Rhythmic stress (emphasis) helps you learn your scales by making you want to ‘keep the notes coming’ until you get to a satisfactory ending note. Stressed scale practice patterns also help you to see and follow patterns – and transpose them.

You will already have studied the first two pages in this four-page series - use the series nav below to dot around.

SSPPs in thirds, tenths and sixths

As soon as you can, start playing scales in thirds or tenths and sixths.

These are the harmonious intervals, which will turn your knowledge of scales into ability to produce music directly from the keyboard.

But you really have to know your keys on the keyboard (the scales - which black and white keys to play) for your hands to play ‘in two places at once’ successfully.

Use the one-octave x5/x8 scale fingering exercises to get started.

You are going to play the patterns in tenths (LH on C, RH on E-plus-an-octave higher); thirds (LH on C, RH on E two keys above); and in sixths (RH on C, LH on the E below that).

On this page, the transposing challenge audio performances are offered directly below the demonstration videos.

Patterns in two

Now play the little suite of patterns stressed in twos (and therefore two octaves long).

Play the patterns: 1. in 10ths; 2. in 6ths; 3. in 3rds; 4. in 6ths.

In 10ths and 3rds, the left hand starts on the tonic; in 6ths, the right hand starts on the tonic.

Transpose the in-twos similar motion patterns into A and F majors.

Patterns in threes

Now play the suite of patterns stressed in threes (and therefore three octaves long).

Play the patterns: 1. in 10ths; 2. in 6ths; 3. in 3rds; 4. in 6ths.

Transpose the in-threes similar motion patterns into E flat and B majors.

Patterns in fours

Now play the patterns in fours (four octaves long).

The patterns come in 10ths, 6ths, 3rds and 10ths.

Transpose the in-fours similar motion patterns into A and D flat majors.

Patterns in sixths

Now play the patterns stressed in sixes (six octaves long).

The patterns come in 10ths and 6ths.

Transpose the in-sixes similar motion patterns into F and F sharp majors.

Now go on to attempt some contrary motion patterns starting from a third, tenth or sixth. They're surprisingly harmonious!

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