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Scales - Contrary Motion
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Expand your outlook by adding some contrary motion to your scale practice patterns. Here's a from-the-ground-up sequence to work through.
The all-in-one video has numbered examples with MS and line diagrams below.
One octave outwards only from middle C.
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One octave inwards to middle C.
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One octave from middle C, outwards and back.
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One octave from middle C, inwards first then back out.
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Hands start one octave apart, outwards first then back in.
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Same hand position as 05, but inwards first.
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First asymmetrical pattern. Starts outwards from middle C; RH continues upwards, LH returns to base. (First half of line diagram.)
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![]() (Nos.07 & 08) |
Pattern 07 played backwards - lateral flip. (Second half of line diagram.)
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![]() (Nos.07 & 08) |
Plays from C-above-middle-C. (First half of line diagram.)
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![]() (Nos.09 & 10) |
Lateral flip of 09 - second half of line diagram. Ends on the same note.
Note: Patterns 09 and 10 are the vertical flip of 07 and 08.
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![]() (Nos.09 & 10) |
First part of the line diagram. Hands never play the same note.
Note: Patterns 11 and 12 vertically flip just the RH of patterns 09 and 10 (pair).
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![]() (Nos.11 & 12) |
Lateral flip of pattern 11. Second part of the line diagram.
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![]() (Nos.11 & 12) |
Patterns 13 and 14 are the vertical flip of patterns 11 and 12.
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![]() (Nos.13 & 14) |
Patterns 14 reverses (lateral flip) pattern 13.
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![]() (Nos.13 & 14) |
Previously presented as pattern 08, but here part of a different pairing. First part of the line diagram.
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![]() (Nos.15 & 16) |
Second part of the line diagram. Each separate hand of pattern 15 is vertically flipped.
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![]() (Nos.15 & 16) |
Previously presented as pattern 11, but here part of a different pairing. First part of the line diagram.
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![]() (Nos.17 & 18) |
Previously presented as pattern 10, but here part of a different pairing. Second part of the line diagram.
Each separate hand of pattern 17 is vertically flipped.
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![]() (Nos.17 & 18) |
'Joined up' patterns 03 and 07.
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Pattern 19 flipped horizontally.
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Pattern 19 flipped vertically.
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Pattern 21 flipped horizontally.
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Into 12-8, stressed in threes.
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Pattern 23, flipped vertically.
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Starting three octaves apart, try to play the following patterns 23 and 24 'flips'.
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There are many more potential six-octave-long patterns (play in 12-8, stressed in threes).
Sit down with a pencil and paper and sketch some out! For example, how could you arrange for the two lines to come together (touch/play the same note) once or twice over this six-octave span?
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SCALES SERIES
Reference
Scale fingering
Scale Practice Patterns (SPPs)
Scale-tone practice patterns (STPPs)
Chromatic Scales
Diminished Scales
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The MusicartaA methodical approach to keyboard syncopation for
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