Ali Arango - On Fast Scales

“Scales may not be the most important technique, but

there's no doubt it’s one of the most complicated.”
- Ali Arango

Outline
1. Phalanges

2. Wrist

3. Nails

4. Two types of rest stroke

1. Classic

2. Picado

5. Two or three finger scales?

6. Examples from pieces

1. Etude No. 12 (Heitor Villa-Lobos)

2. Concierto de Aranjuez (Joaquin Rodrigo)

7. Mixing free stroke & rest stroke

1. Etude No. 7 (Heitor Villa-Lobos)

2. Zapateado (Joaquin Rodrigo)

3. Concertino for Guitar (Salvador Bacarisse)

8. Additional resources

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Phalanges
In order to produce speed and strength in the hand, we must avoid blocking or
restricting the phalanges (finger bones).

To visualize this, hold your base knuckles and try to move the fingers. The result will
be a clumsy and weak motion, showing that good motion comes from uninhibited
phalanges.

In terms of the final phalanx, or distal phalanx, it is about the balance between a
completely bent position and completely blocked position. Keeping it rigid in either
position will make it very difficult to pass through the string.

Wrist
Similarly, we have to avoid sharp angles in the wrist, as this can limit the flexibility
and mobility in the tendons passing through it.

Nails
It is important to have balanced nail length. One way to achieve this is to file them
simultaneously so that they are all aligned properly.

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Two types of rest strokes
One way from the air is called classic and is similar to drumsticks hitting a
drumhead. This allows for legato and a lyrical quality. With this method we can vary
the sound by increasing or decreasing the striking distance from the string. This is
helpful in lyrical passages with large dynamic contrasts, such as this:

The second type is called picado which is a very powerful stroke. The name is
derived from the sound of a chicken pecking. The articulation is much more
staccato, with much shorter hand movements.

Two or three finger scales?

Three finger scales allow for the possibility of more speed, as there is more time
between each finger repetition. The disadvantage is that it is very difficult to balance
the sound. This is especially true if the nails are not properly balanced. Regardless, it
is still something worthwhile to learn, and can be a useful part of your technique.

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String crossing
To avoid awkward string crossing motions, typically we will lead with the middle
finger when ascending strings, and lead with the index when descending strings. In
three finger a-m-i scale pattern, descending figures work well starting the pattern
with either index or annular, as both are shorter than the middle finger. Ascending it
works well to start the pattern on the annular finger.

Examples from pieces

Etude No. 12 (Heitor Villa-Lobos)

This section works well with a-m-i three finger scales. Because starting with the
annular finger can be used both ascending and descending, it is a good choice for
passages like this that change direction.

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Concierto de Aranjuez (Joaquín Rodrigo)

This section works well with an m-i two finger approach. When doing these
techniques it is best to work out the left hand fingerings to even numbered groups
on each string. That will help avoid awkward string crossings. Notice how the left
hand fingerings allow for the middle finger to begin each new string. To practice this,
start with groups of 4, then groups of 8, then putting together the full scale run.

Mixing free stroke and rest stroke

In some cases it is best to transition from free stroke to rest stroke mid scale. This
can either be to achieve a certain dynamic contrast, or to smoothly transition from
an arpeggio section to a scale. In this example, we have both reasons present. By
beginning with free stroke and changing to rest stroke at the second string, we
achieve a smooth transition and a large crescendo.

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There are cases where we can do the opposite as well. In this passage, the final
scale has a decrescendo and is followed immediately by an arpeggio section. By
changing from rest stroke to free stroke on the last string, we can achieve again a
smooth transition and dynamic contrast.

Etude No. 7 (Heitor Villa-Lobos)

While it is possible to use the a-m-i three finger technique for this scale, it
becomes very difficult to keep the evenness and intent behind the scale intact. For
this passage it is best to make groups of 2 or 4 whenever possible and use a two
finger scale approach.

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Zapateado (Joaquín Rodrigo)

These scales utilize a mix of both two and three finger techniques.

Concertino for Guitar (Salvador Bacarisse)

This scale is an example of three finger technique beginning with the index finger.

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Additional Resources
Try incorporating these scale techniques into your repertoire. Check out the
additional resources to this lesson below or ask Ari a question by emailing us at
team@tonebase.co!

1. Ali Arango’s lesson on Sonata (Brouwer)

2. Rafael Aguirre’s Lesson on En Los Trigales (Rodrigo)

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