6 responses

  1. Cordula
    December 21, 2014

    thank you! some ideas i already know, but some certainly not!
    this will give my brain a nice workout too.
    Cordula

    Reply

  2. Leta Davis
    December 22, 2014

    This is really great…. I’m passing it on to my students right now. I have been having my violin students play 12 keys starting the scale on all finger 1 then all 2 etc. I have also used Christian Howes’ idea of extended range. I like changing up the fingering and start note. Also playing across chordal voicings 1,3,5,7,9,11. A thing fiddle players can shamelessly exploit because of the easy fingering. In reality when the solo starts I want to use some war horse ideas to get started and then break out… And be able to return to the stable if I need it. I’m not gifted with the talent or the practice schedule of many of you great players plus I work with mostly beginners so these help. Thanks so much.

    Reply

  3. Stephen Katz
    December 23, 2014

    Thanks Adam. This is really helpful to me!

    Reply

  4. Kit Eakle
    December 24, 2014

    Great article, Adam! VERY applicable to the violin, obviously… Thinking in terms of fingering patterns for various sections of each mode and scales and moving them around the fingerboard to different key centers can also be helpful – and playing such patterns in a non-linear ‘improvised’ patterns that make musical sense, rather than slavishly following a pattern, like broken thirds, or whatever can also be helpful.

    Reply

  5. Kari Clifton
    February 3, 2016

    This is something I’ve been looking for but had no idea where to find until a friend pointed me in the right direction. I’m a little late to the party too, but am ecstatic about this! I’d had similar ideas when it comes to gaining the necessary tools to become a good improviser, yet was never really sure how to actually go about practicing. Cello has always proven difficult for me to improvise on in the jazz realm because of the traditional way we’ve been taught practice. After reading through you can see that the traditional methods for practicing scales are very limiting. I’m sooooo so glad for this! Definitely changes the way I will practice scales and opens another door to how I view the possibilities of cello.

    Reply

  6. Gregory
    March 8, 2016

    I love what you say about bottom heavy exercises and about being too focused on tonality. A lot to think about there. Thanks for this post!

    Reply

Leave a Reply

Your email address will not be published. Required fields are marked *

 

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Back to top
mobile desktop