MANUAL SCALES ARPEGGIOS BROKEN CHORDS relmar Noes A revised and enlarged edition eeu ea aod foe Cale err maser aoe Te aCe cma THE ASSOCIATED BOARD of the ROYAL SCHOOLS OF MUSIC 14 BEDFORD SQUARE, LONDON, WC1B 3GAbice's Cobbection CONTENTS DIATONIC SCALES:— Masor anp Minor Page ScALE OF C ve “ . 3 ‘ScaLe oF G vs - . . we Scate or D - . . - e ScALE OF A 2 ScaLe OF E we fee ~B SCALE OF B (Enharmonic C flat) “ 18 SCALE OF F SHARP (Enharmonic G flat) a SCALE OF D FLAT (Enharmonic C sharp) By ScALE OF A FLAT n ScaLE oF E FLAT 30 ScALE OF B FLAT bt 3 SCALE OF F . 7 vs . 36 OCTAVES - - . - 39 DOUBLE THIRDS. Masor. Standard Fingering .. . 40 DOUBLE THIRDS. MINOR. Standard Fingering - 43 DOUBLE THIRDS. MAJOR. Two.group Fingering ~ 46 DOUBLE THIRDS. MINOR. Two group Fingering 49 CHROMATIC SCALE - 82 BROKEN CHORDS FoRMED OF THE MAJOR AND Minor COMMON CHORDS 56 ARPEGGIOS ARPEGGIOS OF THE MAsoR AND Minor COMMON CHORDS 6 ARPEGGIOS OF THE CHORDS OF THE DOMINANT SEVENTH 68 ARPEGGIOS OF THE CHORDS OF THE DiMINisHED SEVENTH 70 STACCATO SIXTHS SCALE oF C Masor EDITOR'S NOTE Students should give careful attention to the alternative fingerings of certain single: note seales and of all seales in double thirds —indicated in sla/res_ In the single.note seales the difference is merely in the position of groups, but in the double third scales the al ternative fingering is founded on a principle which differs findamentally from that of the “standard” fingering No recommendation is given, as 2 decision should be based on atrial and knowledge of both systems. influenced in many cases by the conformation of the hand It should be possible, with a normal hand, to achieve equally satisfactory results with either AB 104DIATONIC SCALES ° 4th Finger on {2 B C MAJOR SIMILAR MOTION 5 LHD Separated by an Octave , a1 2s 1s In Thirds or Tenths pe In Sixths at 5 wow 2 snragccn EB C MAJOR Beginning at the closest, point CONTRARY MOTION 1 Sade eea1 a at 73 eT Beginning with the keynote in the Z.#. and the Third of the Scale in the RH. ad 44 st ast 13 e231 2 73 737 and the Third of the Scale in the L.#. Beginning with the keynote in the e oe wee AB.7084 Bs ascending C MINOR (Melodic) a TBP descending: SIMILAR MOTION ia D Separated by an Octave In Thirds or Tenths 2 In Sixths 5 A.B.708ex os C MINOR iarmonie) cane nD SIMILAR MOTION Cath Finger on As Separated by an Octave |g 3 een a : 4th Finger on sth Finger on {RA BA C MINOR (Harmonie) aemue Beginning the oo est point CONTRARY MOTION LH 4th Finger on Ab 0 | 4 a 2h, ts —_ Beginning with the keynote in the Z.H and the Third of the Scale in the #1 a a2 iw$ ex et G MAJOR sin Finger on [Py Alternative: SIMILAR MOTION LH. 4th Pinger on F4 Separated by an Octave + 234) 1 In Sixths a Bt an Fingeron (P3¥ G MAJOR ‘ternative CONTRARY MOTION LH. ath Finger on Fé Beginning at the closest point a 4 23 Beginning with the keynote in the RM and the Third of the Scale in the L.# oo rrr. gonga jEtascending G MINOR (Melodic) 7 .. ith Finger on UPS descending, ana * SIMILAR MOTION Separated by an Octave In Thirds or Tenths In Sixths Tis aaa rT sy Oa te sy A.B.1048 ain Fingecon (PtH G MINOR (Harmonic) wrnave SIMILAR MOTION ringer on Eb Separated by an Octave LHi Ath Finger on FI 23 88 a ius | In Thirds or Tenths 2 3 1 @ 9 3 @ In Sixths Qow 8 123s TF 7 eT a sy Finger on (REE G MINOR (Harmonic) Aaernative CONTRARY MOTION ‘LH. 4th Finger on Eb Beginning at the closest point edd, sgt Be z sys 3 4 Beginning with the keynote in the LH. at 123 : 2 34% Beginning with the keynote in the R.A at ‘on the Third of the Scale in the L.#. a Bas “ aud 12 4Ril ch D MAJOR ® Alternative SIMILAR MOTION LL ath Finger on FE 4th Finger on [4 Separated by an Octave 123d In Thirds or Tenths 2 In Sixths 5 wy Ow 323 sewet D MAJOR ath Finger on 7 CONTRARY MOTION ee ath Finger on Ft Beginning at the closest point 1 3 123! 13 ap, 13thPegeron yrarleasmt, D MINOR (Melodic) LH EB ‘SIMILAR MOTION Separated by an Octave In Sixths 5 way % a) A.B.708ii (Harmonic) D MINOR SIMILAR MOTION L, ats Pings on f st Separated by an Octave & 5 2 é = In Sixths (Harmonic) CONTRARY MOTION D MINOR RH CH LAE Ain Fog on | Beginning with the keynote in the £.#. and the Third of the Scale in the R.H. Beginning with the keynote in the RH and the Third of the Scale in the £1 AB.70842 LH, Ath Finger on Ft Alternative: RH GA din Fingec on {RH A MAJOR SIMILAR MOTION Sepatated by an Octave 23k In Thirds or Tenths In Sixths wOo@ LH. 4th Finger on Fi A MAJOR ternative CONTRARY MOTION RH GE Le B sn Finger on | d of the Scale in the R.Ht. LH, and the Thiré Beginning with the keynote in 1 AB 108nn jetweotre A MINOR (Melodic) ® #4 descending La B SIMILAR MOTION th Finger on ase4 4 Bs, S34, In Thirds or Tenths In Sixths A.B.706“ 4th Finger on [2% A MINOR (Harmonic) Lk B Separated by an Octave SIMILAR MOTION In Thirds or Tenthe , 9 3 23 3 3 In Sixths . ? 4th Finger on {2% GF A MINOR (Harmonic) Beginning at the closest point CONTRARY MOTION eee et ede 3 f 12 ptt sue Z Pit 2 * “Tee riessisseei Beginning with the keynote in the £.#. and the Third of the Scale in the RH. tas teed at tie 4 4 Beginning with the keynote in the Rf, and the Third of the Seale in the LH. “errs ng 1ku pt E MAJOR * 4th Finger 00 | Pe SIMILAR MOTION 5 Separated by an Octave 23 2 In Thirds or Tenths @ o 4 2 2 = 2 sa2ge 1 a In Sixths 1 2 1 123 ata ait me 13 32 13234 eet Daw oy au pe E MAJOR Ath Finger on [27 Dy CONTRARY MOTION at a Beginning at the clogest point at 15 15 a3 1 eatzay Beginning with the keynote in the £.#/ and the Thi 2 Beginning with the keynote in the R.# and the Third of the Scale in the £./t 1228 aia $3 13* en \ptsenine E MINOR (melodic) 18 Finger on weiner om es SIMILAR MOTION Separated by an Octave 5 tet, In Thirds or Tenths (3) zy (a) BY vay af A.B.708en vt E MINOR (Harmonic) " ain Finger on {P77 PE SIMILAR MOTION Separated by an Octave 5 igi tt paserieficee ss = : ss 2h sie s é = ? ray In Thirds or Tenths ei at er 32 oO? w 138 34 an Dt E MINOR (Harmonic) fat Finger on |? Pe CONTRARY MOTION Beginning at the closest point zt papetictiee es: : 1 t 8 Beginning with the keynote in the RH. and the Third of the Scale in the L.H. # 2: raged 01, 2 deel1s B MAJOR EF At ond on the Enharmonic Co Major ($e¥==) initial note SIMILAR MOTION Separated by an Octave 4th Finger on 7 In Thirds or Tenths a 2123 Sixths 1 5 B MAJOR ut as svrineson [EE Mans onine simone Ch aor (SSE) lowest B CONTRARY MOTION Beginning at the closest point, , 5 1s — 1 . = Te seert Beginning with the keynote in the Z.//, and the Third of the Scale in the R.. an ba Sess eset 1S %s Beginning with the keynote in the Rf and the Third of th a18 3 atga a4 13 in the LH. ry Tet AB.104an {Ataseenine BB MINOR (Melodic) 19 Ltt Ft and on the SIMILAR MOTION ittatoas Separated by an Octave 4 Pinger on f 2s Tost Tt ts In Thirds or Tenths oo AB 10820 ainFingeronf?4 AF se = -B MINOR (Harmonic) initial note SIMILAR MOTION Separated by an Octave | A | | In Thirds or Tenths 3 2423 In Sixths 5 ‘¢ 7 sn Fier one PY and onthe BE MINOR (Harmonic) lowest B CONTRARY MOTION Beginning at the closest point 5 ta 23 .f 7% z Beginning with the keynote in the Z./t and the Third of the Scale in the Ri 1 ‘ 2423 st A 2 13 4 1 1 Zan af 7 tf Beginning with the keynote in the &// and the Third of the Scale in the £1 " Te byt z3 1sF SHARP MAJOR ae 4th Finger on {7 AY Enharmonic Gb Major ( ) SIMILAR MOTION een Separated by an Octave a4 vse 7 ? ‘a Thirds or Tenths 1 4 734% 7 ; In Sixths F SHARP MAJOR RH At Enharmonic Gb Major ( ) CONTRARY MOTION Beginning at the closest point abbas 2 Steet a4 T 7 ? Beginning with the keynote in the R.#. and the Third of the Scale in the LH. ababs ag ba | 12 AB.104ze F SHARP MINOR (neloaic) Di ascending ah Fringe on | a 34 descending. SIMILAR MOTION LH FS Separated by an Octave In Thirds or Tenths In Sixths 1 Tor er Ta AB.104ex ay F SHARP MINOR (Harmonic) * LH Ft SIMILAR MOTION Separated by an Octave uh Finger on ow vgat In Thirds and Tenths 23 24 73 In Sixth 2 ow F SHARP MINOR (Harmonic) 4 Finger on [4% GH CONTRARY MOTION Beginning at the closest point ai a 4 sioing athe closest point |. 3 ie Ate bs RH GH Aiea ss Beginning with the keynote in the £. gad 142 WAS asa. T T ; Beginning with the keynote in the RW. and the Third of the Scale in the LH , 2 att apate tte a ta4 D FLAT MAJOR eH Bs Enharmonic C# Major (4284 ) 1H et SIMILAR MOTION shade 4th Finger on Separated by an Octave 2342 ( In Thirds or Tenth 1 tae In Sixths a4 D FLAT MAJOR Ri Bb Enharmonic Ct Major ($3088 ) 4th Finger on Mtn Ss CONTRARY MOTION Beginning at the closest point aakag 2a 2a} @agrsy : + Tees Beginning with the keynote in the £4. and the Third of the Seale in the Ri. aad 4 4 1 : Lees, 2 st a4 Baa ay . 3 Beginning with the keynote in the .# and the Third of the Scale in the JH. a2 wee AB.70825 1 fAtasendie C SHARP MINOR (melodic) ih Finger on {* (4 descending 41D Finger 0 {re Ee SIMILAR MOTION Separated by an Octave aud Spec 2 In Thirds or Tenths eo 12 : 4 sythhe 3y4 ‘ eee — oo Base 123 5 Efeases. a Siaee = ‘ 1 ° , . 3 3 “ septa dee ov * 2 In Sixths B24 3 ais (4) (8) (4) 34 = Teest Fy 1g ars 1 a a AB70626 4th Finger on zx ot C SHARP MINOR (Harmonic) LH FE ‘SIMILAR MOTION Separated by an Octave |g 3 bHe Sta ba 29 12 Se In Thirds or Tenths, ada 123 In Sixths. 3 2 2s} 43 Ste . af eH De C SHARP MINOR (Harmonic) 4th Finger on al CONTRARY MOTION 2 $ Beginning at the closest point a 412 St a4 bs Zah 2s 4 t aT tert Beginning with the keynote in the 2. and the Third of the Scale in the R/ aga a4 eet at 14 z = eet AB.70827 ain gecca [2 BE A FLAT MAJOR Db SIMILAR Mi Separated by an Octave SIMILAR MOTION gw at a 3 4 + : 3 == Seo é pAeeSE teases === | ainPegr on [EE BE A FLAT MAJOR CONTRARY MOTION Beginning at the closest point ste at 13 + <¢ . Beginning with the keynote in the ZH. and the Third of the Scale in the RH. 238 aan a4 1a Beginning with the keynote in the R. 23138 AB. 10428 G SHARP MINOR (melodic) 4th Finger on ee 24 ascending Enharmonic Ab Minor (S05) UP descending SIMILAR MOTION Separated by an Octave In Thirds or Tenths 5 In Sixths (9) (3) (6) A.B.708G SHARP MINOR (Harmonic) 29 sh Finger on {PH At Enharmonic Ab Minor ( SURE ) ‘SIMILAR MOTION 4) Boa a1,3% 5 Separated by an Octave ot - 3 In Thirds or Tenths 5 In Sixths ow Sots ot G SHARP MINOR (Harmonic) sth Finger on {24 At Enharmonic Ab Minor ( BE ) Beginning at the closest point CONTRARY MOTION atte, , 238 gos Peas os 1 Beginning with the keynote in the Ly. and the. Thi. ofthe Scale. in.the. Rill 2238 rr 13 oy Beginning with the keynote in the & f the Scale in the L.11 tts 143 28 wai,so E FLAT MAJOR RH Bb ‘uh Finger on |i, Ab SIMILAR MOTION Separated by an Octave a E FLAT MAJOR RH. BS 4th Finger on (77, ay CONTRARY MOTION Beginning at the closest point aL e@eeis ww ‘ 4 ‘a ey ead ag Beginning with the keynote in the, nd the Thi ee aS moe TT eseee Beginning with the keynote in the RH. and the Third of the Scale in the L./1 a4 a4 at LsE FLAT MINOR (melodic) a th riager on [IE BE Enhaonte mur (SAERE) ‘SIMILAR MOTION Separated by an Octave In Thirds or Tenths ae i In Sixths AB708se E FLAT MINOR (Harmonic) Enharmonic Dé Minor (#4852 ) RH BY 4th Finger on eer on a Gb SIMILAR MOTION Separated by an Octave ty. Spo es, 1s tea pie ie ea aa s, @ a3a23 In Thirds or Tenths In Sixths @ a3 a3Zd v4 a4 E FLAT MINOR (Harmonic) Enharmonie Dt Minor (32% ) CONTRARY MOTION duh Finger on (EE BE Beginning at the closest point aa aera ba et Beginning with the keynote in the Z. a ee) ehadzo, Trees Beginning with the keynote in the RH. and the Third of the Scale in the L/ be oa 1 pide uate eee ts33 ih Finger on [24 BE B FLAT MAJOR tH ES SIMILAR MOTION Repeated by an Octave Ls _ 423 3 40h Finger on {AE BY B FLAT MAJOR CONTRARY MOTION LH BS Beginning at the closest point, Beginning with the keynote in the 1.4, and the Third of the Scale in the RM abagbs34 489 Finger on (4 Be B FLAT MINOR (melodic) Gt ascendin YH Ns descending SIMILAR MOTION Separated by an Octave wots In Thirds or Tenths AB 7044ih Finger on RH. Bb B FLAT MINOR (Harmonic) HG SIMILAR MOTION Separated by an Octave 12 3 4 z In Thirds or Tenths a24 a12 2 RH Bb B FLAT MINOR (Harmonic) 4th Finger on tH Gb CONTRARY MOTION Beginning at the closest point, , . ta p 23 ae 13 ve ele 2434 14 wT Sedgeeers 2 Beginning with the keynote in the Lt and the Third of the Scale in the R.A. ag 4 t 4 2312 234 a Beginning with the keynote in the & 3 3 t 2338 34 1436 RH. Bh andon the F MAJOR 4th Finger on highest F Alternative: LEG SIMILAR MOTION LH Ath Finger on Bb Separated by an Octave In Thirds or Tenths 2 ‘o® 2 Ee * = TEP aT rn car (i Bh and on the F MAJOR th Pinger on [0 heal CONTRARY MOTION Alternative LA. Ath Finger on Bb Beginning at the he closest point 12 2aen piantontte — F MINOR (Melodic) Aternaive 7 41 Finger on highest LHL. 4th Finger on Ds ascending ne SIMILAR MOTION Dh descending Separated by an Octave Taye ™ In Sixths‘ah Finger oof Bhyrsones — F MINOR (Harmonie) ternative LH G SIMILAR MOTION LH. 4th Finger on Db S ited by an Octave i 1234 = s 13 Sa Sse In Thirds or Tenths 3 ‘ ow ss a3 bis 13 49 @ x wbandontte = F MINOR (Harmonic) neena, Am Finger on yg hehe CONTRARY MOTION “Oa ath Finger on Db Be jing at the closest point d eginning atthe closest poin spate tteass a — PUTT Ts FTP se Oe tT eT ese the Third of the Seale in the RH. ¢ " 3 4.3 a3 2 gasa TESS S tt Rer rree 7 ESOT Pe ee Beginning with the keynote in the R#. and the Third of the Scale in the LM 5 he Bh39 OCTAVES Examples of Fingering (Octaves should be practised in all keys) MAJOR | t% ? © MINOR (Harmonic) .,, segue Pt ga et reid tot had aed C MINOR (Melodic) . uit T fod 8 G MAJOR, 3 3 3% 3 2 4 bod 8 G MINOR (Harmonic) pei raat i *<9 te =") STANDARD FINGERING C MAJOR G MAJOR MAJOR SCALES IN DOUBLE THIRDS D MAJOR A MAJOR ci ¢ 40 (3) AB 708a E MAJOR Sage oe tr AB 08 B MAJOR FH MAJOR Enharmonic G4 major (S255 ) Db MAJOR Enharmonic Cf major ($4)42 Ab MAJOR. Eb MAJOR Bb MAJOR F MAJOR AB.70443 MINOR SCALES IN DOUBLE THIRDS ‘STANDARD FINGERING (3) D MINOR A MINOR Abd rare ib 4 $ 8 a3 2 2484 A.B1064a E MINOR B MINOR 3 sah ge es Fi MINOR 4 aad 8 i C# MINOR 32338 AB 104=) Gt MINOR Enharmonic Abminor ( ge) hte bit Eb MINOR Enharmonic Dt minor ( i a8 4 : a3 Bb MINOR, F MINOR pg 8h bs AB.70446 MAJOR SCALES IN DOUBLE THIRDS “TWO GROUP” FINGERING C MAJOR iigdegiia G MAJOR A MAJOR fey tags iid $43 SEgE A.B 704a7 E MAJOR ptading regi riilas Seacitirss Vhs thd id sRttsesei zi: Reet piihgeae the tisse,, teas gbgg ls B MAJOR i rigid sess sh dg cid ‘ta bar | t¥ F¥ MAJOR Enharmonic Gb major (HEHE) iiigssii, sy: tibissy, this, i sii ys hiddg tebiasg, £427 feeb |: Db MAJOR Enharmonic C4 major (#48) es itidebicay t ay AB70648 Ab MAJOR siidgdiae, phbt esas baad Bb MAJOR i3 sisdtigs A.B.10849 MINOR SCALES IN DOUBLE THIRDS “TWO- GROUP” FINGERING C MINOR v G MINOR pats aiid A MINOR 37 18 iyi foea t50 E MINOR thi iyi hug iui Weiss Ci MINOR oi 2h03 if err Stay 354 GH MINOR Entamonic Abminor ($2085) iihtig, ,esaddng Bb MINOR tity: pits 357 ig F MINOR sph ESS Eta as Aa wmCHROMATIC SCALE The Chromatic Scale should be practised co sufficient guide as each note retains the same fingering in every case SIMILAR MOTION Separated by an Octave 52 ‘The following examples are a sncing on any note. CONTRARY MOTION Beginning from the same note ——— SIMILAR MOTION In Minor Thirds or Tenths AB 70658 CHROMATIC SCALE CONTRARY MOTION Beginning from a Minor Third sji43 118 SIMILAR MOTION In Major Sixths 242 tba babs Abd bS bba 4 CONTRARY MOTION Beginning from a Major Sixth AB I06CHROMATIC SCALE RH. Bb LAA 4th Finger on f ANOTHER METHOD OF FINGERING CHROMATIC SCALE IN OCTAVES Thon Than ~o-¢l a emt "AVE. be b ne 5 i FIFTH FINGER ON EVERY gia A.B704CHROMATIC SCALE IN DOUBLE THIRDS STANDARD FINGERING (A) ALTERNATIVE FINGERING @) A.B.70656 BROKEN CHORDS FORMED OF THE MAJOR AND MINOR COMMON CHORDS G MAJOR Tas rs gets ¢ SS Stet tes ? G MINOR a AB.08D MAJOR BS E MAJOR 5s A.B.70858 E MINOR BS Bs 2 B MAJOR Enharmonic Cb major (255 ) 4 2 B MINOR Ft MAJOR Enharmonic Gb major ($854 ) 5 “5 5 4 2 sh ete? 1 A.B70659 Db MAJOR Enharmonic Ct major ($4 ) » ' vr AB0460 Eb MINOR Enharmonic Dtminor ($442) F MAJOR 5 apps 5 A.B.70461 ARPEGGIOS FORMED OF THE MAJOR AND MINOR COMMON CHORDS ROOT POSITION FIRST INVERSION SECOND INVERSION C MAJOR 38 MINOR GMAJOR : 5 A.B.70462 ROOT POSITION FIRST INVERSION BECOND INVERSION D MAJOR abe ehhee A.B.7046s ROOT PosrTioN FIRST INVERSION SECOND INVERSION EMINOR abe OL ¢ “4 AB70464 ROOT POSITION FIRST INVERSION SECOND INVERSION Db MAJOR Enharmonic la, Enharmonic Ct Mey (gate) vibis Ba le . parce Pe Bess : zt 2 s 3 ; " Eb MAJOR 3, abe AB 706ROOT POSITION FIRST INVERSION SECOND INVERSION Eb MINOR Enharmonic Dt Minor (tig oo ( ) sos, an a SERE as : $ 4 1 1, Per. 5 a I + a zs . as age zeae 5 3a a3 MErRes, ee * 3 3 ri a at Fes. |. |s ake fs = ae Bb MINOR @ 3 a : F MINOR % 5 AB.T068 ARPEGGIOS FORMED OF THE CHORDS OF THE DOMINANT SEVENTH In order to avoid the stress always falling on the same finger, it is recommended that these four-note arpeggios should also be played over three octaves, in groups of three.1 3 pes setes : 21 2 125% 1238EBS 2, 168 A.B.708A.B.70870 ARPEGGIOS FORMED OF THE CHORDS OF THE DIMINISHED SEVENTH In order to avoid the stress always falling on the same finger, it is recommended that these four-note arpeggios should also be played over three octaves,in groups of three.AB70672 Ff Enharmonic cb GE) as 23032 ve a pittitts ay paaeeeeas, Db Enharmonic ct (Gt) = baees AB108AB1044 MAJOR SCALE IN SIXTHS Hands separately, one octave, staccato © MAJOR se ERG gy. simile Ps i 13 simile Alice's Collection A.B.704