Scales, Arpeggios, and Double Stops for the Violist

4th edition

Michael Kimber 

Differences between 3rd and 4th editions 

3rd edition:  36 pages including inside front and back covers; folded & stapled 

4th edition:  49 pages; coil binding (stays open easily on the music stand) 

The Preface and Practice Suggestions are expanded slightly in the 4th edition 
but are otherwise essentially the same as in the 3rd edition. 

The 4th edition has the following that are not in the 3rd edition: 

1 page of Scale and Arpeggio Fundamentals 
comparing parallel major and minor keys, with examples beginning on each finger 

6 pages of 2-octave scales, arpeggio exercises, and representative double-stop 3rds and 6ths 
all relative major and minor keys progressing through the circle of fifths (C, a, F, d, etc.) 
It is hoped that this section will prove even more useful than the Supplement to the 3rd edition. 

4 pages of whole tone, octatonic, pentatonic, and modal scales 
(The 3rd edition has only 1 page of octatonic and whole tone scales.)  
Practice of these scales will further develop intonation and prepare violists 
for encounters with these and similar scale patterns in repertoire. 

The main body of the book, which includes 3-octave scales and arpeggios, retains 
essentially the same format as in the 3rd edition, with parallel major and minor keys 
progressing upward by half steps (e.g., C, C#, D).  Within this format, the 4th 
edition differs in several ways, however, as shown here and described below. 
Left page - compare 3rd & 4th editions
Right page - compare 3rd & 4th editions

You will notice the following differences in the 4th edition:

There are two rather than three one-octave scales and arpeggios on one string. 

The 3-octave SCALE fingerings are optimized* in these ways:
All scales begin on 0 or 1.
Shifts in the lower scales are deferred until the A string.
High-position shifts are generally 1 2 3 - 1 2 3 instead of 1 2 - 1 2 - 1 2.

The 3-octave ARPEGGIO fingerings are also optimized*:
All arpeggios begin on 0 or 1.
Shifts in lowest keys are deferred until the D and A strings.
Shifts in E flat through F sharp are mostly deferred until the highest three notes.
(i.e., only one shift is required, whether ascending or descending).
Keys of G and above require mostly only two shifts.
Two new arpeggios are included: augmented triad and half-diminished seventh. 

The chromatic scales have only minor fingering changes. 

Broken-third scales in major go through two octaves and a third rather than three octaves 
and a third and have more conventional fingerings, providing more opportunities to play 
thirds with string crossings in preparation for double-stop thirds. 

Broken-third scales in minor have been added to the 4th edition. 

Double-stop thirds, sixths, and octaves have no significant changes in fingering from the 3rd edition. 

Harmonics (artificial) go through one octave rather than two.


*NOTE: The decision to make changes in fingering of the three-octave scales and arpeggios 
resulted from years of trial and was not made lightly.  While many of these fingerings will 
be different from those to which you may be accustomed, the author is convinced that they 
are better suited to the viola than many of the more familiar fingerings that were often 
originally conceived as violin fingerings. 


While the 3rd edition will still be available for a period of time by special request, 
purchase of the 4th edition is encouraged.


Created March 15, 2011