Major Scales and Fingering

All right! By now, you should be getting familiar with most of your major scales. In this lesson, we're going to check the fingering and the way they all relate to each other around the key clock.

Understanding the Key Clock

• The key clock organizes the sharp keys clockwise:
  • Starting with C at 12 o'clock
  • Moving up a fifth gives you the first sharp key: G major (1 sharp)
  • Continuing up in fifths leads to D (2 sharps)

Every time you go up a fifth, you're adding a sharp to the key signature. This method is how most people learn their scales during piano lessons. They primarily learn these scales first in this order because all of these scales utilize C major fingering:

1. 2
2. 3
3. Thumb underneath

This fingering holds for the following keys: C, G, D, A, and E. In fact, for the right hand, it also works for B. If you're not 100% confident with those fingerings, now is a chance to review them.

You can see the chart I've provided, which includes all the fingerings for both the left hand and the right hand for all the sharp keys. There's also another chart for all the flat keys.

Fingering for Flat Keys

People typically don't learn the flat keys first because each flat key has its own unique fingerings.

• Going anticlockwise around the key clock:
  • From C (no flats) up a fourth gives you F (1 flat).
  • Up another fourth takes us to B flat (2 flats).

Each time you go up a fourth, you're adding a flat.

Important Fingering Notes

You can't use 1, 2, 3, 1 for the F major scale; it doesn't work with the C major fingering. You must use 1, 2, 3, 4.

If you've had classical piano lessons, this won't be news to you, but it's beneficial to revise these fingerings again. You've got a chart there for all the fingerings in the flat keys as well.

Tips for Scale-Based Improvisation

Now, I'm going to wrap up by giving you a few tips for your scale-based improvisation applicable to Major Seventh workouts and other pieces:

1. Avoid Starting on the Root:

   • Don't develop the habit of always starting phrases on the root note. Be versatile! Start phrases on any note of the scale.

2. Variety in Beat Timing:

   • Don't always begin on the first beat. Experiment with starting phrases on one, two, and three to introduce variety.

3. Lock in with Rhythm:

   • Sync with the rhythm of the backing and tap your foot as you play. The rhythmic aspect is often more crucial than the notes themselves.
   • Remember: "If it ain't got that swing, it don't mean a thing."

4. Mix Up Note Values:

   • Vary your note values. You don't have to stick to the same values all the time; incorporate quarter notes, eighth notes, triplets, and longer notes. Include rests, gaps are equally important as the notes you play. Sometimes, less is more.

5. Use Motifs:

   • Create lines and use motifs. There's no harm in repeating an idea, especially if you do so in a different key or over a different chord. This is a strong method for developing your solo and telling a story.

6. Explore Scale Patterns:

   • Don't forget to explore scale patterns; avoid sounding like you're merely practicing scales.

7. Target Note:

   • Finally, consider the last note of your phrase (the target note). This should be a note that sounds good with the chord you're playing.

   Example: If you're playing over G major and end your phrase on a C, it may sound like you don't know what you're doing. Instead, start on F sharp to make that target note compatible with the chord.

By reviewing these points, you will enhance your scale practice and improvisation skills!