GRADE 11

Complete Guide to Major & Minor Scales (Volume 3)

PIANO METHOD (HOME)

TO TEACHERS & STUDENTS: The objective of Grade 11 is to learn the 12 major and parallel minor scales (harmonic and melodic) in double sixths played two octaves in parallel and contrary motion at a moderate tempo. Grade 11 is spread out over a total of 12 weeks, not including the Exam. Ideally, each Lesson equals one week, but could be extended to two weeks for students who either learn at a slower pace and/or have less time to practice. Conversely, for students who are unusually gifted and/or fast learners, two or perhaps three lessons could be learned in one week. In any case, students should avoid rushing through lessons and skipping steps. The better one can learn these rudimentary lessons, the stronger one’s overall technical and theoretical foundation will become. The average student should spend at least 10-15 minutes daily on each lesson, making the learning of major scales an integral part of their overall daily piano practice. Each lesson corresponds with musical systems (lines) in the book. Simply screen-shot or print out each lesson and use the instructions as a guide to help work your way through the book! 

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WEEKLY LESSON PLANS FOR GRADE 11

GRADE 11 – LESSON 1 (lines 1c-d, 2c-d, 3c-d):  C MAJOR – C MINOR

  1. Examine lines 1c-d, C major in double sixths in parallel and contrary motion. Play C major two octaves hands alone then together, giving special attention to 1-4 in the RH ascending and 4-1 in the LH descending which crosses over 2-5 (5-2) a total of three times, the last time being a convenience fingering (1-4 – 4-1 instead of 1-3 – 3-1). This is done by releasing 2 before 5 then flipping 1-4 (4-1) over 5 which functions as a pivot finger. Similarly, going in the opposite direction (RH descending, LH ascending), 2-5 (5-2) crosses over 1-4 (4-1) a total of three times. This is done by releasing 4 then flipping 2-5 (5-2) over 1 which functions as a pivot finger. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 2c-d, C harmonic minor in double sixths in parallel and contrary motion. Play C harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the B-natural when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 3c-d, which shows C melodic minor in double sixths in parallel and contrary motion. Play C melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the A-B when ascending and Bb-Ab when descending. Notice the fingering has not changed.
  4. Review lines 1c-d, 2c-d, 3c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 2 (lines 4c-d, 5c-d, 6c-d):  D-FLAT MAJOR – C-SHARP MINOR

  1. Examine lines 4c-d, D-flat major in double sixths in parallel and contrary motion. Play D-flat major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 5c-d, C-sharp harmonic minor in double sixths in parallel and contrary motion. Play C-sharp harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the B# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 6c-d, C-sharp melodic minor in double sixths in parallel and contrary motion. Play C-sharp melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the A#-B# when ascending and B-A when descending. Notice the fingering has not changed.
  4. Review lines 4c-d, 5c-d, 6c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 3 (lines 7c-d, 8c-d 9c-d):  D MAJOR – D MINOR

  1. Examine lines 7c-d, D major in double sixths in parallel and contrary motion. Play D major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 8c-d, D harmonic minor in double sixths in parallel and contrary motion. Play D harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the C# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 9c-d, D melodic minor in double sixths in parallel and contrary motion. Play D melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the B-C# when ascending and C-Bb when descending. Notice the fingering has not changed.
  4. Review lines 7c-d, 8c-d, 9c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 4 (lines 10c-d, 11c-d, 12c-d):  E-FLAT MAJOR – E-FLAT MINOR

  1. Examine lines 10c-d, E-flat major in double sixths in parallel and contrary motion. Play E-flat major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 11c-d, E-flat harmonic minor in double sixths in parallel and contrary motion. Play E-flat harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Notice the fingering has not changed.
  3. Examine lines 12c-d, E-flat melodic minor in double sixths in parallel and contrary motion. Play E-flat melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the C-D when ascending and Eb-Db when descending. Notice the fingering has not changed.
  4. Review lines 10c-d, 11c-d, 12c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 5 (lines 13c-d, 14c-d, 15c-d):  E MAJOR – E MINOR

  1. Examine lines 13c-d, E major in double sixths in parallel and contrary motion. Play E major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 14c-d, E harmonic minor in double sixths in parallel and contrary motion. Play E harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the D# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 15c-d, E melodic minor in double sixths in parallel and contrary motion. Play E melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the C#-D# when ascending and D-C when descending. Notice the fingering has not changed.
  4. Review lines 13c-d, 14c-d, 15c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 6 (lines 16c-d, 17c-d, 18c-d):  F MAJOR – F MINOR

  1. Examine lines 16c-d, F major in double sixths in parallel and contrary motion. Play F major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 17c-d, F harmonic minor in double sixths in parallel and contrary motion. Play F harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the E-natural when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 18c-d, F melodic minor in double sixths in parallel and contrary motion. Play F melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the D-E when ascending and Eb-Db when descending. Notice the fingering has not changed.
  4. Review lines 16c-d, 17c-d, 18c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 7 (lines 19c-d, 20c-d, 21c-d):  G-FLAT MAJOR – F-SHARP MINOR

  1. Examine lines 19c-d, G-flat major in double sixths in parallel and contrary motion. Play G-flat major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 20c-d, F-sharp harmonic minor in double sixths in parallel and contrary motion. Play F-sharp harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the E# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 21c-d, F-sharp melodic minor in double sixths parallel and contrary motion. Play F-sharp melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the D#-E# when ascending and E-D when descending. Notice the fingering has not changed.
  4. Review lines 19c-d, 20c-d, 21c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 8 (lines 22c-d, 23c-d, 24c-d):  G MAJOR – G MINOR

  1. Examine lines 22c-d, G major in double sixths in parallel and contrary motion. Play G major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 23c-d, G harmonic minor in double sixths in parallel and contrary motion. Play G harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the F# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 24c-d, G melodic minor in double sixths in parallel and contrary motion. Play G melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the E-F# when ascending and F-Eb when descending. Notice the fingering has not changed.
  4. Review lines 22c-d, 23c-d, 24c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 9 (lines 25c-d, 26c-d, 27c-d):  A-FLAT MAJOR – G-SHARP MINOR

  1. Examine lines 25c-d, A-flat major in double sixths in parallel and contrary motion. Play A-flat major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 26c-d, G-sharp harmonic minor in double sixths in parallel and contrary motion. Play G-sharp harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the F-double sharp (Fx) when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 27c-d, G-sharp melodic minor in double sixths in parallel and contrary motion. Play G-sharp melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the E#-Fx when ascending and F#-E when descending. Notice the fingering has not changed.
  4. Review lines 25c-d, 26c-d, 27c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 10 (lines 28c-d, 29c-d, 30c-d):  A MAJOR – A MINOR

  1. Examine lines 28c-d, A major in double sixths in parallel and contrary motion. Play A major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 29c-d, A harmonic minor in double sixths in parallel and contrary motion. Play A harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the G# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 30c-d, A melodic minor in double sixths in parallel and contrary motion. Play A melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the F#-G# when ascending and G-F when descending. Notice the fingering has not changed.
  4. Review lines 28c-d, 29c-d, 30c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 11 (lines 31c-d, 32c-d, 33c-d):  B-FLAT MAJOR – B-FLAT MINOR

  1. Examine lines 31c-d, B-flat major in double sixths in parallel and contrary motion. Play B-flat major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 32c-d, B-flat harmonic minor in double sixths in parallel and contrary motion. Play B-flat harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the A-natural when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 33c-d, B-flat melodic minor in double sixths in parallel and contrary motion. Play B-flat melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the G-A when ascending and Ab-Gb when descending. Notice the fingering has not changed.
  4. Review lines 31c-d, 32c-d, 33c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

GRADE 11 – LESSON 12 (lines 34c-d, 35c-d, 36c-d):  B MAJOR – B MINOR

  1. Examine lines 34c-d, B major in double sixths in parallel and contrary motion. Play B major two octaves hands alone then together, giving special attention to the efficient crossing over of the finger pairs as explained in Lesson 1. Even though slight breaks are unavoidable when crossing over finger pairs or playing the thumb multiple times in a row, the scales should otherwise be played fully legato. Notice when in parallel motion the fingering is symmetrical or mirrored.
  2. Examine lines 35c-d, B harmonic minor in double sixths in parallel and contrary motion. Play B harmonic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the A# when ascending and descending. Notice the fingering has not changed.
  3. Examine lines 36c-d, B melodic minor in double sixths in parallel and contrary motion. Play B melodic minor hands alone then together, giving the same attention to the efficient crossing over of finger pairs. Beware of the G#-A# when ascending and A-G when descending. Notice the fingering has not changed.
  4. Review lines 34c-d, 35c-d, 36c-d each played two consecutive times with metronome at 54 bpm per quarter note.  

EXAM FOR GRADE 11

  1. Play each of the twelve major and parallel minor scales (harmonic, melodic) two octaves in double sixths each two times in a row at a slow tempo with the correct fingering. No metronome is needed. 
  2. Play the scales in ascending chromatic order as in Lessons 1-12. 
  3. Before playing each scale, say “This is the __ major (minor) scale and it has __ sharps, which are___.” (Name the sharps or flats in the correct order.)
  4. All must be memorized with no sheet music permitted.

CONGRATULATIONS ON FINISHING MAJOR & MINOR SCALES!

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