Dear Friends,

Back in Tip 8: The Joys (!) of Scales and Arpeggios, we looked at some of the world's most beautiful melodies and saw they were based on - you guessed it - scales and arpeggios (S&A). Some of them were, in fact, "nothing" but scales going up, then down, then up again. And we discussed how being able to identify the scale and arpeggio basis of whatever music you're working on makes the music so much easier to learn - provided, of course, that you practice S&A religiously (and slowly!).

Then, in Tip 9: Working Those Scales & Arpeggios 1, we looked at a bit of Handel's Flute Sonata in C Major. We identified the scales and arpeggios (some of which took a bit of searching out), looked at how to find melody and accompaniment in the same line, and working on bring out both of those elements.

Would it be a good idea to go back and review Tips 8 and 9? Yessiree!

In this Tip - Working Those Scales & Arpeggios 2, we're going to make sure that we're practicing our S&A correctly. You're wondering why we're doing this here in Tip 10 instead of in Tip 8? Good thought - and no doubt you learned your scales and arpeggios when you began studying your instrument, or voice.

We're doing it here because I believe that music often drives technique. That is, if you know the musical reason for working technically, you're much more likely to do that work than thinking, "OK, gotta do those pesky S&A before I get to the good stuff." It's really helpful to know the musical application of a particular technique or exercise. Seeing how important S&A are in the music we worked on in Tips 8 and 9 have, I fervently hope and pray, motivated you to work on your S&A since you want to learn your music more quickly and thoroughly, and you understand the music much more after seeing how S&A are its very backbone. Music drives technique.

Now that you're really juiced to work on your S&A, here are a few ideas for getting the most out of your practicing. In this Tip, we'll concentrate on arpeggios. In a future Tip: Working Those Scales & Arpeggios 3, we'll focus on scales.

Here's a D Major arpeggio to work on; make sure you play or sing it in a comfortable register. And yes, my dear violists, cellists, bassoonists, tubenists, and all others who don't live in the world of the treble clef - you'll have to deal with it. But - no worries, mates, it's a good clef to learn. Clarinetists, trumpeters, and other non C instrumenters: you'll have to transpose.

Remember to practice the arpeggio so slowly you don't make any mistakes (if you need a refresher about this important concept, take a minute and check out Tip 1: No More Mistakes!). And remember Dr. Shinichi Suzuki's words: "Practice doesn't make perfect. Practice makes permanent!"