The last instructional video covered the C Major scale in depth, and identified symmetries between the hands, when practicing beyond the one octave level.
I pointed to the bridge of the C Major scale as the crossover into the next octave. The fingerings at this junction were mirrors for B, C, an D: In the Left hand 2, 1, 4 and in the Right hand, 4, 1, 2. The anchor thumbs in between also helped to navigate the passage across the octave. (The reverse fingering occurred going down the scale)
The other symmetries were the thumbs playing on C’s in the course of the scale, except for the beginning and end.
Finally, 3’s of each hand met on E and A in the course of many octaves. These should be marked out going up and down.
The overall analytical approach used in the C Major scale, applies to Major scales G, D, A, and E except that for each new scale, the student is instructed to find the bridge between the octaves, and identify the new key signature. The sharp content of subsequent scales therefore is different. When going up in cycles of five notes at a time from C Major, a new sharp scale is obtained on a note that is five scale degrees above the beginning note of the preceding scale.
In this tutorial, I analyze the scale of G Major, going through the same steps of identifying the bridge fingers that are mirrors; the thumb placements that should fall on the G’s within the scale, and finally the finger number 3 placements. (B and E that should be marked out going up and down in this key) Since G Major has one sharp, the student should remember that at the bridge there is an F# leading to a G and then an A. (the mirrored fingering, RH 4, 1,2 and in the Left, 2, 1,4 going up the scale)
Going down the mirror fingerings are reversed.
The same analytic process applies to D, A, and E Major, with a reminder that each of these scales has a different key signature. (the number of sharps and their names, should be noted before playing any scale)
Video Segment two: An Adult Student Example
To viewers/listeners. The Steinway M grand that my pupil plays was tuned a few days ago, while the Steinway 1098 studio upright where I sit, is scheduled to be tuned in two weeks, so there is some beating, or warbling when the pianos are played at the same time. My apologies for this circumstance.
The adult student plays the G Major scale in a sequence of rhythms leading to 32nds notes. He uses a basic medium loud (MF) dynamic until the last playing of staccato notes in 32nds.
Here’s the routine:
Two octaves of quarter notes (Legato, smooth and connected)
Two octaves of 8th notes (Legato)
Three octaves of triplet 8ths (Legato) with a rolling feel.
Four octaves of 16th notes (Legato)
Four octaves of 32nd notes (legato)
Four octaves of 32nds notes (staccato, MF–medium loud)
Four octaves of 32nds (staccato, mp)–medium soft)
Other videos include Legato to Staccato scale practice:
Blocking four-note chords before unblocking them as arpeggios in a sequence of inversions as prep to play the Moonlight Sonata, last movement, Presto agitato.
Playing a C Major scale in contrary motion:
Chunking a B Major scale: