Scales and Fiddling

“At the bottom of all technique lies the scale. And scale practice is the ladder by means of which all must climb to higher proficiency. Scales, in single tones and intervals, thirds, sixths, octaves, tenths, with the incidental changes of position, are the foundation of technique. They should be practiced slowly, always with the development of tone in mind, and not too long a time at any one session. No one can lay claim to a perfected technique who has not mastered the scale.”

Eddy Brown, an American violin virtuoso 100 years ago, is quoted in Violin Mastery. Most violin teachers today would be inclined to agree. What is the relevance to playing fiddle, though? Do scales have a place in learning to play the fiddle?

First, let’s accept the cautioning advice of not playing scales “too long a time at any one session.” That gets us off the hook of having to practice something unpleasant.

Second, we can also accept the recommendation to play our scales slowly with good tone. Cultivating a tone that we really like to hear will be useful in playing slower tunes such as waltzes, airs and ballads.

It’s true that we really don’t play scales in fiddle tunes the way violinists play scales in orchestra music or concertos. Our scales, more often than not, are pentatonic. I’ve never heard of a violin teacher recommend playing pentatonic scales. Jazz teachers will advocate this. We fiddlers can benefit from this also.

Our purpose in playing a diatonic scale, one with all the notes, is threefold.
1. We improve our intonation by listening carefully to our scale as we play it.
2. We build deep left hand technique by playing the notes in tune and crossing strings precisely.
3. When practicing the scale and shifting up the neck, we get more comfortable with advanced fiddle tunes that go up the neck.

Unlike violinists, we do not have to play scales in every key. We can stick to just those keys that make up 90% of more of all fiddle tunes. Scales in C, G, D, A and E will cover most of the ground. An occasional foray into Bb and F should fill out another 7 or 8 percent.

In addition to playing the scale slowly and precisely, we can also play patterns in a scale. Think of playing the first three beats of Blackberry Blossom. Then, simply continue the pattern until you run out of notes on the G string. I’ve heard Darol Anger recommend this.

I don’t know how many four note patterns can create reasonable sequences. Playing around with this would be very instructive. Three note patterns can also be used. This would evoke 6/8 time or an offset rhythm in 2/4.

Finishing up with one last comment: don’t let this become a burden. You are a fiddler. You started playing the fiddle to enjoy it. Find a way to play with the scales a little bit. It will definitely pay off.

February 2008