Ahhhh… scales, triads, and arpeggios… no doubt you’ve likely come across students who really struggle in this arena. True, much of the struggle could be due to lack of practice, but for some students, these technical requirements just don’t “stick”.
And when students struggle with technical work, they don’t internalize what they are playing. They are so caught up in “survival mode” that the benefit of learning to play scales, triads and arpeggios is lost. Instead, It becomes a pointless exercise for both of you. But not for long…
Over the years of prepping piano students for piano exams, I’ve found some simple “tricks” to help struggling students who are required to learn a large amount of technical work. Some of you may also use these same ideas, but in the interest of helping those teachers who are throwing up their hands in frustration (and defaulting to requesting more and more practice), here are 3 of my favorites.
After reading the post, we’d love to hear from you in the comments below – how do YOU help students who struggle with scales, triads, and arpeggios?
Chunking Scales
This is certainly not my invention, but it really, really works and has quickly become the way I begin teaching scales from the get-go (as well as assisting strugglers).
Chunking scales means that the scale is not played note-per-note, but rather in “chunks” of 3 or more notes at a time.
For example, the scale of B Major would be played as a “chunk of” B, C#, D# (all together)… thumb tucks under to E and then a chunk of F#, G#, and A#. The thumb can then tuck to B and the process can be repeated to complete the 2-octave scale (and in reverse on the way down).
Why This Works: This approach to playing scales focuses on two important things. 1) where the “thumb tuck” happens and 2) the arrangement of accidentals. The thumb tuck is isolated, and therefore the scale’s fingering is very clear. The arrangement of accidentals becomes much less confusing when seen as a group rather than as individual notes.
The next step: Once your students can accurately “chunk” their scale, then elaborate on this exercise by having your students first play the “chunk” as 3 notes together and then separately.
Whispering Triads
Most students find broken triads easier to play than solid. When triads are broken your student has those few split seconds more to think about each note before it is played, as opposed to when they are solid, and those seconds of thought are eliminated… unless you “whisper them”.
In this case, the “whispering” is actually almost indiscernible finger movements on the keys. Have your students practice their solid triads by first “whispering” the three keys as though they are playing a broken triad. Each of the three fingers used lightly and quickly taps the key (without depressing it) before the solid triad is then played.
Why this works: “Whispered” triads mimic the broken version with which your student is likely more comfortable. Isolating the individual fingers/keys eliminates confusion as your student finds each inversion.
The next step: Gradually increase the speed at which these solid triads are to be played. Doing so increases the speed of the “whisper” until it gradually becomes internalized rather than an actual motion of the fingers.
Dragon Arpeggios
I can’t take the credit for this one. My 11 year old student came up with the name and it has stuck in my studio ever since. While explaining that the arpeggios he was playing used primarily his 1, 2 and 3 fingers he held out his hand with those fingers isolated. “Looks like dragon claws” he observed. Bingo!
For students who struggle either on the ascent or descent of an arpeggio, demonstrate the “Dragon Claw” visual and then discuss how many “claw formations” are required to complete the arpeggio (for example, in a 2 octave D Major arpeggio, the dragon claws comes out twice).
Why This Works: This is a strong mental image that eliminates the fingering issue. You can then discuss which claw touches each note (especially for arpeggios that require accidentals) and can practice finding this “claw” formation on the ascent and descent. Arpeggios that begin on a black key (and the resulting changes in fingering) become easier with this mental image as well.
The next step:
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Trish Gatesman says
Hi
I use the chunking a lot and write it out as 123/1234/123/1234 etc
I am not sure what you mean by whispering triads but will try the dragon’s claw.
Andrea says
Hi Trish – the “whispering” is simply tapping the keys with each finger before playing it as a solid triad – so it’s a “whispered” broken triad done rapidly before all 3 are depressed. Does this help?
Karen says
Absolutely Love These Ideas! I can picture how these techniques will rock my student’s world, and mine too! Thank you so much!
Andrea says
You’re welcome Karen! I hope they help… nothing worse than struggling through technical work 🙂
Suzanne says
I have called chunking “blocking” for so many decades of teaching that I fear some of my students are perhaps tuning the whole term out. Thanks for the new name, and Bravo! on the dragon claw arpeggios. I believe you’ve hit upon a gold mine.
Julie says
Yes to Chunck chords. I call them Block chords (but I think I’ll call them Chunky in future) and I don’t mind how loudly they play them while they create dissonant music effects with sustain ped on and in different octaves eg. a thunderstorm coming, or a scary part of a movie.
Love the whisper triads idea. Trish, I imagine that “whispering” the keys is placing the key down without a sound. Great idea as it gives thinking time as they place the 3 notes of the triad before playing as a block chord. Really enjoy your posts.
Andrea says
Thanks Julie!
Jan Gray says
I teach all the chords and inversions as arpeggios and do them in groups of all white keys; white, black, white; black white black and then the final group. As we learn each group, the student is required to name the note and play it with the correct fingering in the right hand first. The left hand continues to play the chord in block or “chunky” form in root position and students can look back at the left hand if they get confused about the notes when they’re first learning these, We concentrate on left hand chord inversions later since most of the time left hand chords are played as patterns. Once they grow accustomed to the hand shape and naming the notes out loud as they play them, the block chords just come naturally because they’ve built in the muscle memory of the hand shape and note names. It is basically the same idea Andrea is using, just a slightly different perspective. Thank you for sharing, Andrea….
Trish Moore says
Chunking is a great way to teach tetrachords and how they make up a scale. Students can pick up a scale faster if they see that. I don’t know why, but it worked for me.
Amanda Turner says
I use the chunking method for scales all the time with my students. I actually also use this method to teach them the tricky parts in their songs too. I make fingering charts for them to learn scales in chunks like this https://www.dropbox.com/s/igy93tel8upi4p5/FingeringChartNoSharpsOrFlats.pdf?dl=0 (hopefully this link works).
I like the idea of whispering triads – never thought of that.