Scales in Auditions, Recitals, and Schumann

Music scales are a fundamental component of just about any music we hear. Scales typically define the collection of notes we use for composing a piece; the position of a note within a scale has strong implications on the roles that note will play within a composition; and the sequential performance of a scale up or down is a frequent component of works in most musical genres. (Right, jazzers?)

The first time one of my piano students started preparing for a music school audition, I dove deeply into preparing her for this challenge. Typical requirements for such an audition include performing a major work from each of the main classical music periods plus any requested scale at a specified, quick tempo. The ability to perform a scale indicates both a facility of the instrument and a knowledge of some music theory.

For most students, playing a scale at an audition is the first time a student performs a scale in public. When I realized that my late-high school student had only publicly played scales as warmups before competitions, and never as a performance, I changed my recital routine. Now, before one of my students plays a piece in a recital, they perform the scale of that piece. A nice side effect of this unusual practice is that, after the scale is performed, the audience is completely silent in anticipation of the work to be played. It is a win-win situation for all parties involved.

I was reminded of this anecdote when listening to the third movement of Schumann's iconic Piano Quintet in E-flat Major, Op. 44, which is part of the January 8 performance of James D'León and Friends concert. The movement opens with each instrument boldly playing quick scales, one after another, as if in pursuit of each other. It's highly energetic and exciting.

When the music suddenly changes in character, Schumann completely emphasizes this contrast by removing all scales and making the relatively-large descending-jumps of a fifth the primary musical element. Later on, a new contrasting section is introduced, and here Schumann again emphasizes contrast by using melodic turns to break the scalar lines. Yet, the excitement of the original scales keep coming back around after each of these contrasting sections.

A quick music theory trick: you can use that mnemonic ("coming back around") to remember that this movement is in rondo form - defined by the original musical material (called "A") always returning after other material (e.g., "B" or "C") is played.

I invite you to listen below to this quick Scherzo while paying attention to the returning excitement of the scales. You'll hear the way Schumann moves away from scales to create his contrasting sections. And if you want to truly feel this excitement, come hear it live on January 8, 3 PM, at Yavapai College Performing Arts Center, in the expert hands of James D'León, Katie McLin, Luke Hill, Kim Hankins, and Ruthie Wilde.

Tickets are available at AZPhil.org.

- Henry Flurry, Executive Director

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