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Educational DocumentsThis page contains scale & arpeggio sheets and flash cards to help students learn the fundamentals of music on their string instrument.Scale & Arpeggio Music (these match the Scale & Arpeggio Recordings) Violin * Viola * Cello *Bass *Major ScalesMajor ScalesMajor ScalesMajor Scales Melodic Minor ScalesMelodic Minor ScalesMelodic Minor ScalesMelodic Minor ScalesHarmonic Minor ScalesHarmonic Minor ScalesHarmonic Minor ScalesHarmonic Minor ScalesMajor ArpeggiosMajor ArpeggiosMajor ArpeggiosMajor ArpeggiosMinor ArpeggiosMinor ArpeggiosMinor ArpeggiosMinor Arpeggios*All files are 2 octaves, and are in PDF FormatScale & Arpeggio RecordingsThe Scale & Arpeggio Recordings correspond to the Scale & Arpeggio Music (see above) that have helped many of my students play better in tune. Over the years, I have sold these recordings all around the world, including North & South America, Europe, and Asia. Just recently, I have also made these files available for download for Violin and Cello, and other instruments will follow soon.  There are two ways to purchase: Scale CD Order Page for All StringsDownload Violin Recording from CD Baby & Download Cello Recording from CD BabyNote Reading Flash Cards These files are in pdf (Adobe Acrobat) format.** I suggest printing these on card stock for durability. On the back are fingerings as well as note names for the instrument. However, I also use these flashcards for teaching clefs to other instruments such as treble clef reading for viola, cello and bass. Front of Flashcards (Notes on staff lines) Back of Flashcards (Note names & fingerings) Clef Violin A & D strings Violin A & D strings Treble Violin G & E strings Violin G & E strings Treble Viola A & D strings Viola A & D strings Alto Viola G & C strings Viola G & C s

Evaulation of Brahms: Hungarian Dance No. 5 in G minor

Beaming Nobody knows beaming like Sparky knows beaming.

Choose from numerous stand-alone lessons, offering opportunities for singing, performing, composing, improvising, listening, and appraising

creating

Improvising

This is good of course, in that it means that music can take flight easily in those who have an ear for it and they can move on quickly to the joy of music-making, both on their own and with others. But this same skill can become a disadvantage when those same students want to move into more complicated repertoire or advanced improvisational music-making. Here, their lack of foundation in the theoretical language of music will impede their progress, and it will be frustrating for already advanced players to stop and ‘go back to the beginning’ to pick up the language and basic theoretical concepts they need in order to move forward with their playing.

nd it’s also why it is so important to teach instrumentalists to sing the melodies they play as part of their learning process. This connects their physical response at the instrument and their technical understanding to their innately human ability to express themselves with their singing voice.

eep theoretical ideas tied very tightly to some kind of practical knowledge.

It is best to introduce the sol-fa names by learning to recognise the intervals in familiar nursery songs.

Start by teaching your little one So-Mi, which in the scale of C is G and E and sounds like “cuckoo” or “see-saw.”