In the tech and pseudo-tech worlds things work at scale and to scale, and scaling up is very important. For us, working at scales is not just important – it’s essential!

When you think about it – scales make up all music. They represent the available notes, define all the intervals, and by picking and choosing they also sketch out every possible shape.

Given the power scales hold, why do some people roll their eyes at their mere mention? And why do still others avoid them like the proverbial plague? Is it because they are tedious? Or is it like flossing – something we have all been told will both improve and prolong our lives and yet, less than 30% of us do it!

Doing scales should be a part of your daily harp hygiene. But we might need a subtle mindset shift to make the whole thing more palatable. Here are a few ideas you might try if you find you’re not doing scales daily – one for each day of the week!

1. Beginner’s Mindset – If you are a beginner, or if you remember your very early playing, scales are not easy. There is so much to do – placing your fingers, checking that they are one the right strings, playing carefully, closing all the way, learning what a scale sounds like (correct and incorrect), making adjustments, pretending you can go faster (than you really can), and more. It’s all hard. But eventually, with practice, it gets easier. And soon, you either rip through them or forget to do them all together. I challenge you to – at least once a week – put your beginner’s hat on and do your scales slowly (ponderously?) as you did when you learned to do them. They aren’t as eyerollingly droll as you might think when you pay attention.

2. Meditation at scales – If you’re not a beginner, your scales are probably on autopilot. So, I challenge you to do them once a week as an opportunity to breathe and check in with yourself. Transcend the details to observe the totality of your scale. You’ll learn a lot which you can plow back into your playing!

3. Scales can be challenging – There are so many ways to break out of boring, rote scales. One of my favorites is “Russian Scales” which I totally stole from piano. These are simple scales that move from parallel motion to contrary motion throughout the exercise. Easy-peasy (ha!). From Russian Scales we go to “Chasing Squirrels” which is much more free form but still shifting between parallel and contrary. You can make your own patterns – maybe have fun by shifting keys (to change up the visual cues).

4. Threes – I learned this from someone (maybe Maeve Gilchrist?) one hand plays a 2-octave scale in 3s, while the other plays a straight 1- octave scale. You’re done when both hands end up where you started.

5. Consistently Contrary – Do your scales always in opposition (contrary motion). No funky rhythms or change ups, just be contrary.

6. Push your weight around – Use a dotted rhythm to give your scales a little swing. Use different rhythms, try polyrhythms, challenge yourself!

7. Book scales – Get out your fav – Grossi, Friou, Hannon (I know – piano, but still useful) and do it! I also really like the books from Maeve Gilchrist, Gillian Fleetwood, and Sue Richards. There are loads of these technique exercise books – use them!

So, there you have a week’s work of scales – with no boredom, constant challenge. And none takes more than their fair share of practice time. No excuses. What are your favorite scales? Let me know in the comments! Want video examples? Send me a note and I’ll get it to you!

My brain likes to think that it’s in charge. If often issues imperious edicts like, “put that cookie down” or “we’re going for a run now”. Typically, the rest of me falls in line and meekly does as it’s told (I’m looking at you arms and legs!).

But we’re musicians, athletes of the small muscles. When my brain seeks to order those little muscles around, they can be insolent. You know how it goes – the melody needs rapid direction changes and there you are with no more fingers in the direction we need to go! In these situations, the “usual” straightforward fingerings just won’t work. And in response, those small muscles don’t just balk, they rebel!

One can hardly blame them – they’re scared because the brain is asking them to do something they’ve never (or rarely) attempted (and typically with very little time to get there). It can get nasty with the brain becoming more strident while the fingers cower like sheep becoming paralyzed with fear. Poor fingers need to move in weird combinations or odd order of play.

Those fingers would be less afraid if they were strong, independent fingers! So, how do we help them gain that independence? Nothing a little exercise can’t fix to build strength, confidence, and most importantly, independence!

If you’re tired of reading (or think this doesn’t apply to you) go crack open Grossi, Richards, or Salzedo and prepare to sweat! But this is a little different, so hang in there with me!

Still here? Cool! We’re going to do two sets of exercises, but first you need this chart and two dice:

I know it’s intimidating – but hold on! Roll the dice to find the part of the chart you’re going to use – one for the row and the other for the column (if you roll two 6’s you can pick any column!).

Put your hand on a table, fingers curved – like you’re going to drum them on the table or like you’re typing. Now, tap your fingers in the order listed in the cell you have identified – lift each finger off the table in turn and put it back down. Go slowly, gently, in control, relaxed. Fingers follow our usual harp playing (1 = thumb, 2 = index, etc. and 5 is your pinky (even though we don’t play with it, it still needs to be included). Keep your wrist off the table in a neutral position. Relax. No, really – relax all of you, your fingers (obviously), your hands, arms, shoulders. Breathe.

Start by setting a time for about 15 seconds and work your way up to the entire table. Build slowly and focus on keeping your hand relaxed with your fingers moving (and changing) smoothly. When it becomes effortless – then you can add more rows or go faster. Start with each hand, then progress to both hands doing the same order.

I cannot stress enough – stay relaxed and in control. This is not about speed but about focus and on building that finger independence. You want each finger to move on its own without the others moving at all (this might be more challenging for some fingers than others).

When it becomes easy, move on to the next step – chose one order for right hand and another order for left hand.

Relax – it’s not Rocket Surgery – it’s more challenging!

Now, the next level, which is actually easier! Don’t move to this until you can do the previous exercise easily. Move to the harp. Same idea but we need a new table (since we don’t play with the pinky).

	Finger Order on the Harp
	1	2	3	4
1	1,2,3,4	2,1,3,4	3,1,2,4	4,1,2,3
2	1,2,4,3	2,1,4,3	3,1,4,2	4,1,3,2
3	1,3,2,4	2,3,1,4	3,2,1,4	4,2,1,3
4	1,3,4,2	2,3,4,1	3,2,4,1	4,2,3,1
5	1,4,2,3	2,4,1,3	3,4,1,2	4,3,1,2
6	1,4,3,2	2,4,3,1	3,4,2,1	4,3,2,1

At first, simply place and move your fingers to tap the strings. This is a new task (even though it feels the same). Relax, go slowly, build up. Only when you can do that easily, then you’ll play.

This is all about independence and control which we can build and develop by staying relaxed and focused. As Marcus Aurelius might have said (had he been lucky enough to play the harp) “I don’t have to like it, I just have to do it.”

Being able to control your fingers independently will stand you in good stead in all types of tunes and all manner of arrangements with sticky wickets. Give this a go and let me know how you get on. If you’re more advanced and think you have this licked, try it, and let me know how it goes! I am also interested in how frustrating (or not) you find it so please share your thoughts – let me know in the comments!