Daily long tone warm-ups and technical practice within the keys of each etude (major/minor/chromatic scales, arpeggios, seventh chords, patterns of intervals and sequences), using the variety of rhythms, articulations and dynamics found in each, will help you to more efficiently meet the technical and musical challenges presented in these selections. Take the time to mark accidentals, expressive and dynamic markings, and identify repeating patterns of scales, sequences, intervals, and varying articulations, to ensure that each etude is learned correctly from the start. M.23 - the low C on the first note of beat 1, change to an E-flatĪs you begin work on these etudes, study your music away from your instrument. M.22 - the low C-sharp on first note on beat 4, change to an A-flat (2nd and 4th notes in beat 4 of m.

M.18 - the low C on the last note of measure, change to an E-flat M.9 - the low C-sharp on the last note of beat 1, change to an F-sharp M.6 - play the low C-sharps and low Ds up an octave 16 - last note is a G-natural, not a G-flat 14 - second note in BEAT 2 is a C-natural, not a C-sharp 14 - second note in BEAT 1 is an A-natural

An assigned scale makes a convenient add-on to a chair audition or a report card test.M.

Choose a key that pertains to the orchestral repertoire.

Five minutes of scales at the start of an orchestra rehearsal make a good warm-up.

Leave out the last whole note until the end.

A really advanced string section can play any line in quarter, eighth, and sixteenth notes in sequence.

Finally tempo can be raised to any practical level.

Gradually, reduce to twice, then single.

Teachers will want to begin by playing every note at least four times so that players can adjust pitch.

Good bass players have to learn to shift too. Nevertheless, no attempt was made to “dumb down” this part.

The bass parts are necessarily the hardest since a range of two octaves will require very high shifts.

An attempt was made to have each instrument begin in an “effective” part of its range: i.e., first position on it’s lowest string.

All scales will sound in octaves in an orchestra setting arpeggios sound in parallel sixths.

TWO OCTAVES SCALES AND ARPEGGIOS is a collection of scales for mixed strings in the most common keys.

B flat major scale 2 octaves clarinet