Scale practice?

[bjc]

Greetings folks...Just curious as to how everyone goes about practicing scales...i.e. how? what type? etc...
I played classcial guitar for quite a few years and ran through the Segovia scales every morning which were done in the circles of fiths with the minor scale being the melodic minor. I still play electric and play those scales as well as some other more rock style scale patterns (Blues Scales, harmonic minors...), but I amd wondering what others do?

Right now I am running through some open scales major and minor as well as chromatic (g#,a,Bb and so on) major and minor (pure) in closed positions. Any sort of tips would be appreciated.

[mando bandage]

In yet another begrudging attempt at music theory, I have been practicing the Aonzo scales, following each scale with the corresponding Tim O'Brien arpeggio exercise, and then following the arpeggio with some I,IV,V chording in both open and closed position. No fun, but my fretboard road map is improving and I can pick out a song by ear a lot better.

R

[michaellampert]

People approach technical studies in a variety of ways. I warm up with etudes-Munier, Rode, whatever I'm on at that particular time. Really, the classical repertoire for the mandolin has the technical answers for most of the problems that one might encounter. Modes, arpeggios , etc. are covered systematically and extensively in the Munier etudes.
But(perhaps) the most important element of study is the practical application of those acquired techniques to the development of repertoire. Working on tunes creates the power, the focus and the music that may be presented to real people for their enjoyment
and enlightenment.

[MandoM]

In yet another begrudging attempt at music theory, I have been practicing the Aonzo scales, following each scale with the corresponding Tim O'Brien arpeggio exercise, and then following the arpeggio with some I,IV,V chording in both open and closed position. #No fun, but my fretboard road map is improving and I can pick out a song by ear a lot better.

R
R:

Your practice sounds interesting. #Could you explain it a bit more. #I need some guidance to get me past the next plateau. #I really appreciate it.

Mike Endres

[Steve Scott]

I've recently started practicing bebop scales using a play-along CD. It starts in key of D and works around the cycle of fifths until all keys are covered and you're back to D. You can get some variety by starting the scale from the 3rd, 5th or 7th notes. The challenge is keeping pace with the CD in the odd keys (Gb etc). Certainly has helped me get aquainted with the finger board.

[Jeff Hoelter]

Do you have a source for the Munier etudes? #I found on google:



Carlo Munier has to his credit "Method in Two Volumes," five books of "Mandolin Studies," four volumes of beautiful duets for two mandolins and a "Book of Trios" for three mandolins. His concert solos with piano accompaniment include First Mazurka de Concerto, Bizzaria capriccio di Concerto, Capriccio Espagnola, First Aria Variata, "Concerto in G major," Second Mazurka Fantasia, Valzer Concerto and Love Song, a duo for unaccompanied mandolin. There are also three quartettes in the classic style for two mandolins, mandola and mando cello and numerous other compositions for mandolin orchestra.


Which book is the etudes in? #Any place to find it...


Thanks,
Jeff

[michaellampert]

The etude books are in four volumes that are collectively titled 'Lo Scioglidita.' They were published by R.Mauri. I understand that they may be out of print at this point. Check out the classical mandolin thread on this bulletin board-those guys are very hip to Munier.

[bjc]

this is to Mike and Scott...and any others who might be inteseted...My scale workout starts off with some finger exercises...I play the closed position Major scale using a variety of patterns...i.e. finger 1,3,2,4...4,3,1,2 etc...then I move on to open scales...g major, d major and so on, as I play these scales I also include the pentatonic version, then I'll do my minor scales the same way followed by the Aonzo scales...both major and minor...I like Scott's approach though...what CD is it you play to? I'm very interested...

[JamesBryan]

I'll add another plug for jazzmando.com, Mandohack/Ted E's on-line exercises. He also links to a series of scale/exercise articles he's been writing for Mel Bay. Jim

[Steve Scott]

To repond to bjc, I use a CD given to me by an instructor. It does not credit the source of the "round the horn" scale practice track. However, I think it is from Martin Norgaard's Jazz Fiddle Wizard book. You can check it out on his web site:http://jazzfiddlewizard.com/

Another good one is in the CD that goes with Jamey Abersal's (I hope I have the spelling right!) II, V, I book. Both versions have both slow and fast versions.

[jmcgann]

JS Bach's Sonatas and Partitas for Solo Violin.

[bjc]

Where are the Abersol books available? I used them in the stone age when I was studying jazz guitar (ended up back playing metal...I liked the pants...tee hee)...

[jmcgann]

Aebersold at http://jajazz.com

[Ted Eschliman]

Jim, thanks for the kind words.
I should point out that the PDF in this month's www.mandolinsessions.com exercise included a "ghost" fifth line in the tab (a Finale software glitch I've since corrected). Those that depend on the TAB might find it confusing, so until we can get it amended, I'm posting access to it here:
Guides and Gravity (http://www.tannah.net/ted/proof/g&g4.pdf)
The jist of the exercise is to develop a mental awareness of the notes that "gravitate" toward major chord tones (in all 12 keys!), but it includes a very healthy fringe benefit of developing left hand finger control.
When played properly, keeping the fingers close to the frets through the whole phrase, it becomes a "chop buster," but after several weeks of working it, develops the ability to maintain line and incredible sustain.
Plus, it takes you out of the key of G...
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif

[mando bandage]

MandoM Mike,

Please pardon the tardiness of the reply. Press of business as Rumpole would say.

The Aonzo scales and Tim O'Brien's arpeggios are both available on Co-Mando.com (don't forget the hyphen or you will be in trouble with your wife, your boss, your co-worker, etc.)

The Aonzo scale will take you through two octaves of a major scale. When you complete that scale, you will be positioned to play the Tim O'Brien Arpeggio which takes you through the I,IV,V arpeggios in that same key. (For explanation of the I,IV,V designations, consult your favorite music theory book. I suggest Ohmsen's Modern Mandolin Music Theory Book).

When you finish the arpeggios, play the I,IV,V chord progression in that same key in open (first) position, that is, as close to the nut as possible, then try it in closed, movable chord positions, as many as you can find.

This has really helped me chop some rhythm on songs I don't know in jams, which is far more fun than sitting quietly hoping someone will play something I know.

R