M - aye

. . *
P u b l i c a t i o n s Sturbridge, M A
 Acknowledgements:

This book is dedicated to my students. Practice your scales!

A b o u t the Authors:

A m y M a t h e r l y has been sharing her knowledge and enthusiasm about music w i t h students
o f all ages since 1982. She currently teaches v i o l i n at the Pakachoag M u s i c School in
Massachusetts where she also offers Suzuki Teacher Training, coordinates the Suzuki
Program, and leads the Pakachoag Fiddle Band. She enjoys p l a y i n g m a n y different styles
o f music i n c l u d i n g classical, fiddle, and blues. Her interests include developing curricula
for different areas o f violin instruction, arranging music for violin ensembles, and
fiddling.

Christopher M a t h e r l y is a guitarist, composer and attorney.

A m y and Christopher have been married and playing music together since 1984. T h e y
have three sons and two granddaughters and live in Sturbridge, Massachusetts.

O t h e r Publications:

G r o u p Classics: Strategies a n d Ideas f o r I n s p i r i n g S u z u k i Group Classes ? offers both

advice regarding group class program organization and maintenance, and detailed student-
tested lesson ideas gleaned from over 30 years o f group class teaching experience. Includes
over 100 activities, organized around 9 broad themes, that w i l l keep your groups learning,
g r o w i n g and having fun for years to come.

Really Great Reels ? provides a collection o f fiddle tunes at four different playing levels
for v i o l i n teachers who would like to add fiddling to their programs and for independent
learners. T u n e s o f v a r i o u s styles, i n c l u d i n g S c o t t i s h , S w e d i s h , I r i s h a n d O l d T i m e , c o m e
w i t h an accompaniment part, a slow recording for learning and an up-to-tempo recording
for inspiration.

Progressive Scales f o r Viola - this book is in the same great format as Progressive Scales
f o r Violin, which has been popular with teachers and students since the initial publication
of the Ist Edition, in 1998.

Step B y Step: A M u s i c R e a d i n g C u r r i c u l u m f o r Violin - presents concepts one at a t i m e

and provides activities for each skill, a l l o w i n g the student to apply and absorb each idea.

For more information, v i s i t us at www.campublications.com

© 2014 A M Y and C H R I S T O P H E R M A T H E R L Y . A l l rights reserved.

No part o f this book may be reproduced or utilized in any form or by any means, including
photocopying, recording, or by any information storage or retrieval system without the
authors? written permission.

®
 Contents

To the Teacher... 0... c e c e cece c e c e tee e ee eeneeeeeeas 2

To the Student 2 0 . . . c c c cee c e c e eevee een eeaee 3

One and Two Octave Scales and Arpeggios

One Octave Two Octave
Suggestions for P r a c t i c e . . . . . . . . . . . . . . B i l l i c k c e c e enee 2 0
C major/A m i n o r . . . . . . . . . . . . . . . . . . SD
L e ece e c e een s e
22
G major/Eminor . . . . . . . . . . . . . . . 0 . . 6 Lecce cece e e s 24
D major/Bminor.................. TD
i v c ccc cecaees
c c 26
A m a j o r / F # mi n o r . . . . . . . . . . . . . 0 . 0 0 5 a 28
E major/C# m i n o r . . . . . . . . . . . . . . . 4 . a 30
B major / G # m i n o r . . . . . . . . . . . . . . . . . 10... e e eeee 32
F# m a j o r /D# m i n o r . . . . . . . . . . . . . . . . I ] . . e. e e. e . e 34
C# ma j o r / A # m i n o r . . . . . . . . . . . . . . . . 12... eee e e e 36
F major/D m i n o r . . . . . . . . . . . . . . . . . . | 38
Bb m a j o r / G m i n o r . . . . . . . . . . . . . . . . . | C, 40
Eb m a j o r / C mi n o r . . . . . . . . . . . . . . . . 42
Ab m a j o r / F m i n o r . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . 44
Db m a j o r/ B b m i n o r . . . . . . . . . . . . . . . . 46
Gb m a j o r / E b mi n o r . . . . . . . . . . . . . . . . C n 48
Cb m a j o r / A b m i n o r . . . . . . . . . . . . . . . . 19 e e e , 50

T h r e e O c t a v e Scales and Arpeggios

Suggestions for Practice... 0... c e cce e e eee e e e 52

G major/Gmimor... 1 . 0 .c e 0c e 0 c e c. ec e. c e. nes 53
A b m a j o r / A b m i n o r . 0 . 0 .. 0 c .e c.e c .e c ec
. e. c e. eens
. 54
A m a j o r / A minor . . . 0 . . . c e c.e c e .c e cece
. . eee.eeee 55 e

Bb m a j o r / B b minor... 2 2 . 00 . . . c e c0e c e. c e e .eee . ees 56

B m a j o r / B m i n o r . . . . . . . . 0 . 0 . . . cece cece ccc eue neues 57
C m a j o r / C minor... . . . . 0 . . . cece cece eens 58
e

C# major / C # minor... e e e
c ece e e e ee 59
Db major... c e c e cece e e e ence e n n a ees 60
D m a j o r / D minor...... 0 . . . c e c e c e c e eee e e e eens 61
Eb major/Eb minor . . . . . . . . 00... cece c e c e eee ence eee 62
E m a j o r / E minor........ 0 0 . . . cece cece cece cece eens 63
F m a j o r / F minor . . . . . . . 0 0 . 0 . . . c c c ccc cee eee e e n s c e
64
F# major/F# minor... 0.2... L e ece e ceeen eec e s 65

Theory Practice... 0.0... cece ec cece cece cee ee ee eenens 67

Circle of Fifths . . 0 . 0 . . . c c c ccc cece nce e
eee eeneeees 68
T o the T e a c h e r :
In this 2 ? edition o f Progressive Scales for V i o l i n you w i l l find a systematic presentation
o f the one, two, and three octave ma j or and mi nor scales and arpeggios in a clean and
easy to read format along w i t h explanations o f relevant theory concepts.

The one octave major scales are paired with their relative minor scales in natural form.
Students learn the lower octave of each scale and arpeggio so they can add on the next
octave when they are ready. Fingerings have not been included in this section so that
students can improve their music reading ability by figuring this out for themselves.
The t w o octave major scales are paired with their relative mi nor scales in all three forms.
This w i l l lead to a clear understanding o f melodic minor, w h i c h is the form used in the
three octave scales. Fingerings have been included in this section since shifting and
playing in different positions may be a new skill. A systemo f bowings is introduced.

The three octave scales and arpeggios are grouped by pitch so that they can be learned
and memorized as a group. Fingerings are indicated where shifts occur. The mi nor scales
are in the melodic form. Suggestions for practice include a system o f bowings and theory
practice.

T o the S t u d e n t :
Most o f the music you w i l l play is based on scales. Practicing scales w i l l help you to play
in tune and understand the music you are learning. Every day you should brush your teeth
and practice your scales. Here is some information to get you started.

Reading a Key Signature

Sharps: A sharp indicates that a note is to be raised a half step.

The middle square o f the sharp sits on the

same line or space as the note that is to be
raised. Sharps always appear in the same order
in the key signature. From left to right: F# C# G# D# A # E# B#

Memorize this mnemonic: Fat Cats Get D i z z y A f t e r E a t i n g Bugs

Flats: A flat indicates that a note is to be lowered a half step.

The loop o f the flat sits on the same line o r

space as the note that is to be lowered. Flats
always appear in the same order in the key
signature. From left to right: Bb Eb A b D b Gb Cb Fb

Memorize this mnemonic: Bob Eats Apples During Geometry Class on Fridays
T w o K i n d s o f Scale: M a j o r a n d M i n o r Modes

For every key signature there is a major and minor scale. The mi nor scale that shares the
key signature w i t h the ma j o r scale is called the relative minor. The first noteo f the
relative mi n o r is the sixth note o f the major scale. An casy w a y to thinko f i t is that the
telative m i n o r starts three half steps (a mi nor third) down from the first note o f the major
scale.

F Maj or Scale

G @ l i d p er r i r e pep t s a
D M i n o r Scale

O o ) I g o e pete p t e r e

The Arpeggio

The first note o f a scale is called the tonic. The first, third, and fifth notes o f a scale, when
played together, form a chord. This chord is called the tonic o r I (one) chord because it is
based on the first note o f the scale. When played separately these notes form an arpeggio.

F M a j o r Chord & Arpeggio

6 6 ato pt
D M i n o r Chord & Arpeggio

a a
 O n e O c t a v e Scales

A scale is a series of consecutive notes made upof a set pattern o f whole steps and half
steps. An ascending one octave scale is made upo f e i g h t notes beginning and ending on
the same letter name.

This is the pattern for a major scale ( W = W h o l e step; H=Half s t e p ) :

@: to Ww
J
H
d L Ww Ww
d WwW
H
e
There are three forms o f mi n o r scale - natural, harmonic, and melodic. The one octave
m i n o r scales in this section are in the natural form. Natural mi nor f o l l o w s the key
signature exactly, w i t h no changes.

This is the pattern for a natural mi n o r scale:

6 , J J J J d d
v o w H WwW Ww
H Ww Ww

. . . . . .
Harmonic and melodic m i n o r w i l l b e a d d r e s s e d in the i n t r o d u c t i o n t o the t w o o c t a v e scales.

S u g g e s t i o n s F o r Practice

e Study the k e y signature. Which notes are sharped or flatted? Find these notes.
M a r k the h a l f steps.

e Play the scale and arpeggio with long, slow bows and listen carefully to each note.
Is it in tune? Use open strings as a reference and listen for the extra resonance that
occurs when the fingered notes E, A , D & G are played precisely.

e M e m o r i z e the facts about each key: the major scale, relative minor, key signature
and names o f the notes in the arpeggios.

One Octave
 oe
me
2=| &<e- s
a3

2Z
D
<3
|< 2|
22
*

T <:l {=l <lSl l

Se) é|

t : l l
4
G M A J O R S C A L E and A R P E G G I O

FFF
FSS39994444444444484446444444444SSS

E M I N O R S C A L E and A R P E G G I O

One Octave
D M A J O R SCALE and A R P E G G I O

B M I N O R SCALE and A R P E G G I O

One Octave
A M A J O R S C A L E and A R P E G G I O

SS
eee
SSSOSSHSHHEHEEECEEEEEEEEEEEES

F# M I N O R S C A L E and A R P E G G I O

One Octave
 E M A J O R S C A L E and A R P E G G I O

C# M I N O R S C A L E and A R P E G G I O

One Octave
 B M A J O R S C A L E and A R P E G G I O

RN
OOS
TOTO
T
4949804640060690909699999G9

G # M I N O R S C A L E and A R P E G G I O

10 One Octave
F# M A J O R S C A L E and A R P E G G I O

D# M I N O R S C A L E and A R P E G G I O

One Octave
 C # M A J O R S C A L E and A R P E G G I O

BO
ES EEE
PIPFPLG®ODRODODDGOSGDSORSOCSCSESSCSSIIECCESE

A # M I N O R S C A L E and A R P E G G I O

12 One Octave
 F M A J O R S C A L E and A R P E G G I O

aig

4a ;]4

ra
g

13
 B b M A J O R S C A L E and A R P E G G I O

G M I N O R S C A L E and A R P E G G I O

14 One Octave
E b M A J O R S C A L E and A R P E G G I O

C M I N O R S C A L E and A R P E G G I O

One Octave 15
 A b M A J O R S C A L E and A R P E G G I O

FF
Bee
PSCPOSSSSOOOSOHSOHOHOOOCECOCOECECCOCOECECECCCCCECES

F M I N O R S C A L E and A R P E G G I O

y o T e ?p aS
f s

16 One Octave
Db M A J O R S C A L E and A R P E G G I O

B b M I N O R S C A L E and A R P E G G I O

One Octave 17
 G b M A J O R S C A L E and A R P E G G I O

Be
FF
OSOCOCOCHOOSHOCSOSHHECECKOEEEKESEESEESECEEEEEES

E b M I N O R S C A L E and A R P E G G I O

18 One Octave
 C b M A J O R S C A L E and A R P E G G I O

S S S SS S S S

A b M I N O R S C A L E and A R P E G G I O

S S S
S S S

One Octave
 T w o O c t a v e Scales

A higher octave will now be added to the scales and arpeggios that you learned in the
first sectiono f this book. The minor scale is presented here in all three forms ? natural,
harmonic and melodic.

N a t u r a l M i n o r follows the key signature w i t h no changes.

G j y s d dretd t tree
d e dri ses yyy
e

In H a r m o n i c M i n o r , the 7 " note o f the scale is raised a h a l f step.

j a e J e t t r r ECRE (=f ?i H I F

In Melodic Minor, the 6" and 7" notes of the scale are raised a half step on the way up
(ascending) and lowered, returning to natural minor, on the way down (descending).

Vv Vy
??? pte tet tebe 5
C r i e r e r y

20 T w o Octave
 Suggestions For Practice

e Study the key signature. W h i c h notes are affected? Identify the altered notes in
the harmonic and melodic mi nor scales. Figure out how the pattern o f whole steps
andh a l f steps changes for harmonic and melodic minor.

* It is c o m m o n practice to use open strings ascending and 4 " fingers descending.

e Play the scale and arpeggio s l o w l y and listen carefully to each note.
Is it in tune? Use open strings as a reference and listen for the extra resonance that
occurs when the fingered notes E, A, D & G are played precisely.

¢ M e m o r i z e the facts about each key: be able to name the major scale, the relative
minor, the sharps o r flats and the notes in the arpeggios.

e A f t e r you can play the scale in tune and have memorized the fingering, play it
with the f o l l o w i n g bowings:

1) T h r e e n o t e s to a b o w - y o u w i l l h a v e to r e p e a t the t o p n o t e

2) S e v e n notes to a b o w - J d d f i q
L e

3) Martele

Aa V VY V
V ¥ ¥

4) U p b o w staccato - d ?
Jd:

5) Spiccato

e A f t e r y o u can p l a y the a r p e g g i o i n t u n e a n d h a v e m e m o r i z e d the f i n g e r i n g , p l a y i t

w i t h three notes to a bow.

e Sharpen your theory skills by working through the exercises on page 67.

T w o Octave 2)
 C M A J O R S C A L E and A R P E G G I O

22 T w o Octave
 A M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

HARMONIC MINOR

MELODIC MINOR

P
(¢ ey
= e t
Se
a! J
a a|o t a f i

T w o Octave 23
 G M A J O R S C A L E and A R P E G G I O

f)

- _ e - * s
? ? ? ? ? ? ? ? ? ? o f e e tn re ?
S f 7 e e oe
8 e e

S S S

24 T w o Octave
 E M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

HARMONIC MINOR

MELODIC M I N O R

T w o Octave 25

v e oO
 D M A J O R S C A L E and A R P E G G I O

26 T w o Octave
 B M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

H A R M O N I C MINOR

MELODIC M I N O R

T w o Octave 27
 A M A J O R S C A L E and A R P E G G I O

++
EE
EEES
POO
CECE
OOO
DODO

28 T w o Octave
 F# M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

e e o?_?
= = S S e ss e s s e e e e

HARMONIC MINOR

pita tte tM CEPR

t t reeee
EE EP

MELODIC M I N O R

A String
Sth position

T w o Octave 29
 E M A J O R S C A L E and A R P E G G I O

E ES
SC
ECE
ECTS
ESET
FOU
UTTER

30 T w o Octave
 C# M I N O R S C A L E S and A R P E G G I O

NATURAL M I N O R

HARMONIC MINOR

4
3

$ eS S a p rT : oO

MELODIC M I N O R

T w o Octave 31
 B M A J O R S C A L E and A R P E G G I O

32 T w o Octave
 G # M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

0 2 3 2

[ P P r e ce

T w o Octave 33
 F# M A J O R S C A L E and A R P E G G I O

3°44
1 2

i 2 3 4
E

2 2 4

A String
Sth Position

TF
ES
EE
VSS
SCS
UT
Fee
EEE
SECE
UO F
FTTTTC
FFT

34 T w o Octave
 D# M I N O R S C A L E S and A R P E G G I O

NATURAL M I N O R

H A R M O N I C MINOR

EY
OO
TTT
PUTT
ORG?
TETETTETETETTTET
YGERGDGDRGG9GA9OG

MELODIC M I N O R

A t ey
(ey
C t eo
o ee s ==... a e

T w o Octave 35
 C # M A J O R S C A L E and A R P E G G I O

36 T w o Octave
 A # M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

HARMONIC MINOR

MELODIC M I N O R

T w o Octave 37
 F M A J O R S C A L E and A R P E G G I O

2 % | AString
Sth Position

38 T w o Octave
 D M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

H A R M O N I C MINOR

MELODIC M I N O R

T w o Octave 39
 Bb M A J O R S C A L E and A R P E G G I O

AIS OP
eee
AIISIIIIESS
PSPSPODSDODFDDODSDOSGAESGCSSCSESIASECA

40 T w o Octave
 G M I N O R S C A L E S and A R P E G G I O

NATURAL M I N O R

H A R M O N I C MINOR

MELODIC M I N O R

T w o Octave 41
 E b M A J O R S C A L E and A R P E G G I O

4
1

f t
os S e t s eae 444
F898
4444444444444
8088444444444

42 Two Octave
 C M I N O R S C A L E S and A R P E G G I O

NATURAL M I N O R

HARMONIC MINOR

MELODIC M I N O R

paw a T L e

T w o Octave 43
A b M A J O R S C A L E and A R P E G G I O

FF
mem
FFHTHHHHHHHHHHHHHHHHHH4H4G4G464444SS

T w o Octave
 F M I N O R S C A L E S and A R P E G G I O

_?
+ NATURAL M I N O R

H A R M O N I C MINOR

Fvi n\ s o P 7 S |P f e e
2. e r

MELODIC MINOR

a a n ee e >e

5th position

T w o Octave 45
 Db M A J O R S C A L E and A R P E G G I O

FREAKS
ESSHSSESSSSSESEEESEESESSSSKISSISSS

46 T w o Octave
 B b M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

H A R M O N I C MINOR

MELODIC M I N O R

T w o Octave 47
 G b M A J O R S C A L E and A R P E G G I O

FF
SF
nN
SSSSSSSSSSPSSSSSSSSSSEECEEEES

48 T w o Octave
 E b M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

HARMONIC MINOR

MELODIC M I N O R

T w o Octave 49
 C b M A J O R S C A L E and A R P E G G I O

999
eer
FHFFHHHHHHHHHHHHHHHHHHHHHHEEEEES

30
T w o Octave
 A b M I N O R S C A L E S and A R P E G G I O

NATURAL MINOR

HARMONIC MINOR

is
}F
| ?|
Fil

MELODIC M I N O R

i t e r e

T w o Octave
 T h r e e O c t a v e Scales

Adding the third octave to the scales and arpeggios will require shifting into higher
positions. Fingerings are indicated where shifts occur.

The m in o r scales are in the melodic mi nor form, with the 6 " and 7 " degreeso f t h e scale
raised a h a l f step ascending and lowered descending.

Suggestions For Practice

¢ Study the key signature. W h i c h notes are affected? Identify the altered notes in
the melodic m i n o r scale.

¢ It is c o m m o n practice to use open strings ascending and 4 ° fingers descending.

© Play the scaie and arpeggio slowly and listen carefully to each note.
Is it in tune? Use open strings as a reference and listen for the extra resonance that
occurs when the fingered notes E, A, D & G are played precisely.

e A f t e r you can play the scale in tune and have memorized the fingering, play it
with the f o l l o w i n g bowings:

1) Three notes to a bow

2) Seven notes to a bow - J i i J d

S e

3) Martele

* V VY VY Y

4) Up bow staccato - J Ja ? Ja
.

5) Spiccato

A f t e r you can play the arpeggio in tune and have memorized the fingering, play it
with three notes to a bow.

¢ Sharpen your theory skills by w o r k i n g through the exercises on page 67.

52 Three Octave
G M A J O R S C A L E and A R P E G G I O

G M I N O R S C A L E and A R P E G G I O

wont
weet ere
_

Three Octave 53
 Ab M A J O R S C A L E and A R P E G G I O

A b M I N O R S C A L E and A R P E G G I O

54 Three Octave
 A M A J O R S C A L E and A R P E G G I O

i
© °M
|
:m
|=;
NH °
il
ca 4| 2

i?_
5
T
alll

v\
(A
h Zo!
ee H 2hiwithS
FHY
S i t t a

35
 B b M A J O R S C A L E and A R P E G G I O

Bb M I N O R S C A L E and A R P E G G I O

56 Three Octave
 B M A J O R S C A L E and A R P E G G I O

B M I N O R S C A L E and A R P E G G I O

m e t r e f

g i a l
=

[lead

Three Octave 57
 C M A J O R S C A L E and A R P E G G I O

0000
eee
HHH4HHHHSEEEEEEEEEESEES

C M I N O R S C A L E and A R P E G G I O

a e r a e t

58 Three Octave
C# M A J O R S C A L E and A R P E G G I O

C# M I N O R S C A L E and A R P E G G I O

Three Octave 59
 Db M A J O R S C A L E and A R P E G G I O

60 Three Octave
D M A J O R S C A L E and A R P E G G I O

a e e
K t *

D M I N O R S C A L E and A R P E G G I O

Three Octave 61
 E b M A J O R S C A L E and A R P E G G I O

STE
IIS ne
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E b M I N O R S C A L E and A R P E G G I O

62 Three Octave
 E M A J O R S C A L E and A R P E G G I O

E M I N O R S C A L E and A R P E G G I O

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Three Octave 63
 F M A J O R S C A L E and A R P E G G I O

Str.

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F M I N O R S C A L E and A R P E G G I O

64 Three Octave
F# M A J O R S C A L E and A R P E G G I O

F# M I N O R S C A L E and A R P E G G I O

Three Octave 65
 INTENTIONALLY
BLANK

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66
 T h e o r y Practice
Keep reviewing and refreshing your music theory knowledge by doing oneo f the
f o l l o w i n g each day:

¢ Name the sharps in order of appearance in the key signature.

e Name the flats in order o f appearance in the key signature.

© Name the major sharp keys.

e Name the major flat keys.

e Choose a major scale and name its relative minor. Play one octave o f each - use
natural minor.

e Choose a mi n o r scale, review the key signature, and play it in all three forms o f
minor.

© Select a piece from one o f your music books and figure out what key it is in.

© Look at the key signature. W h i c h maj or scale has this key signature?

o Which mi n o r scale? Play the first few measures. Does it sound maj or or
minor?

o Check the fast note o f the piece. A piece w i l l usually end on the tonic ? the
first note o f the main key.

I d e n t i f y i n g the K e y

A quick w a y to name the ma j o r key when there are sharps in the k e y signature, is to go
up one h a l f step from the last sharp.

> tye The last sharp is G#. One h a l f step up from G sharp is ?A? ? the name o f
the ma j o r key w i t h this key signature.

A quick w a y to name the ma j o r key when there are flats in the key signature, is to find
the next-to-last flat. (This w i l l not work for the key o f F because it has o n l y one flat.)
e
eS
h b Second to last flat is ?Ab? - the name o f the maj or key w i t h four flats.

FP

rd)
| 67
 CIRCLE OF 5THS

; a minor Qt

d e

O r d e r of sharps:

a r -p
FCGDAEB
Be

| 8

?_
gE?
M a j o r a n d M i n o r Key Signature Ss

a
\ c

= O r d e r o f flats:

B E A D G C F

68
 i i

Sturbridge, M A